Portfolio GM (english)

“The architect - a man among men - organizer of the space - the creator of happiness. “

Fernando Távora.

Curriculum Vitae things about me

NAME:Ana Margarida Fernandes Marques(Guida Marques)

NATIONALITY:Portuguese

DATE OF BIRTH:05.04.1986

ADDRESS:Rua Arlindo Vicente lt.22 2ºA 3030-298 Coimbra

MOBILE PHONE:+351 91199598

EMAIL:[email protected]@gmail.com

EDUCATION:Master in Architecture in University of Coimbra.

HIGH SCHOOL GRADUATION:16.4/20MASTER IN ARCHITECTURE:14.46/20MASTER’S THESIS:19/20

MASTER’S DEGREE THESIS:“Towards an architecture of senses”- An experience in contemporary multi-sensorial architecture”

INFORMATIC SKILLS:Archicad, AutoCAD, Revit, Sketch up, Office, Photoshop, InDesign, Pinnacle Studio, Illustrator, Lightroom.

LANGUAGE SKILLS:Fluent English (First Certificate); rea-sonable understanding of written and spoken French; written Spanish and some facilities in speaking; a little of spoken Czech.

ACTIVITIES:Group of theatre in High School; CIT-AC (circle of initiation of theatre of the Academy of Coimbra); Participation in NU magazine (magazine of architec-ture’s students).

PREFERENCES IN:Architecture, Scenography, Arts and Crfats and Graphic Design. INTERESTS: Architecture, Scenography, Design, Fashion, Theatre, Creative Writing, Performance, Photography, Produc-tion, Contemporary Dance, Sports, Poetry; Arts and Crafts.

OTHER ACTIVITIES: British Council (1992- 2004), Conserv-atory of Music of Coimbra (1996); ACM (musical school1990-1996 under the direction of Maestro Virgílio Ferreira), Workshop of Movie Edition of Youth Portuguese Institute; Participation in the exhibition of painting and sculpture in Café Com Arte; Workshop in Ser-ralves “Initiation to Architecture” and “Initiation to Graphic Design” (2003);

Workshop of Contemporary Dance with Vânia Gala (2005); Participation in the Exhibition of Aquatic Landscape City and Sea in Draw course (2006); Flyer for the National Championship of Athletics of Hope (2007); Workshop of Photoshop and Freehand (2007); Nude drawing class in Prague (2009-2010); Workshop of Revit (2009); Nude drawing class (2010-2011) Workshop of Colectivo 84 “Landscapes od the scene and dramaturgy contemporary (2011); Course of CITAC (experimen-tal theatre) (2010/2011); Meeting with Kengo Kuma in Conferences of Arhict-ecture of Bussaco (2011) CONFERENCES: Iap XXI “Inquiry to Portuguese archi-tecture from the XX century”(2005); Conference of Souto Moura and Philippe Starck in Experimenta Design (2005); Conference “Materiality in Con-temporary Architecture” with Souto Moura, Iñaki Aballos e Juan Herreros in Concreta (2005);Tribute to Fernando Távora (2005); International Confer-ence “City and Sea - Aquatic Land-scapes” (2006); Conference of Mário Botta (2006); Conference ARQUIBIO 06 (2006); Programs and Equipment for the XXI century (2008); Congress of Sustainable Architecture (2008); Con-ference of Peter Zumthor in Trienal de Arquitectura; Conferences of Bussa-co, about architecture and landscape with Aires Mateus, Bolle Tham, Borre Skodvin and Kengo Kuma (2011).

COMPETITIONS Go Architecture 2011 and Pladur 2011 .

TRIPS: Spain: Seville, Merida, Cordoba, San-tiago de Compostela, Barcelona, Ma-drid, Switzerland: Basel, Zurich, Hal-denstein, Chur, Vals, Lugano (works of Peter Zumthor, Mario Botta, Peter Markle), France: Paris, Lyon and Ron-champ (works of Le Corbusier), Czech Republic, Austria (Vienna), Sweden (Stockholm), Italy (Milan and Turin), Germany (Cologne), Poland (Krakow)Tunisia, Hungary (Budapest).

OTHERS: Participation in the Mobility Pro-gramme - Erasmus - in Prague, CZ, for 10 months (2010 - 2011)

portfolio things about me

ABOUT ME:

At the age of 18 I wanted to live the dream of being some random art-ist going around the world and writ-ing some poetic things (let’s call it things). I always thought that things like architecture would have too many rules. Well, I guess I found freedom in those rules and the most poetic things I have written were about it. In 2004 I entered the College of Arts in Coimbra and in 2005 I was sure that architecture was more than a diplo-ma. Being an architect became more than a job. I look for someone I think is going to teach me well and let me learn. Assuming an obsession, I want to find a place that challenges me, that doesn’t let me sleep and makes me think and re-think in projects around the office. After one year with a master thesis about senses and emotions, it was about time to finally decide to em-brace this sensibility that I have tried to avoid for so many years. I am talk-ing about emotions and sacrifices that I think we should have when we love something. I mention love because I see no other possible relationship with architecture (I remind you the naivety of my age). I do not look for projects made in parts in hyper contemporary offices with hundred of architects (even because I do not know what is this contemporary architecture made of).I’ve been dreaming with the things that architecture is made of, certainly I do not know them yet, but I have the passion to find them. The success I want is the success of a happy man

opening the door of his house. It’s the gratitude of the user, the gratitude of creating moments in life. I stand here as a young rebellion post-post war, still believing that the places we build changes the world, person by person, community by community. I want to be-lieve in an architecture that identifies man in the world and not in a digital art exposed in magazines. I look for an office where the client is what matters instead of some opportunity of winning something rather than a good building. I want to believe in architecture that is stage for life that awakes our bodies from blasé, drunken by the media. It’s not about creating objects, but places. The fear of disappointment, of staying way from the intensity of things and the reality of the world makes me look for you, for someone that I be-lieve is faithful to a human sensitivity. I still don’t know how to live without it, and honestly I don’t know if I want to. I have always this feeling that it is better to put aside the things made without love. I have the time and avail-ability, the will and deep dedication to this craft, that is enough for me to say for sure that I will always do my best. I want to believe that there is in all of us after a school like this, the ability to create places for the life that comes; I want to believe that when we do things with passion, they come out right. What the theatre experience taught me was this: as a performer I’m a baby that learns how to walk and falls a lot, but the determination of walking with two feet makes me an acceptable per-former the audience wants to see, and that is what I want as an architect.

portfolio things about me

Texts things I wrote

Towards an architecture of senses, was born from the need to understand my path as a future architect. Maybe in a pure selfish act I try to get to an understanding of what will be my path and what will I stand for as a profes-sional. I speak about what led me to fall in love with this craft and of what I believe is the reason for someone to pay me for what I do. I recognize my exaggeration, my intensity that takes me not to be accurate and rigorous in a subject that is already by itself so abstract and subjective. But how could I not, if I speak about emotion?

