MárioLourenço

I graduated in my Architecture Masters in late 2009 at ISCTE-IUL in Lisbon and I have been registered with Ordem dos Arquitectos (Portuguese Architects’ Association) since March 2012.

Shortly after my graduation I entered a competition with four colleagues, “A House in Luanda” promoted by the Lisbon Architecture Triennale. Out of 588 proposals from 44 countries we were shortlisted by a jury that had Álvaro Siza Vieira as president, for the final 30 to have our proposal exhibited in the triennale.

In 2010 I was selected for the IAESTE placement from my University. My placement was in a Chinese practice based in Shanghai where I worked for 6 months. This was a great experience of a different culture as well as working with both local and international architects. After returning from Shanghai I attended the required lectures and took the exams that constitute the theoretical part of the architecture formation in Portugal (equivocal to UK Part III). This also included 12 months in practice which I completed in the UK working for David Chipperfield Architects, where I joined in July 2011 and have worked for two years.

At David Chipperfield Architects I started working on Elizabeth House project, getting the project ready for the planning application. My next project was the second phase of a competition for an office building in Boulogne-Billancourt, Paris, which we won against Jacques Ferrier. After this I was enrolled on another competition, this time for an archaeological museum in the south of France in Narbonne, which was awarded 2nd Prize. I then briefly worked on Portland House project, in Victoria, testing some facade details until I finally got involved with the Royal Academy of Arts masterplan project to commemo-rate the institute’s 250th anniversary.

I have worked on the 6 Burlington Gardens project for 15 months, during that time I have dealt with funding packages and fortnightly meetings/presentations, working close with the Project Architect on the design development. This very particular client gave me the chance to work closely with several consultants, especially in the design of the new lecture theatre, which I have developed since conception, working in cooperation with structural engineers, m&e, theatre consultants and Bill Amberg Studio. Following a break in the RA project due to assignment of new consultants (part of Heritage Lottery Fund application requirements) I have also been part of the team that designed a gallery within the building for a private client, PACE London, which I had the opportunity to be part of from beginning to end.

This February the planning consent application for the connection of Burlington House and 6 Burlington Gardens has been finally submitted, including all the works within the building. I was at this stage in charge of the drawings set, consisting on 75 drawings. I was also part of putting together the design and access statement. The experience of working in these projects in London got me very familiar with building standards and regulations in the UK.

I look forward to hearing from you soon.

Kind regards,

MárioLourenço mariolourenco@gmail.com 07757927910

David Chipperfield Architects

elizabethhousestardustparisarchaeologicalmuseumportlandhouseroyalacademyofarts pacegallery

KFStone

bamboohouses

competition

houseinluanda

academic

library8housescentraltramstation

projectlocationareabudgetproject architectstatusyear

elizabeth housewaterloo|london, united kingdom132 000 m2

£ 600 000 000billy prendergastplanning consent granted2011

The South Bank area of London, flanked by the London Bridge and Waterloo Station transport hubs, has a particu-lar and unique mixture of contemporary cultural, commer-cial and residential environments. The completion of the Shard, construction of Tate Modern 2, proposals for King’s Reach and the consented Doon Street project maintain this sense of a new city identity. Within its site boundary this proposal offers a microcosm of this evolving environ-ment, emblematic of this maturing city quarter. The site’s strategic city position, on a principal bend of the River Thames, positions it at a central urban location, and provides the opportunity for the new buildings to play a major role in the life and image of the city. The Elizabeth House site is approximately two hectares and sits between the UK’s busiest railway station and Eu-rope’s largest cultural quarter. The ambition for the site is to mark this strategic location and provide an architectural proposal that resolves the specific complexities and con-tradictions of this site.The proposal comprises the demolition of the existing Elizabeth House buildings and their replacement with two new buildings combining commercial, residential and re-tail development, as well as significant new high quality public realm at ground level.A fundament of the scheme is to establish a new forecourt for Waterloo Station. The proposal is composed of two buildings: the North Building with office and residential accommodation, and the South Building with offices and retail at ground level. The project achieves this by offering an alternative relationship between building volume and public realm. This proposition raises the North Building above ground level to generate an active and highly per-meable streetscape. The associated ground plane is thus shaped by its proximity to the station and can be occupied by cultural activities from the neighbouring arts centres.

