JOANA RIBEIROA R C H I T E C T U R A L P O R T F O L I O

content

CV

academic work

Columbia Road Gardening SchoolKinetic Art RepositoryThames ArchiveThe Hidden Pool

professional work

Varosliget Museum of MusicTime Out Mercado da RibeiraCentre de Création Contemporaine Oliver Debré

B.Sc. Architecture with Architectural EngineeringJoana Boavida Ribeiro

Apartment 74 Tiltman PlaceN7 7EG LondonEngland

+44 (0)7943700990+351916135053joana.rb.ribeiro@gmail.com

personal information

date of birthnationality

education

Sep. 2010 - July 2013

Sep. 2009 - July 2010

Sep. 2006 - July 2009

work experience

Jan. 2014 - Current

Aug. 2013 - July 2014

Summers 2011 & 2012

2007 - 2009

30th, August 1991Portuguese

University of WestminsterB. Sc. (Hons) Architecture with Architectural Engineering, 2.1

Dissertation: What are the social advantages and economic return of the country that hosts mega sport events? Displacement and dispossession as consequences of Urban Development in Rio de Janeiro.

University of NottinghamFirst Year of B. A. Architecture

Restelo Secondary SchoolGPA. 18/20

Peach, Lisbon, PortugalOwner of small business, handmade beach pillows

Francisco Aires Mateus Arquitectos, Lisbon, PortugalPart I Architectural AssistantCollaborated in the design development process of a number of projects, developing technical and construction drawings, building surveying, conducting schematic and preliminary design strategies, model making, and completing atmospheric drawings using diverse types of media and computer programmes.

Proman Centro de Estudos e Projectos SA, Lisbon, PortugalFull-time InternshipCollaboration and assistance during construction of two projects: Sintra Primary School and Almada Secondary School.

Luz & Tal, Lisbon, PortugalCollaboration with the product design team, responsible for research and design process.

computer skills

additional qualifications

languages

interests

volunteering

references

AutocadRevit3DS Max + VrayRhinocerosAdobe Creative SuiteMicrosoft Office

Revit 2015, 63 hours intensive training course3DS Max + Vray, 49 hours intensive training course

Portuguese, first languageEnglish, fluentItalian, intermediate levels A1 and A2Spanish, intermediate

Classical guitar student at the Portuguese National Music Conservato-ry 1998 - 2004; Sewing and Design of clothes and accessories; Photography; Drawing; Painting; Cooking; Travelling; Snowboarding

Member of the Portuguese Food Bank Against Hunger, responsible for helping to raise food for the poor; part of the AASUL Association, visiting elderly care homes, tutoring and organising campaigns to help the underprivileged; and also member of the Sagrada Familía Charity Institution charged with organising food for needy families.

Ben Stringer, 3rd year tutorUniversity of Westminsterstringerb@westminster.ac.uk

Eng. José Fernando Decoppet CoelhoProman Centro de Estudos e Projectos SAAv. D. Vasco da Gama, nº 27 1400-127 Lisbondecoppet@gmail.com

Francisco Aires MateusRua de Campolide, 62 1070–037 Lisbon, Portugalg@airesmateus.com

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columbia road

Columbia Road Gardening School

Strategic Architectural DesignSecond Year, First Semester

An oasis in London

Every Sunday, Columbia Road flourishes in the midst of a grey London Town. The historic market is located in East London, and runs along the narrow street for 150 meters, attracting locals and tourists alike.

I began by researching and exploring the Columbia Road Flower Market and the street that it occupies. During market days, the site became the hub of the community as people from across London and multitudes of tourists created a picture perfect scene. Small craft-based businesses have made homes in the stores and a variety of quirky live performers flock to the market to entertain the masvses.

However, when exploring the site midweek, it was a stark contrast as I found it to be a dead and lifeless community without the presence of the market. To breathe life into the community on off days, I developed a concept where vacant properties were revitalised and used as a Garden-ing School that organised workshops, featuring two green houses and two green roofs. These workshops would become home to local businesses and the market traders, recycling and up-cycling. The new roof scape would incorporate allotments that would be rented to the local community and to tradesman, reducing the need for importing and encouraging self-sustain-ability.

The proposal aims to bring life into the street during the week and reduce the carbon footprint of the market.

Ground Floor Plan 0 1 4.5 9

Long Section 0 1 4.5 9

Kinetic Art Repository

Detailed Architectural DesignSecond Year, Second Semester

A kinetic experience

Located at Mile End, just off of the A11, overlooking Regents Canal and Mile End Park, the site benefits from a green surrounding area, yet remains easily accessible.