Towards an architecture of sensesAn experience in multi-sensorial and contemporary architecture

INTRODUCTIONChapter I

A DEFINITION OF ARCHITECTUREPlace, Identity and Semiology

AFTER A MODERN ARCHITECTUREMan and the world of today

Chapter IIREACHING A POETIC ARCHITECTURE

Empathy, Memory and BodyTHE ESSENCE OF A MULTI-SENSORIAL ARCHITECTURE

Caracter and PerceptionChapter III

AN EXPERIENCE IN MULTI-SENSORIAL PLACESKolumba, Ronchamp and La Congiunta

CONCLUSION

“The task of architecture is to create embodied and lived existential metaphors that con-cretize and structure our being in the world... architecture enable us to perceive and understand the dialectics of permanence and change, to settle ourselves in the world, and to place ourselves in the continuum of culture and time.” Juhani Pallasmaa, 1994

portfolio things I wrote

“The world has been anesthetized and aestheticized, emptied of content. This state is especially evident in the glossy pages of our journals and in the so trendy disciplines of architec-ture of our schools.” Neil Leach, 1994

I see everyday an architecture that does not care for whom it builds. I do not identify myself with what I see and I have a different vision more humanist of construction. We grow up in a culture of media and in a technological future that turns places into empty boxes, that has no concern with the body or the culture of the man and that takes our ability to think and to perceive. We want to live forever without moving, so architec-ture has lost its sensorial qualities, the body has lost the capacity of being a body, in a world that considered itself too futuristic and too fast. In a time of crises it is urgent that people identify themselves, it is necessary that archi-tecture renews itself and give back the dream to a man who has lost hope. In a world of making archi-tecture as some random thing, I refer to the theories that appeared in the 60’s - the existential place, phenom-enology, being-in-the-world, poetic, experience and experimentation, per-ception and senses. Those are theo-ries that reacted to the empty forms of Modernism brought by a stylistic and conceptual chaos of an unde-fined and unresolved post-modernism. I try to understand how im-portant is architecture in the moments of our lives. There is in me the certainty of the power that is to create a place.

“Architecture is a thing of art, a phe-nomenon of the emotions, lying out-side questions of construction and beyond them. The purpose of con-struction is to make things hold to-gether; of architecture is to move us. Architectural emotion exists when the work rings within us in tune with a universe whose laws we obey, recog-nize and respect.” Le Corbusier, 1985

I look for an interaction of senses, an understanding of architecture detail by detail, which defends a perception of the whole and for a whole. It is about designing a verb, an action instead of things and objects, a design for the body that requires patience, time and intimacy. I want to understand how can we define an architecture that does not belong to a certain style or time, but is instead timeless because it is centred in Man and his way of living.

An experience in multi-sensorial and contemporary architecture

“Theory should not be a substitute of the direct experience of architecture.”Norberg-Schulz, 1967

I talk about what I have lived; I too be-lieve that we should experience and feel in our own bodies what we say. I keep the premises of an phenomeno-logical investigation. A personal experi-ence, that is only valid this way. So, I took myself to some places and tried to understand how can we make an archi-tecture that respects and identifies Man.

Kolumba, Peter Zumthor, 2007

“I face the city with my body; (...) my eyes project unconsciously my body on the facade of the cathedral, where you wander the trims and con-tours, feeling the size of the frames and doors; the weight of my body meets with the cathedral’s door mass and my hand grabs the door handle when coming in the empty darkness behind.(...)”Juhani Pallasmaa, 2006

Getting inside of Kolumba’s Museum is to be welcomed by a generosity that a museum should have. A guard shows us a door that finishes opening by itself, we enter for a little meanwhile, in front, a heavy leather curtain and then the door closes. Slow ly we open this curtain and right there a secret is revealed. We see the history of the place, since roman times, to post-war, to times of today. All of them are put together in a harmony that moves us. The surprise element; the path; the clear aim of the outside patio that shelters a Richard Serra’s sculp-ture; the light that changes during the day and during the seasons; the re-spect for the place; the fit of the new with the old; the creative use of con-crete and brick specially made for here; this is the dedication of Zumthor. All of these things captures our attention; the too thin and giant pillars that cre-ates tension in our bodies, the artificial scenic light that illuminates poetically the ruins. My body is cold, feels hot, moves quickly, moves slow; It has the precise time, the necessary emotion.

P. Zumthor works with what is al-ready there, with the surrounding, with thermal comfort so that the body can feel good, with a smell that ap-peals to memory, and this puts a person on the alert for the space, available to imagine and to perceive. There is in the chaotic city an interior place of rest, a place for us, that takes us away from the chaos of live, and gives us the reality of an overcome modernity, a moder-nity that has an interior peace and an identity that does not forget to live.Someone took his time to design meticulously what I am seeing and feeling. We are the center of the world. It looks easy, it gives us the feeling that it was us who made it. We climb a narrow stair-case, a staircase to narrow for a mu-seum this big. The intense light com-ing from that giant window attracts us; the light is directed to work with figure/ground giving the right prominence to the exhibits. Here, it is believed in the artistic object not as simple investment. The ancient works of art are side by side with the contemporary ones. It is a place of meetings of different times, a fair place, a work of intimacy of small scale full of care with the senses - the smell, the light, the materials, the con-struction technics, the sound; every-thing makes sense, everything makes a whole that agitates all senses. We feel the void and the mass of the in-terior organization. We know where to go. The doors and windows are all in a size for giants, I say. We are sur-rendered behind these glasses, we

portfolio things I wrote

experience one of the most surprising moments of the building, we see the world and we feel we own it. It is a carefully thought museum, it take cares of its exhibits and of whom is go-ing to visit it. Everything has the right place and it is the humanity of this man that moves us. Peter Zumthor looks at the objects as real things that carry in them a meaning, a story, a code and the ability to communicate. It is about working with the archetypes: wall, ceil-ing and floor, and how can we make a new choreography with these ele-ments: this is what provokes emotions.There is a place in Kolumba that let us feel at home, it is a dream place in the middle of chaos. I suspect that Mankind needs places like these. Kolumba tells to the city that he loves and respects her. It is a feel-ing of a vibrant and peaceful future.The architecture of senses it is the one where the Man of today can find a place of comfort. In a world of fake things we feel at home in this public buildings.