ElizabethHouse

bridge piers structural frame with ties lift cores office floors aligned with ties residential floors envelope

floors 2-5

floors 6-9

floors 10-13

floors 14-17

floors 18-23

floors 24-27

floors 2-5

floors 6-9

floors 10-13floors 14-17floors 18-23

floors 24-27

114

The North Building sits on a total of eight bridge piers: four parallel lines of structure that span 108 metres from one end of the building to the other with each end resting on four cylindrical concrete columns. Each column is three metres in diameter. The skewed, parallelogram arrangement of the piers visible in the plan is set by the locations of the available piling locations between the underground lines for the piled foundations. Four lines of structure allows two bays of mostly column free accommodation on either side of the building with a central zone for vertical circulation, building services and ancillary spaces that do not require direct daylight.

In section the building structure and the programme of accommodation are closely aligned: lifting the bridge structure up on piers minimises obstructions at ground level thereby maximising potential for pedestrian movement under the building. The twelve storeys of bridge structure provide a natural location for the transition from office to residential accommodation at the mid-level of the building.

This twelve storey office building structure establishes a natural volumetric rhythm of three four storey volumes. This is reinforced by the structural ties every four floors. Setbacks on the first office volume generate a series of large public realm spaces that establish a shifting and stepping order to the volumes. This is further developed to create streetscape relationships to the neighbouring buildings for the office volumes.

The primary bridge steelwork is monumental in scale – far larger than typically encountered in conventional ground-bearing buildings. It will be clearly visible from the office interiors and will add to the identity of the exterior of the building when glimpsed through the fully glazed façade. It will also be visible in the

North Building – Structure & form

Structural diagrams showing relationship with the volumetric massing

Bridge piers Structural frame with ties

York Road

Lift cores Office floors aligned with ties Residential floors Envelope

Bridge piers

Structural frame

Building outline

Underground pile cap

Restricted zones for deep piling

Waterloo Station

Shell Centre

instances when it is exposed outside the building envelope, for example in the cutbacks in the office accommodation over Victory Arch Square and Central Square.

Above the level of the bridge in the fifteen storeys of residential accommodation the structure returns to a more conventional load-bearing steel frame avoiding any potential conflicts between the raking bridge structure elements and the internal apartment planning.

The tower, freed from the constraints of the bridge, continue to play with this volumetric idea. Three volumes stack up with increasing numbers of floors from four, six, and finally eight floors for the top volume.

Elizabeth House Design and access statement Section 8 Building proposals April 2012

north building | ground floor and office façades1 Glass vertical profile2 Clear glass double glazed unit3 Primary steel structure4 Coloured ceramic back frit5 Air intake slot6 Horizontal coloured metal profile7 Deployable solar control blind8 Clear glass double glazed unit9 Coloured metal internal transom

north building | residential façade1 Glass vertical profile2 Horizontal coloured metal profile3 Coloured ceramic back frit4 Single glazed clear glass (sliding)5 Clear glass balustrade6 High performance clear class triple glazed unit7 Air intake slot