Kinetic art is art that contains moving parts or relies on motion for its effect. The moving parts are generally powered by wind, a motor or the observer. It encompasses a wide variety of overlap-ping techniques and styles.

The design process began by rethinking the use of the cogwheel, the archetypal mechanical piece of moving sculptures, and how I could apply it to architecture. In fact, it represented the best organisational approach for this project, as it has a common centre and all the ‘rooms’ - dents - surround it. This allowed the creation of a centre moving platform that would transport sculptures up and down between the different levels. For the visitors, smaller lifts located in between the ‘rooms’ allow easier access to each level.

The different levels were also defined in order to create a more exciting experience to the visitor, being able to view the artwork from its base level, or from above, through balconies overlooking the gallery spaces.

The top level galleries were designed to ‘follow’ the sun, rotating around the centre, in order to receive the most sunlight possible. This mechanism is achievable, due to the creation of a hydraulic system formed by a path of cogwheels that support the rotation movement.

0 1 4.5 9Upper Ground Floor Plan

0 1 4.5 9Section

Thames Archive

Strategic Architectural DesignThird Year, First Semester

A collection of Thames Treasures

Located in Hungerford Bridge, in the Thames River, the Surrey Pier is an abandoned dark space under the train bridge. A project to design an Institute of Ephemera for the reuse of this space, emphasised the relationships with its context.

The Thames foreshore is potentially hazardous and some dangers may not always be immediate-ly apparent. The Thames rises and falls by over 7.0m twice a day as the tide comes in and out. But when the tide is low, the mudlarks dive into their research of the ‘Thames treasures’.

Roman figures and roof tiles, medieval clay pipes through to World War Two bottle tops and anti-aircraft shells are just some of the thousands of objects that have been found in the Thames river bed.

The objects found provide vivid and unexpected glimpses back into every day life along the Thames, ancient beliefs and the river's historical role as a dumping ground. They also powerfully illustrate how rubbish discarded, no matter how long ago, is retained in the environment and returned to us as evidence of past lives and actions.

After intensive research about the whereabouts of these found treasures, I realised most were kept in closed archives. The Institute of Ephemera was then the ideal place to immortalise the Thames Treasures, recalling forever the past.

Alongside this project path, the constant ephemeral present rushed into the subject, relating to an ephemeral event that has come and gone: the London Olympics. It highlighted the need to use this location to experience an ephemeral activity: swimming. The Surrey Pier was excavated in its core, allowing a controlled amount of water from the river, to flow through this space, allowing visitors to swim against the current, controlled by filtering nets.

0 1 4.5 9Ground Floor Plan

0 1 4.5 9Upper Ground Floor Plan

0 1 4.5 9Cross Sections

The Hidden Pool

Detailed Architectural DesignThird Year, Second Semester

King’s Cross

The project is located in King’s Cross, with the main entrance in Pentonville Road. The proposal seeks to create an idealistic public place and open air swimming pool in a hidden part of King’s Cross. The ambition of the project requested to nurture dialogues between people in very diverse neighbouring spaces and amenities. On the surface it is both a plaza and a pool; beneath the surface it acts as a roof over a low level railway station.

My first intention was to create both vertical and horizontal interactions within the site. In other words, as the site is located above the train tracks, I sought to create a vertical interaction with the commuters. I began to position myself as a commuter, studying the viewing habits of travellers on the train. I arrived at the conclusion that passengers would invariably focus on a sideway view. Therefore, the choice to situate the pool between the train tracks was unquestionable.

In addition, I also started to focus on a horizontal scheme between the pool and the Scala Cinema. This building has a unique and fickle history. While still an unfinished cinema, the First World War forced it to be adapted to an aviation parts manufacturing plant, and later as a local labour exchange for demobilized soldiers returning from the war. Upon completion, the Kings Cross Cinema opened on April 1920. Seating over 1000 people, the auditorium offered a three-hour program, accompanied by a 20-piece orchestra. However, after its golden years, the cinema was damaged in the air-raids during the Blitz. After being refurbished it became a cinema showing adult films. It even became a Primatarium during the 80s when the stalls were reconstructed to resemble a forest. It later returned to being a cinema and is nowadays a live music club.

I believe that the contrasting functions that the building served make it very unique and I was very interested in exploring its fickle character.

I began my scheme by flooding the entire floor of the Scala with a swimming pool, and treating this building as a shell, due to its constant changing inner-character, but returning to its roots – a cinema. I opened up the floors above to create the cinematic atmosphere in the building, only keeping the top floor for storage and a restaurant.