Ronchamp,1952,Corbusier

Ronchamp is far way between trees. It is a sacred place where children are not afraid to play. I always imagine that a giant made this. Its shape is the re-sult of the surroundings and the trips to Orient that Corbusier had done. I finally understood the curve as en el-ement with a high level of concentra-tion, which includes. It is an invisible embrace marked by the pores from the plaster. In a permanent life of destruc-tion, it was necessary to rebuild Ron-

champ as a place of hope and survival. We enter south, in a door full of colour that stands out. There are things inside of the walls: confession-als, windows and prayers and chapels. There is not a lot of furniture, only the absolute necessary; I have the feeling that the curves and the light are enough to fill this space. I I see the holy water and the care to where the pilgrim puts his hand; the stars on the eastern wall and the interior and exterior altar share the sculpture of the holy Mary, it is a mir-ror from each other; the concrete pulpit stands out from the white wall; the little void between the ceiling and the walls makes this appear to be floating; the floor respects the inclination of the land. I turn into the corners: here there are these light towers that gives us a feeling of individuality, that we are alone with our faith, this altar is only mine. I focus on this light coming down this curved wall. It is a game of light that brings clarity from all the sides to this dark interior and because of that it gives to the buildings a sense of time changing. Everything has a proper place and a worthy feature, each ele-ment has a specific colour and materi-al: the concrete of the prow, the white of the curved walls, and the glittering col-ours of the windows. There is a respect for the materials and a deeply under-standing of what to do with them; to use them in a new and interest way it is what makes this place so unique. It is about familiar elements that we recognize but surprises us for they new context, for instance, there are altars transformed in windows. But, what I really wanted

to see was this: this bright and colour-ful southern wall that I strongly believe each window takes hope from a man that dreams and pray and turns it into colour and light in a cave which sym-bolizes the beginnings of the human-ity. We do not forget where we come from and we dream about where to go.I do not stop at one place, exterio-rand interior encourages our body to walk. Since it’s a church of pilgrims and it receives thousands of people, the moment of pause is the path. It is about working with real things, with phenomena like the sun, wood, stone, earth, sky, water, etc. We feel the care of the design and so we are moved. Again, it’s a church of pilgrims; peo-ple sacrifice to go there so it has to be the pot of gold at the end of the rain-bow–mission accomplished. Would it be this the future of Modernism?In a world of plastic and trans-parent buildings there are plac-es like this, of dream and shelter.

La Congiunta, Peter Markli, 1992

“We all have an idea of an ideal space and we can remind us of countless spaces that left us a particular im-pression, however who can describe exactly what produced that feeling of space?” Herman Hertzberger, 2000

There is a way to get to the buildings that are thought with accuracy. The architect designed that exact moment when we see the building appear far way and we are walking towards it.Understanding the place to where

we build. Understanding what we build can and should add some-thing to that site and be a part of it.Being functional, giving pleasure, being comfortable, should have se-crets, agitate our imagination and make us dream. It is about places of our memory, we have never been there, but has things that reminds us of other things, and so we are moved and we feel good here. They are build-ings that respect the community they are in. If an atmosphere is done cor-rectly and consistently, it has a strong sense of place, which can help peo-ple who live and use this building to have a more satisfying and vibrant life.I have the keys of a museum lost in a valley of a small village in Ticino. It is a gallery to the artist Hans Joseph-son. I call it monument and temple.It is not more than a stylization of a Romanesque church and yet it car-ries a strong sense of novelty and recognition and for that, we can see we need to find in the old things, new ones; stretching the rules, always using things in different ways. The rude materials and simplified geometric form reminds me a work of a craftsman. The entrance is right in front of a vine; the door is high and made of brass reminding the old brass door of my grandmother’s house. There is a dialog between arts, without taking anything from architec-ture and from art what is art. It’s hard to know where one begins and other ends or what was done first. There is an inherent beauty and functionality of receiving the exposed works of art.

portfolio things I wrote

What I stop and stare is this perspec tive image of this axis; three spaces develop in this same axis, the last one flanked by little other rooms. These spaces are small as the corners and rooms of Bachelard - corners of inti-macy they are refuges of imagination. I can see the clear obsession of the architect with proportion and classic rules, the golden section, the distri-bution of light, the treatment of the surfaces of concrete. This is what we feel in the body. What I perceive and experiment was meticulously designed by Peter Markli: it is the sense of past, of ruin, of history; there is no electricity, no water, no ventilation; the ceiling, the walls and the floor without any artifice are enough; the sound, the reverbera-tion makes us want to scream; the echo I do and what they can expect from me and so it is necessary to be aware of the impact that is to create a place. that includes and removes the solitude; the concrete is rough and the skylight looks made of an old and used material; steel is already rusted and reminds us that the building is alive and it breaths.It doesn’t have to be beautiful or ugly, it does not need Human beings were formatted to perfect things, perfect materials, perfect details, but that is not our nature, we are born with a po-etic an emotional side that is awaken every time we experience something made with dedication and emotion. I am in a ruin in a contem-porary building. I like the tension I feel. I want to take my shoes off and become a dancer that experience and perceive the space without ques-

tioning it. I wanted this building to be a stage. That is what I take with me: this sense of dance in this place. With my experience in these places, I try to prove that emotion exists, that is possible to move us and to make better buildings that relates to man.