projectlocationareabudgetproject architectstatusyear

stardustboulogne-billancourt|paris, france53 000 m2

£ 128 000 000jan vermeulenplanning consent granted2011

Stardust was a project promoted by French developer Nexity which was won over invited competition. I have joined the project for the second phase of the competition against Jacques Ferrier Architectures.The building sits on Ilot 5, a plot that is part of a business park masterplan on West Paris, in the area of Bolougne-Billancourt. Ilot 5 is a triangular plot with 120m length which follows the profile of Quai de Stalingrad by the Seine. This project constituted a great challenge based on the cli-ent’s aspirations to optimize the floor plate and provide the maximum light quality to the workspaces. The client being a developer and not having a potential buyer/occupier for the building, it became part of the program to allow for the possibility of the building to be occupied by one company or three. This added substantial complexity to the project, on how to solve common and private areas, circulation and security access with the required flexibility and quality. Through the development of this project I have contributed for the optimization of the form/massing of the building, working the height limitations imposed by the local council and with the intention of breaking the volume due to these restrictions, the 28m height limit and the 120m site length guided us to test several solutions on how to keep the building working as one, but breaking or giving the idea of a broken volume, by means of setting back the top mezza-nine office floor and plant in a proportion that suits better the height of the building.I have also worked throughout the program, on how to better respond to the brief and make the building work with the required flexibility from the public realm to the top mezzanine office floors, organizing the floor plates and ac-cess cores, according to the French building regulations.

StardustParis

projectlocationareabudgetproject architectstatusyear

archaeological museumnarbonne, france9 000 m2

€ 44 000 000johannes federcompetition - 2nd place2011

Narbonne is a city in the south of France with strong ar-chaeological heritage as it was on the Roman route from Montpellier to Perpignan, and constituted an important trade’s port. In 2011 the regional council (La Region Amé-nagement) organized an invited competition for a new ar-chaeological museum (Musée de la Romanité Narbonne) in the city entrance on a site by the Canal de la Robine for which the following offices were invited: David Chip-perfield Architects, Foster + Partners, Neutelings Riedijk Architecten, Jacques Ferrier Architectures and Auer + Weber + Assoziierte. The building sits on the given site to the east where a new development will rise, and so that area will be left for back of house access. The building announces itself from the north to the plaza that marks the city entrance and opens to the west to a theatre and the city centre and to the South to the canal and the park. The program is vast and diverse, comprising the incorpo-ration of the existing museological collection into perma-nent and temporary exhibition spaces, and laboratories. The way this program is organized is essentially in three parts; exhibition and education - public area, laborato-ries, research and administration – archeologists work-ing spaces, and the showcases - an area where the two above meet, where the public can see a glimpse of what the archaeological work is and how it is processed.The landscaping program of this project is equivalent in area to the built program, being part of each of the three referred parts, so it was intended to articulate the spatial program and the landscape in a logical, integrated way. The result of our studies resulted on a monumental roof that shelters the museum around a central courtyard. All the public facilities look into the central courtyard and from this there is visual and possible physical connection with the landscape program outside.

ArchaeologicalMuseum

projectlocationareabudgetproject architectstatusyear

portland housevictoria|london, united kingdom28 000 m2

confidentialandy wakefieldplanning application submitted2012

This project consists on the regeneration of Portland House building in Victoria, London. The surrounding area has been going through a radical transformation with refurbishments of 1860’s and 1970’s periods’ buildings. Constructed in 1961 it has been used as an office tower ever since. The building as it stands is becoming obsolete over structural and configuration limitations, meaning that only a residential use would be viable commercial solu-tion. The conversion to apartments provides the oppor-tunity to improve the outward appearance of the building and the local environment around the site. The proposed remodeling creates two distinct blocks of varying heights to the east and west, breaking down the form of the building and reducing the visual impact of the overall building when viewed from afar. These two curved forms, offset to each other in plan and section, establish a dynamic, light composition with a sculptural quality. The addition of a series of structural columns and balconies which wrap around the building creates a strong materi-ality and depth. This articulation identifies it as a distinc-tive residential building within the city. By refurbishing the building 75% of the original structure is reused, the floor plates will be extended to the described shape increasing the area for the units and balconies. The proposal com-prises 206 units, from studio flats to 3+ beds. The building will be triple glazed to maximize daylight within the interiors of the units while also providing good thermal performance. The balconies and new external columns will have a high quality cast masonry finish. The external bal-ustrades will be frameless glass with solid handrails.In order to improve the overall wind conditions around the building a lot of the thinking as gone into the development of a canopy that also tries to bring together the surround-ing buildings and create a much more pleasant circulation on the arcade and elevated garden areas to the east.