In order to minimise the environmental concern, it is proposed to harvest water from the Fleet River that streams under the site – London’s biggest underground river. The project also seeks to use its location above the train tracks to its benefit, using the heat generated by trains underground to supply energy to the site.

0 1 4.5 9Ground Floor Plan

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E

-2 Floor Plan -1 Floor Plan - Changing Rooms level

0 1 4.5 9Section

grey water

frosted glass changing rooms, featuring a frosted glass skylights, so natural lighting shines through the changing rooms, and passes through the transparency of the walls into the underground level.

underground level corridor

Key:1. Timber decking floor (with a 2% floor slope towards the gutter); thinset mortar and painted on membrane for impermeability.2. Timber clad interior (on station wall only, as the others are of frosted glass).3.Plaza floor: Steel I-beams spanning between swimming pool and station walls; metal frame with a concrete slab spans on top of the I-beams.4. Skylight (frosted glass) - allows natural lighting in the changing rooms.

4

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Section through changing room

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0 1 4.5 9Second Floor Plan

Varosliget Museum of Music

Collaboration at Francisco Aires Mateus Arquitectos

Budapest, Hungary

International Design Competition for the design of museum buildings within the framework of the Liget Budapest Project on the territory of the City Park Budapest. By the construction of the new buildings, the complete renewal of the green area of the City Park, and the renovation of the institutions already present at Liget Budapest will be one of Budapest’s leading, well-known tourist and cultural destinations and a unique family park recognised as such all over Europe.

“The historical gardens portray a unique image of the expression of human relations and reaction, between the conceptual evolution and the aesthetic, and the apprehension and control of Nature by man”.

Building in the centre of an Urban Garden inherently questions the connection between the construction, the nature and the landscape. It is not a natural condition, but an image of this condition, controlled and guided by man. Still, it aspires to maintain if not reinforce a sense of refuge, which is perhaps the primal reason for the construction of Urban Parks since the beginning of the 19th Century, of which Park Varosliget is undoubtedly one of the prominent global examples.

The project for the new museum is built from the values at hand, carefully articulating the parts into a coherent whole. In truth, it seeks to provide an effective and sensitive response to the relation between the natural and the man-made, clearly marking a new era in a territory that is a trustee of successive contemporaneity.

Site Plan

1. TOTAL VALUES OFTREES TO CUT DOWN

group I: 8 751 758 Ftgroup 2: 2 924 219 Ftgroup XIV: 598 050 FtTOTAL: 12 274 027 Ft

2. SYSTEM ACCESS

PUBLIC ENTRANCE

STAFF ENTRANCE

ARTEFACT DELIVERY

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HARD LANDSCAPING

REINFORCEDARBORIAL MASS

2-12-3

2.27.6

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2-5-2 TEMPORARY EXHIBITION

2-12-4,5,6 LEARNING

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Time Out Mercado da Ribeira

Collaboration with Francisco Aires Mateus Arquitectos

Lisbon, Portugal

Mercado da Ribeira, one of the oldest markets in Lisbon, was first established on the 1st of January 1882, and has since undergone continuous refurbishments and extensions.

In 2010, the Lisbon Time Out Magazine, won the competition issued to refurbish the old market held by the Lisbon Council. The magazine hired the Aires Mateus Office to design the proposal. The scheme devised a surprising transformation, gathering all of Lisbon’s top eating and drinking recommendations from the magazine in a single space, featuring the slogan – “The only three dimensional magazine where you can eat and drink”.

Furthermore, on the ground floor, a food court features the best restaurants in Lisbon at a cheaper price, and also workshop areas and a bookshop. On the first floor, a more sophisticated approach includes a top quality restaurant, a bar, an auditorium, an academy and the Time Out headquarters.

South Elevation

East Elevation

Ground Floor Plan

Section through east building (restaurant)

Section through food court

First Floor Plan

Centre de Création Contemporaine Oliver Debré

Collaboration with Francisco Aires Mateus Arquitectos

Tours, France

The project originates from the existing conditions: a valuable architectural heritage, a particular urban situation, and a lucid ambition among these - the lighting approach.

The goal of the project is to clarify the constructive elements in their reciprocal relationships, inserted as they are in the urban context, with the programme it contains. Two isolated volumes are proposed, two moments which are part of separate times: the existing main volume is preserved and isolated to reinforce its symbolic value as a public building belonging to a historical moment; a new volume emerges at its side, countering the older one with its absence of scale and time. The distance between the two volumes is measured by a body of light, transparent and communicative, which renders the whole permeable and gives significance to its urban condition.

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Apartment 74 Tiltman PlaceN7 7EG LondonEngland

+44 (0)7943700990+351916135053joana.rb.ribeiro@gmail.com