Reaching an architecture of the senses

“Is that architecture, which is a mat-ter of plastic emotion, should in its own domain begin at the beginning also, and should use those elements which are capable of affecting our senses, and of rewarding the de-sire or our eyes, and should dispose them in such a way that the sight of them affects us immediately by their delicacy or their brutality, their riot or their serenity, their indifference or their interest; these elements are plastic elements, forms which our eyes see clearly and which our mind can meas-ure. These forms, elementary or subtle, tractable or brutal, work physiologi-cally upon our senses (sphere, cube, cylinder, horizontal, vertical, oblique, etc.), and excite them. Being moved, we are able to get beyond the cruder sensations; certain relationships are thus which work upon our perceptions and put us into a state of satisfaction (...), in which man can employ fully his gifts of memory, of analysis, of reason-ing and of creation.” Le Corbusier, 1985 The architect should an-swer questions of language in a clear way: how does my body relates to this space? What does this building to

me? What does it says? How do I en-ter? How do I go from here to there? How do I stop? How do I look outside? What does this building let me be? We design actions without falling into a functional obsession nor an exclusiveaesthetic domain. I believe that as the people of today, we are capable of creating an architecture that identifies and respects us, using languages that we can understand. I believe that cit-ies need to have dream places, public spaces that let us have daydreams and encourages us to imagine, just like that wooden room in Kolumba. Sooner or later even the coldest of man get emo-tional and wants to be moved. What I write is far from being an attempt to revolutionize whatever. It’s about a personal concern from what is happening around me. People, to whom I hope to build, do not know what what I do and what they can expect from me and so it is necessary to be aware of the impact that is to create a place. Maybe I ‘m not saying any-thing new but for me the chance to think about this for a whole year has an incal-culable value for my professional future. Don’t get me wrong; I know that things like emotions, feelings, perceptions, experiences and senses are uncertain and constantly changing and different in every one. I know that I speak about a subjectivity that can lead to a numer-ous amount of critics and disagree-ments. However, it seems to me that’s is undeniable the existence of this poetic in everything that man does, including of course, architecture. The opportu-nity to remind humanity the value of the

memory, of places that we keep from our past that builds our identity and to which we resemble the places from present and look forward to build in the future: our grandmother’s terrace; the sound of the footsteps in the old wood-en floor; the wet plaster of the walls that begins to fall. To sum up, the history of our lives it is the history of our places. It is not only about creating an architec-ture that pays attentions to the body, people also need to know how to use it. Appealing to an awakened sense of people who lives architecture, experi-ence it, being alert, being aware of the steps you take, the things you touch, the sounds you hear, the thing you see. Time is never enough and maybe I should have chosen only one particular topic from all of these, but this enthusiasm that I have for the profession makes me want to go further, so far that many things were left unexplored and unwritten. My satisfaction with what I found is what came out of it: the questions that were asked, the will to know more, the things to study, the path to follow. All of these gave me the chance to make this two amazing trips and the need of facing myself and the world that for sure will influ-ence my way of work. It is not about rational and direct conclusions but of what is left to know and the potential-ity of another investigation in the fu-ture of a concern that I bring with me.

portfolio things I wrote

Projects academic things

House and atelierA place for a paintor

A house is a shelter of dream and intimacy as Gaston Bachelard said. A house is the identity of a Man, his solitude; so he is able to dwell when his able to identify himself in the world. So designing a home for someone designing an identity. We build for that person and because so we have to know his moves, his dreams, his hopes and habits and more than anything, it is neces-sary to guess his steps and to know that above all it will be – home - and there is nothing more poetic that the memory of a home and noth-ing more rewarding that a happy man opening the door of his house.

(2007) Project II, 1st semester

A place for a painter

We were told to design a house with a garage for this painter and three more persons. I guess it was sup-posed to be a family: his wife and two kids (a typical family they say). In fact, I didn’t care a lot about this, I

had the feeling that this painter was living alone and those rooms were not for kids but for someone to come. Let’s go back to what mat-ters, this painter, at the age of 40 in-herited a land a bit far from the cen-tre of Coimbra and chose to build his atelier right there in the house. Here comes the first question: What would this building be: a house inside an atelier or an atelier inside a house? It was necessary to define how was this person, what did he want, what he liked, how did he move, reach things, rest, eat, looks through the win-dows, if he likes dark places, if he pre-fers to be in the exterior, if he likes to walk around naked, where does he like to sleep and to eat, if he likes stairs or corridors, etc. Do not get scared, these are not dictatorial steps of a drawing that the client will end up making. What I take from this, it is basically the sensa-tions of living and mainly to try to un-derstand that these moves are nothing more than the memories that this painter have about what means home and it is those memories that I want to keep and believe that will make him feel at home. I knew that I wanted gardens, the intimacy and the courtyards. I have always loved courtyards, being surrounded by walls with no ceiling; I call it place of com-fort and safety. The topography of the land made me believe in a build-ing that would follow the inclination of its steps dividing the atelier from the house. Creating two different moments so to speak. So I was assuming that I was going to work under the feeling of

painting inside the house but designing a moment of pause, a neutral space that would allow to differentiate this two different functions - here is born the courtyard, this moment of breathing, of getting prepared to change functions. I imagine big paintings (too big) lying down on the concrete floor full of spilled paint. For so long I have dreamed with this boomerang of shale (I call it armarchitecture, just like the arm of the painter his atelier becomes part of his body it is an extension of himself that he cannot live without). I wanted this ensemble to be solid, to be protective and so the idea of wall was the main concept achieved by this rough and textured material. The light reinforces the idea of wall as it is solved through very long and narrow skylights. This painter does not want to see far from himself, he loves his solitude and his intimacy. I pushed those skylights down the walls and made them a rhythm of light and shadow inside the building where he could hide. Later I understood that these windows were really too narrow. Although, I was pleased with this tears that I imagine being strong and power-ful items to whom wants to see and feel some poetic light. The large windows placed on tops are views to the centre of the house and to the outside for the landscape so that the intimacy is kept. What I wanted from this house it was that it would be wall, with all its meanings. So I wait that for this painter this would be more than a home, more than an atelier, a place of shelter and creation.

portfolio academic things | a place for a paintor | descriptive text

SECTION B B’

SEC

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GROUND FLOOR

FIRST FLOOR

portfolio academic things | a place for a paintor | plans

SOUTH ELEVATION

NORTH ELEVATION

SECTION A A’ SECTION B B’

SHEET BETUMINOUS

portfolio academic things | a place for a paintor | sections | details | elevations

DRAINING TUBEIMPERMEABLE PAINT

METALIC GRAMP

EXTRUDED POLYSTYRENE

EXTRUDED POLYSTYRENESHEET BETUMINOUS

LAYER

METALIC

PLASTIC

GRAVEL BOXSTEEL FRAME

Collective DwellingA familiar gallery building

(2008) Project III, 2nd semester.

I kept this image from long ago that I have seen in some random magazine. This image showed a few kids running in a balcony. From this picture suddenly, I could perfectly imagine a worried mother looking through the kitchen window; in the next apartment there were two old men that shared the same old table gar-den; the neighbour in the upper floor arrived busy full of groceries and is almost hit by the kids playing; a group of young guys go up to the terrace while the lift almost stops; on the other side of this balcony there is a man that does not speak and smokes a lot; the cat spends its days catching sun here and it is the attention target of the old lady that takes care of the plants. Let’s call it the familiar gallery It has always up set me those buildings that lost the most simple of their func-tion: dwell. I do not speak about the practical and functional dwelling; I speak about an emotional one, of being home, a place of dream and shelter. I start from here, trying to bring to Coimbra the old way of dwelling of its neighbourhoods.