PortlandHouse

Founded in 1768, the Royal Academy is the oldest arts in-stitution in Britain and the only one governed by artists and architects. In the years leading up to the Royal Academy’s 250th anniversary in 2018 there is a once in a generation opportunity – with 6 Burlington Gardens as the catalyst – to position the institution much more visibly at the heart of London’s creative practice.The two acre Royal Academy site is located within the Mayfair Conservation Area in the City of Westminster. The buildings on site are Grade II* listed. Burlington House is located on the south of the site and is accessed from Pic-cadilly via the Annenberg Courtyard. 6 Burlington Gardens is located at the north and accessed from Burlington Gar-dens. James Pennethorne designed the headquarters for the University of London between 1867 and 1870, which is now known as 6 Burlington Gardens. The University’s occupation of 6 Burlington Gardens as Senate House between 1870 and 1900 was focused on the conduct of examinations and conferment of degrees. The Civil Ser-vice Commission occupied the building from 1902 to 1968 followed by the Museum of Mankind until 1998. In 2000 the Royal Academy acquired the freehold.The main aim of the masterplan is to connect the two buildings in a way which uses the existing structures and corridors beneath the galleries of Burlington House to pro-vide a simple but remarkable new route for the public. We have taken a ‘lightweight’ design approach working with the existing room structures and respecting the historic fabric. The proposals introduce a double height lecture in the east wing that will recall the original space. Elsewhere simple interventions subtly inserted within the existing floor plans will resolve circulation, access, and services issues allowing the building to function more effectively.

RoyalAcademyofArts

projectlocationareabudgetproject architectstatusyear

royal academy of artspiccadilly|london, united kingdom8 400 m2

£ 38 000 000christiane felberplanning application submitted2011|2013

PaceLondon

projectlocationareabudgetproject architectstatusyear

pace art gallerypiccadilly|london, united kingdom830 m2

confidentialdavid milesbuilt2012|2013

Pace is a leading contemporary art gallery representing more than 70 artists, with galleries in New York, Beijing and now London. The west wing gallery of Royal Academy of Arts’ 6 Burlington Gardens was the place found by the curators to establish Pace London.This project arrived the office in a moment when the work on the RA project was about to be put on hold due to as-signment of new consultants teams, part of Heritage Lot-tery Fund application requirements. It consisted on a very quick and demanding project, with 5 months from begin-ning to completion of phase 1, when it was open to the public in October 2012. This was the first project I followed from design stage, going through detailing and tendering, up to completion, in very close relation with contractor and consultants (m&e, av, lighting).The public gallery entrance is from the central hall of 6 Burlington Gardens. This entrance is also the primary route for deliveries of large art works. A second entrance is located directly west of the 6 Burlington Gardens portico and serves as the gallery’s private entrance.The proposal for the ground floor gallery was to only ‘light-ly touch’ the existing building. It was proposed that the main exhibition space be built as a ‘room in a room’. New gallery walls covering the existing south, east and north elevations form a contemporary exhibition space and pro-vide large areas for art display. It was further proposed that a new oak plank floor be laid. The west elevation’s win-dows have been refurbished and upgraded, and daylight is controlled via blinds. Light can further be blacked out by new wooden shutters. Two aisles created to the north and south beyond the gallery walls contain servant func-tions: reception, storage, offices and viewing room, and mechanical plant on mezzanines.

KFStone

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longxi garden residenceshenzhen, china17 400 m2

projectlocationarea

pudong airport logistics|dongjin parkshanghai, china243 000 m2

projectlocationarea

zhuyeqing tea museumemei mountain|chengdu, china8 200 m2

projectlocationarea

bamboo houses+towerchongming|shanghai, china40 m2 + 170 m2