A familiar gallery building

For me it was always clear enough that I needed to work with construc-tive units and to re-think exhaustively in an economy of construction and materials but never leaving the qual-ity of the space aside, because I think that everything has a reason to be, therefore, the best constructive solu-tion in this case would finally solve what I thought it was a good spatiality. I have lived in Solum for almost 20 years now; it is the modern part of Coimbra where stadiums, shop-ping malls, expensive houses without balconies, pools, children playgrounds with no shadows, houses and more houses to no one, are built. Solum is full of things but empty of people. There is am empty space between the train that comes from Lousã and the last set of buildings. It is a void that has been filled with dreams of a school, a market, swimming pools, soccer fields, etc. On my third year of architecture’s, they decided to fill it with more houses. How to build an ex-hausted programme in a place full of empty houses? How to build a place that reminds people how was good to live there once, where children played in the streets and parents walked to the café and old people sat in the garden? You don’t start a project with drama. Drama comes after. The se-cret is the site, it has always been, but

in this super modern culture we try to go ahead more than time itself so we forget what is important and have al-ways been in architectur This place is mine for 20 years, I know it by heart, it is a place that my body knows, I know ex-actly what it needs, so I try to give it that and to give a little bit of me. I am going to build a composition of lives aligned and layered in a plain site, the goal is to simplify an already complicated life. I want to give them time qui-et and space so life can happen. I had already in my hand the will to design this gallery as an element apart from the building itself that would fit perfectly in a structure of comfort, as it was a layer of life, the social part that is missing in the house. This gallery it is the atmosphere I have dreamt since the beginning, it is the feeling that fits into the box of intimacy, the limit of the exterior/interior, of social and private. This gallery takes us home, takes to the street, to the lifts, to the stairs, to the stores, to life. The gallery is the safe street, a place to walk and to be, it is the exact place where that kid rides his bike while he waits for dinner, where some-one smokes a cigar or catches the sun.I’m interested that this street is tak-en, that brings a sense of relax, a pause from an agitated life. This is the experience I have from build-ings with galleries - a sense of rest. At the ground level there is a minimal place for shops, cafés and to play. This slab- the floor we walk on - the contact with the ground

it is what stands out at this level.Let me restart, there is a shy garage on the underground while the ground level is free of demands and rules, so the pillars are what designs the space and limits that freedom. It is the will to make a misiane plan, although knowing that those kind of spaces are soaked in air-conditioned and have too much free space, but I admit that I dream with the potential of this surfaces made of glass that organizes all the other free spaces limited by courettes (drains). This gallery is made of steel, giving it a temporary character as an addition to life. I use the rule in an ex-cessive way, as if the rule also simplifies life. If everything fits right life can hap-pen naturally between walls and pillars. I don’t know if God is in the details or if Less is More,what I know is that simple things make other things simple. I talk about the importance of construction and the care with the detail: the me-ticulous choice of the window frame, the meaning of the openings, the big window vs. the small; the care with the metallic panels designed specially for this building, for this light, for this place; the treatment of the corners; the design of the pillars in the ground; the folding laminated panels, the fitting of the gallery; the slab in the façades and on the ground; the retreat of the glass for the perfect fit of the steel frames, the space that the metal coating leaves for pipes to fall on the ground. Keeping it simple, keeping me simple, with no excessive written pages only with the dream of this gallery and of this modular house to support life.

portfolio academic things | a familiar gallery building | descriptive text

portfolio academic things | a familiar gallery building | situation

BUILDING 1 EAST ELEVATION | BUILDING 2 WEST ELEVATION

BUILDING 1 WEST ELEVATION | BUILDING 2 EAST ELEVATION

portfolio academic things | a familiar gallery building | elevations

BUILDING 1 BUILDING 2

MODULE

GROUND FLOOR

GARAGE FLOOR

portfolio academic things | a familiar gallery building | plans

SECTION B B’ SECTION A A’

portfolio academic things | a familiar gallery building | sections | details

METALIC HANDRAIL

PLASTERTILE

PLASTIC

METALIC PANELSTEEL FRAME

WOOD DECK TYPE

METALIC PROFILE U

INSULATIONBETUMINOUS SHEETCOMENTED SCREED

CONCRETE SLAB 25CM THICKNESS

PLASTERBOARD

TUBULAR OF IRONANGLE OF IRON

FLASHING OF ZINC

GRAVELMETALIC

WOOD SLATSWOOD JOIST

WOOD FLOORDECK FLOOR

THRESHOLD OF STONEBETUMINOUS

IMPERMEABLE SCREED FOR SMOOTH-ING, PENDING TO THE

DRAINING TUBE

CONCRETE BEAM RAIL OF IRON THAT HOLDS

SLIDING RAIL OF THE PANELWHEEL OF THE PANEL

FALSE CEILING IN VIROCSLIDING RAIL

SLIDING WINDOWBLACKOUT CURTAIN

BRACKET OF IRONIRON PLATE CON-

NECTINGTHE FRAME TO

THE WALLBAR OF IRONRUBBER SEAL

METALIC PANEL

THRESHOLD TILE

PLASTERBRICKWORK

METALIC PANEL

TUBULAR OFCONNECTION 2 FRAMES

DOUBLE SILICONE

SLIDING RAIL

ANGLE TO FIX THE FRAME TO THE CONCRETE

STAINLESS STEEL WHEEL

STAINLESS TEEL REBAR

THRESHOLD OF WOOD

WOOD JOIST SLIDING WINDOW

LOCKING PIECE OF THE

SLIDING FRAME

WINDOW|WOOD|DETAIL| PLAN

WINDOW|STEEL|DETAIL | PLAN

WINDOW | STEEL| DETAIL|SECTION WINDOW|WOOD|DETAIL|SECTION

School of ArchitectureComplement of the College of Arts of Coimbra

(2008/2009) Project IV

Nor architect should have to design his own house. The freedom is lost and we realize that we, obsessive stubborn, full of critics about the limitations of the clients; we, shame on us, we are more prison than handcuffs, more dic-tators than the laws and we see suddenly ourselves as limited squares of thinking so much in “our school”. The design can’t fail and the material can’t be the basic or the cheapest one, but there is no money. There is no worse client than ourselves. Therefore, it is written here that no architect should have to design his own house. Let’s get to the point, the tower is stupid. No one wants to know about memories of old medieval towers and sensations of mass and intuitions. But the truth is that the tower was there and found its place. It is missed, I see it there and I will not close my eyes. However, the tower is still stupid. Intuition is worth what it’s worth. So, my project is a tower.

A school of architecture

“ I am the way you see me and I be-long here” (Peter Zumthor, “Thinking architecture”) - this is what I wanted to achieve. To look this tower from far and feel that it was ok. Today I do not submit to a simplicity of a project de-scription that should be objective and direct and all of those formal things that captivate professionally someone. To-

day I take the freedom to publish what I wrote during this process, with no cuts and changes. Today I take the free-dom to tell the memories of this school.Starting | The idea of a school of ar-chitecture is more that just another school project. This is the opportunity to make school (not a school), to cre-ate a design for us, it is the resolution of all critics that we have been making about this old darq (department of ar-chitecture). “ A blurred image, maybe a tower“ I was thinking while going up the road. Intuitions are exactly this: in-tuitions. I believe they born randomly and that is why we should follow them, because they are true not provoked. The first sketches are filled with this, with what the initial desire that the pro-ject created in me. These sketches are certainly product of the memory and of what I have experienced, of what I know of this place (Alta de Coimbra), what it was once and what I thought it would always be. So, the tower made sense. It made sense in the history of Alta, in all of the added buildings during the years, in the new spaces built by the ne-cessity of new times. It made sense that mass of some kind of a medieval tower, massive, compact, solid, consistent with a strategic position, well marked, as referent point in the city, as an ob-servation point of the city, of inspiration.

Implantation | The difficulty of the situa-tion was solved by itself, with no delay or conflict. It happened I said. Now I could swear that this tower was here all along, that it existed already and I was only an intermediate (if such things as solved

projects exists) and this is me believing that the tower ended up being solved. But what is a school of ar-chitecture? What do I want my school to be? How do you create an upgrade of a school that has such a remarkable building already? After 5 years in this cloister, I knew that things as direct view and constant contact between students and teachers were neces-sary. The will to steal this atmosphere is bigger than any other thing, so, the spaces inside should be free and full of spaces to relax. Because it is where we work. We keep ourselves away from these rooms and often bring our tables and chairs to the cloister and we stay there all night if the weather is good. We work everywhere, with everyone. Mixed years, mixed projects, everyone knows each other, everyone helps each other. That is how I believe you should learn architecture, in a communitar-ian space, where people connect and communicate, a space to be free, to give freedom and demands freedom. I assume the tension. I put this new body in tension with an ancient place and limit it. I confine its height and width. I even decide its color. “It was the intuition”, I said.

Materiality | The tower is made of white exposed concrete on the inside and on the outside. I know the risk of making it like this - with the concrete on the inside (well, I don’t think I know or I would not do it). I look for the con-struction of these thick and continuous walls. I take advantage of mixed slabs with exposed structure, I don’t want

to hide how this is made, I want the students to know how their home was made. This mixed slabs give a tempo-rary and light sense to this floors, as if a giant could take them whenever and change the organization of this tower. It stands out even more the idea of the tower, its void and mass. There it was, the constructive system was defined. I still had the frustration of the organization, not that it wasn’t there already, because it was, but I truly be-lieved that it was going to happen the way the tower did, I thought it would be peaceful, quiet, logic, functional. Not that I think that all projects are like this, easy, because I don’t, and even more know, I strongly believe that suffer and frustration are part of mak-ing architecture. But at the same time there are dramas that can be avoid but however, a project can be and always will, perhaps, have times of frustra-tions, but if it is right and consistent, I am sure that the pleasure in its reso-lution will compensate this suffering. Programme | “Nothing works here”. I put my hands on my head and I want to burn all of these sketches. “ I should have known better, I should have guessed.” I take a deep breath, I sit down and restart: “It has to work.”I refuse to follow the given programme. I step away from my disorientation and emptiness, clean my head and focus on my sketches again. I remind my-self what I always wanted, there is a sketch that I make over and over again, distracted, it is what I do every time I want to explain to someone my project

portfolio academic things | a school of architecture | descriptive text

or simply when I’m blocked. There are three spaces “There are only limita-tions, if I move this, it changes that, if I put here I have to move this away! Why the hell I did a tower?! “. So, I guess I was wrong. The tower does not hap-pen by itself, the tower is complicated. But then I also realized that I was my first limitation, the height had to be the same as darq (20m that later be-came 21m), the three entrances that made the tower look like it has always been there... I became prisoner of my own rules, I soon limited a project that wanted to be free “If it wants to be free, let it be”. So the tower is set free. I decide for alternated atriums, I want my ground; I want this land to embrace my tower. So, three different entrances, three different atriums. My limitations were finally my freedom.atriums, I want my ground; I want this land to embrace my tower. So, three dif-ferent entrances, three different atriums. My limitations were finally my freedom. It all comes down to these spaces: programme, atrium and ser-vices. I abandon all the noise and keep the silence, I clear the sound of every-thing that does not matter and focus on the important things. I know this service area must be dark, here there are toilets and emergency stairs and big weight lifts and all of this area it is against fire. So, it has to be dark. Well, it does not have to be but it makes sense, not to hide, but to make the white of the programme to stand out. I mean, this service area is not a place where people stay a lot of time, so there has to be more light and

brightness on the other part of the tower. The atrium is the most opened space, with no programme it has enough space to be want peo-ple wants it to be, for a laptop on the floor, for a desk tired of the classroom, for a discussion between students, for an exhibition, a conference, etc. The programme was different three times, project rooms, classrooms and cafe. On the project rooms there are also the offices for the teach-ers above the atrium that are stra-tegically placed to give scale to it.

Senses | The senses are supposed to function. I appeal to the sense of the body, to the sensorial experience, of physically and sensorial understand that there are different spaces, that we want different spaces because they are used for different functions. This appeal to the senses is made by the defined modular and structural system of the project, by its different heights, by light and shadow - from the connec-tion of darq to the tower and from the atriums to the project rooms, the body feels this difference, I hope that it does. The panoramic elevator shows us what the body wants to expe-rience, it reinforces the will. You under-stand the building. You go up to the top floor and admire the view. The building wants to give inspiration; the building wants to be a stage and create memo-ries in these students. It is not about giving an icon to the School of Coim-bra, even because I do not think we have one, what we have is the freedom to create good architecture. The goal is

to create a free environment that is neu-tral enough to allow the creation of pro-jects. The responsibility of giving shel-ter to future architects is the main issue, the tower does not wants to be a guide for something, it does not want to be a model, it just want to remind the stu-dents what is important in architecture: the place, the surroundings, the people, the material, the construction, the life.

Construction | After reaching a satisfy-ing plan I go back to the construction. It is necessary to define the absence of the pillars and what will be the divi-sor of the project rooms. So I end up choosing a truss. This choice of beam was very important for the project to move on. The atriums now can move and step away from the walls, so the tower becomes even more liberated and dynamic. With these spaces be-tween floors and walls, light comes down all the way and we can always see what is happening on the floors ahead or below. These trusses define the boundaries of the wall of glass of the project rooms and the openings. The top floor has a skylight that maintains the idea of the plan di-vided by three, this element I hope that brings light to the tower’s atrium. The windows were born from the ne-cessities of the space. In the tower, less is more, so there are only the necessary openings to guaranty good ventilation and thermic feeling. Maintaining a con-structive system simple was the goal and so, all the windows are of the same size and have meanings. The ones from the atrium are on the surface to mirror

the landscape while the rest are set back to create shadows and be frames of the view. The size was defined by what was common to all the floors, the height of 4 meters, except the class-rooms that didn’t need as much light as the others. So it was created these 4m squares made with very expressive pro-files of aluminium frames (from Shuco). The cafe is an entirely opened space that invades the atrium and has the same character. Here goes the secretary office and the service desk, a kitchen, a place to print, the bookstore and a station-ary and even a place with computers. This is the main place that connects with the exterior; it is the place that holds the gallery to the old school. The classrooms are in a space divided by a folding system wall that allows the creation of one, two or three rooms. Here there is no glass wall but instead a thick wall so that you know that is a different kind of space than the one from the pro-ject rooms, and to be able to keep the folding walls inside. Also it has a lower height (3m) that allows the body to feel that the space is more compressed (this is also a floor of connection with darq). Everything in the design was used to stand out these three spaces, the way the atriums move and the sensorial experience of the body. I get to the end tired, with heavy nights of frustrations but com-fortable. The passion was equal to the feeling of despair. I get to the end and I think: the tower is alright.

portfolio academic things | a school of architecture | descriptive text

portfolio academic things | a school of architecture | sketches

portfolio academic things | a school of architecture | situation

PROFILE 1

PROFILE 2

portfolio academic things | a school of architecture | elevation

CONSTRUCTIVE SECTION

portfolio academic things | a school of architecture | sections

SECTION B B’

1. PROJECT ROOM | 2.RELAX AREA | 3.GLASS ELEVATOR | 4.SERVICE ELEVATOR | 5.ANTI-FIRE AREA | 6. TOILETS | 7.STAIRS | 8.TEACHERS OFFICES

1 floor | 92,30

1 floor | 95,20

portfolio academic things | a school of architecture | section | module of project rooms

SECTION C C’

portfolio academic things | a school of architecture | details

IRON PIECE TO FINISH THE GUARD

EXPOSED WHITE CONCRETE

CONCRETE PAVING FLAGS

SPACER ELEMENTSGEOTEXTILE

ZINC GUTTER

METALLIC PROFILE IPE 10X20

WOOD FLOOR

SLAB WITH PLATE COOPERATING

SUN PROTECTION SCHUCCO

LINTEL OF ZINC PAINTED WHITE

ALUMINIUM FIXED FRAME SCHUCCO

METALLIC PROFILE HEB 20X40

ALUMINIUM FRAMEINSIDE OPENING SHUCCO

ZINC THRESHOLD PAINTED IN WHITE

WATERFPROOF FABRIC

PLASTERBOARDTRUSS

GRAVEL

BETUMINOUS PAINT

SKYLIGHT

METALLIC GUARD

METALIC PASSAGE

PLASTERBOARDLIGHT FILTER OF THE SKYLIGHT WITH PLASTER-

CONCRETEOUTDOOR PAVING FLAGS

GUTTER

OUTSIDE GUTTER

ALUMINIUM FRAME (SCHUCCO)

SECTIONPLAN

portfolio academic things | a school of architecture | plans

0 flo

or |

86.

50

floor

| 8

9.4

1 flo

or |

92.

301

floor

| 9

5.20

2 flo

or |

98.

103

floor

| 1

01.5

03

floor

| 1

04.4

0

4 flo

or |

107

.30

5 flo

or |

11.7

05

floor

| 11

4.60

6 flo

or |

120.

406

floor

| 11

7.5

1.PROJECT ROOM | 2.RELAX AREA | 3.GLASS ELEVATOR | 4.SERVICE ELEVATOR | 5.ANTI-FIRE AREA | 6. TOILETS | 7.STAIRS | 8.TEACHERS OFFICES | 9.CLASSROOMS | 10.CLOSETS| 11. MODEL ROOM| 12.CONNECTION TO dARQ | 13.LIVING AREA | 14.CAFE | 15.INSIDE BALCONY | 16.RECEPTION DESK | 17.PRINT AREA,BOOKSTORE, STATIONARY | 18.SECRETARY | 19.KITCHEN | 20.COMPUTER AREA

portfolio academic things | a school of architecture | model

portfolio academic things | a school of architecture |model

Cultural Center v PrazeSKLAD

(2009) Project V (winter semester) in Prague, CZ

The first time I went to this place, I kept these old band rusty buildings that acted as a kind of wall of this small peninsula where I wanted to enjoy the river. I kept the long size of this abandoned warehouses and their smell. I even kept the amount of trees around it. It was like a secret place in the city, like one of those warehouses that we find in the middle of an adven-ture with friends when we are little and we imagine a thousand of stories.

A place to stay

It starts with the senses. Inspiration is a thing that comes from the place and so I pay attention to all of these things that I kept within me after visiting the site.I often go a lot of times to the site and there I stay wondering and imagine some options and visions. Here comes again the intuition: what do I want to say with my building? What do I want it to be for the city, for these people? I will start with the material. In-fluenced by all of these trees and bushes and all of these rusty buildings I want this

one to grow old and to breathe too. Re-peatedly in my sketches this long object appears and it doesn’t go away this idea of permeability and transparency. The smell from this forest around of wood is strong and I want to keep it. The wood is a material that makes us feel comfortable and warm. To make all of these things possible I imagine a structure of thin wood stakes that let the light comes in and I make of it a design inspired on the lost ware-houses of that place (the sklad as they say). It is a simple and logic design that appears in a peaceful way. Soon it stops being an idea of a warehouse to become an idea of light and path. This too long building be-comes a place of shadows and light, of entrances and exists, of boxes inside boxes, of surprising moments of open-ings and closers, of views and of living. A place that lets the body moves provok-ing so many and different sensations. There are places inside this place, it is a tension created by the dif-ferent use of the wood. On the outside this long building (let’s call it the cover) is build in a already old wood stakes sys-tem while the inside boxes are made with new, white and thinner ones with glass between so that it fulfils its functions. I dream to create this place to stay, to rest in a city that is full of tour-ists. This is not a place for them, this is a place for the people that lives in the amazing old city of Prague, a se-cret place away from the clock tower and from its thousand of churches. Because of the cold weather, it was

asked to keep the users of the building protected from rain and snow; therefore, the first box is the garage. We enter and park here or we come walking and en-ter on the corridors aside. Basically there are four boxes inside a big one, so the left spaces between them are places of movement that takes us from place to place; they are full of corridors, lifts, stairs and ramps. The inside boxes contains the programme and the outside protects the users and gives them places to relax. On the top of this first box are the offices in a deconstructed rooftop with inside courtyards that cuts through the long building. At the end of this box there are the bookstore, the gift store and a shop, this leads us to the centre of the project, on the side of the river it is the box of the exhibitions and on the other side it is the cafe and a restaurant that because of their location can work even when the cultural centre is closed. The last box has the information desk and ticket office and a cloakroom, behind those are the toilets and dressing rooms and then the library and children room. On the upper floor it is the auditorium that have relax areas on both tops. On the sides of this box are the ramps and lifts to the audito-rium. This last box comes out of the long building so that the library can still work without the cultural centre. It is a rhythm of solids, of wood and light filled with a programme for every-one. It is not about designing a beau-tiful place, it is about designing differ-ent sensations and emotions that a secret place can give. It is a place where time stops and good things happen.

portfolio academic things | a place to stay | descriptive text

portfolio academic things | a place to stay | situation

portfolio academic things | a place to stay | renders

portfolio academic things | a place to stay | elevations | sections

SECTION B B’

SECTION C C’

WEST ELEVATION

EAST ELEVATION

SECTION A A’

NORTH ELEVATION

SOUTH ELEVATION

portfolio academic things | a place to stay | plans

GROUND FLOOR

FIRST FLOOR

Competitions things I was challenged

There was a granite wall overlooking to Douro. From there, we could almost touch the D. Louis Bridge. Of that bridge, that wall was a basement for an old house of that same granite. Going down to the river, there was a deconstructed hill of rooftops and tiles in a texture that softs the vertigo of the hill. In that wall there is a plot that wants to be ex-cavated, that wants to be space. From that space were born two dark boxes that keep the mystery of a movie about to start. This is the project of the magic boxes inside walls.

The lights are turned off, the body sits down, it grows up a little excitement inside - role-play, Action! It is in this dark room - the room of all rooms - that life is cut or so many other things beyond life, that goes far way without moving, that is seen the unthinkable and the absurd or the most amazing thing ever. It is in this dark room that dreams are found, when the fill starts to role and for a few moments we stop being to become viewers and so we put our own bodies available to feel.“Cinema is the most divine way to talk about life” Federico Fellini

Go ArchitectureWith Daniel Bento e Rui Vítor Baltazar

(24h competition)

portfolio things I was challenged | Go architecture 2011

We approach the building by the hard and slow stairs that takes the hill to the river our by the top of that same hill that sets the Guindais funicular free. From the staircase we find a door in the wall that we re-opened; from the other side of the fu-nicular we extend a bridge that the highest box reaches, giving it a scenic path that takes time. Takes the necessary time to see Porto falling into Douro and to see Gaia born at the end of the bridge. Two magic boxes rise made of a dark thin and soft coat of iron of a programme in-side walls made of thick, hard, rude granite. It is this wall of our granite that we keep in the memory of who have been walking there for so long, we give them space. It is cinema happening in a space that is build-ing itself as a promenade imitating the movements of a movie camera rolling, stopping, moving, runs, moves slowly, frames, and stares, around this magic boxes.The two dark metallic coated sheets boxes support in each one, an auditorium and together they make the outside auditorium happen that is used as a slow transition from the height of the entrance to the rooftop (it is the going up the wall and frame the view, it is the bridge of Infant and the bridge of D. Luis ahead).You go through this rooftop and find a space to stay - the cafe - here, it can win its inde-pendence and enjoy and give meaning to this space above wall, of contemplation of the view.The two black boxes create a necessary tension to ag-itate the excavated space creating a moment of pause and centrality that calls the body to its inside walls.You enter in the atrium where you can go to the audi-toriums, offices on the left and media library and ex-hibition space on the right. The service spaces are on the central area of the project inside the black boxes.It is from the scale of this little rooftops and tiles down the hill that the boxes find their scale and take their place in the plot. Following a strict metric, the boxes design the space around them in every heights of the project. The space inside walls defines the height transitions with the staircase besides the highest box placed immediately in the lower entrance of the plot, so as for the outside amphitheatre that it also designs.And who comes and crosses the bridge, it is these boxes that they see and creates a sense of mystery. It is the feeling of a movie about to start, the perception of the dark screen. Digging the mass, give it a few voids and all of them become space, give space and all the rest be faithful to Porto, as faithful as that hill can be in a project that does not want to be shy nor stand out, but rises with scale and context, with reason and necessity of accomplish its job.

portfolio things I was challenged | Go architecture 2011

Drawings things I tried to understand

Drawings things I tried to understand

Drawings things I tried to understand

Photography things I touched

(things I touched) Kolumba Museum, Alemanha, Peter ZumthorPhotography by GM 2011

(things I touched) Ronchamp, França, Le Corbusier Photography by GM 2011

(things I touched) Bruder Klaus, Alemanha, Peter ZumthorPhotography by GM 2011

(things I touched) La Congiunta, Suiça, Peter Markli Photography by GM 2011

(things I touched) Kolumba Museum, Alemanha, Peter Zumthor

Photography by GM 2011

Photography by GM 2011

(things I touched) Ronchamp, França, Le Corbusier

“Nevertheless there does exist this thing called AR-CHITECTURE, an admirable thing, the loveliest of all. A product of happy peoples and a thing which in itself produces happy peoples.”Le Corbusier, 1985