2008- 2014

W O R K S

URMAUgo Ribeiro

Architect DEEngineering student

CV&Works2008-2014

ugoribeiroma.com

CV

Selected works

Archetype & Atmosphere

The unknown Porto

Consciousness : a massive mobilization

for Hyblokka

Nordic light

Soccer training center

Pavillion

Cultural center

XS Architecture

Magazine

Qui ne dit mot consent

CV

EDUCATION

2011 to present. Engineering student (2nd year) at Ecole Centrale

Lyon

2013 Jun. Master in Architecture. ENSA Lyon

2007 - 2008. Engineering student at Insa Lyon (preschool year)

2007 Jun. High school diploma in sciences

WORKING EXPERIENCE

2011 to present . Co-founder and Chief editor of QNDMC.

Architectural review

2011 - 2013. JCTPE Vice-President (Junior entreprise)

2013.08 - 2014.07. Architect. AtelierOslo. Oslo. Norway

2012.07 - 2012.12. Intern architect. SIDONIE JOLY

Architecture&Urbanisme. Lyon. France

2011.07 - 2011.12. Intern architect. AMALDI-NEDER Architects.

Geneva. Switzerland

2010.07 - 2010.08. Intern architect. GAUTIER+CONQUET

Architectes et Paysagistes. Lyon. France

PRIZES

2014. Short listed for Prix de la jeune architecture de la ville de

Lyon

2014. Short listed for the Trophe Bton award

2011. Exhibition International architectural student exhibition.

Erevan

2010. Huts festival. Luxembourg. Self-built project

SKILLS

Pack office

Autocad. Archicad. VectorWorks

Photoshop. Illustrator. InDesign. Lightroom

Rhinoceros. Sketchup

Artlantis. Maxwell. VRay

LANGUAGES

French. Mother tongue

English. Fluent

Spanish. Good knowledge

Ugo RibeiroArchitect

Engineering student20.04.1989

187 rue Duguesclin69003 Lyon

FRANCE

+33 6 61 09 29 99contact at ugoribeiroma dot com

ugoribeiroma.com

Driving Licence (Class B)

SELECTED WORKS

Archetype & Atmosphere

Program 150 HousingLocation Geneva. Switzerland

Year 2013

The industrial area of Praille-Acacias-Vernets is very interesting for build the city of tomorrow. Three reasons allow us to think this. The first one is that the canton of Geneva owns between 70% and 80% of this industrial area. The second one is that it is now surrounded by urbanization, it is not isolated anymore. Its now at the center of Geneva urban area. Geneva, has to integrate this place in the daily life of its inhabitants. The last point it is that Carouge, for the first time of its history, has to build on itself, which is very attractive. Carouge was built ex-nihilo and developed itself on farmland but its no longer possible because of the surrounding urbanization. So how can we integrate this industrial area? Which urban strategy and architecture we have to plan here?

One of our questions is the social image given by the idea of living in an industrial area. Gilles Tiberghein explains the entropic nature of such places, in Nature, Art et Paysage. These places are unusual, we have not the habits to be there. Its mysterious atmosphere, often far from the city center, can give us news perceptions of Carouge.The urban strategy is divided in three parts and proposes a local approach to prepare housing construction. The first step is to reveal the industrial qualities in a few chosen places. The aim its to integrate them in the urban daily life of Geneva by assuming the industrial legacy. The first housing projects must be exemplary in regards to the local context. They have to bring a new architectural expression which will be a new archetype in the city of Carouge, symbol of a new period of its history. Three topics are the guideline of the architectural propositions: the logic of plan, architectural expression and hierarchy of structures.

The logic of plan. The outdoors spaces are divided in three parts with different height and materiality. They connect the street, which is higher, to the park. The three terraces become

the main way to go from the street to the park. The ground floor plans are designed in two differents way according to their morphology. The bars ground floor is filled by private common spaces whereas the towers ground floor has a scenic space, totally transparent. The floor plans are designed on a same idea: a corridor which surrounds the housings. The corridor is either a street space or a housing space.

Architectural expression. The writing of these buildings focus on the industrial archetype which is the warehouse. Almost only formal, it is used to protect resources from the outside. Its structure is composed of bearing and filling elements. When they are gathered, these layers give an ambiguous reading of the facade. The constructive reading is not obvious anymore. There is also a difference between the outside, very austere, and the inside which reveal the constructive elements. The same grid is used on the bar or on the tower. Its dimensions are three meters by three meters and its obviously borrowed from the warehouse structures. This shows us that a same writing, logic of the plan and constructive system can unify two different morphology.

Hierarchy of structure & materialities. The project discern two structural grids, one in steel and the other in concrete. It shows the quality of these two materials by setting them on two different plans. In this way the facade is more expressive. So the building has two reading levels according to the distance where we watch it. When it has structural intentions, the material shows its structural side. Otherwise as the project wishes to use a same material in different way, when it is not structural, it shows it esthetic side. Finally, there is a third reading level given by all the furnitures which are made in wood.

PHASE 01 - TRAITEMENTS DES SOLS

PHASE 02 - INTERVENTIONS ARTISIQUES MANIFESTATIONS CULTURELLES

PHASE 03 - MICRO ARCHITECTURES EQUIPEMENTS & SERVICES

FONCTIONNEMENT DU SITE INDUSTRIEL RECONVERSION DU SITE INDUSTRIEL

PHASE 04 - PREMIERS LOGEMENTS LOGEMENTS

Abandoned in a the middle of an uncommon plot, this ruin is fascinating.

It looks extremely fragile because of the time which dammages it but also because of the sur-rounding architecture so sufocating. However this glory of the past probably once dominated its en-vironment. This long element, built some meters above the street level, on the top of a small hill, was austere, out of scale and very introverted. But, despite this urban scale, the inner organi-sation was made by some more domestic spaces such as galleries and an interior street, both in a human scale.

That is precisely this duality between urban scale and domesticity that the project try to reach both through its organisation its atmosphere.

The gallery, seems to be the obvious architectural element ables to deal with those two scales. They are made by a succession of arches. Those ones are built by assembling prefabricated concrete el-ements. They are on both sides of the main hall,

a multifonctional open air space. Its atmosphere is clearly related to a cloister idea around which the program is organised.

Those galleries creat a architecture punctuated with various lights and an relation interior/exte-rior which is constantly evolving. As a threshold, these spaces lead us towards a inner domestic architecture. The south part of the project is directly related to the N14 convening the gas station atmosphere which are along the road from Porto to Braga. The whole program related to the gas station is there in order to limit the cars inside the project. The facade, totally flat, is the only element within the project which links the east and the west galleries. On the contrary, the north part is more pedestrian and connects the two galleries with the railway platform and the eastern street. The east gallery is also a way to make the link between the two plazas (on two different levels). In the meantine, the west one gives acces to the olive grove, a spiritual and hedonist space, which makes us forgot the proximity of the railways.

The Unknown Porto

Program Service stationLocation Porto. Portugal

Year 2014

With Alex Perret & Yan Roche

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Consciousness

Program Open call for HyblokkaLocation Oslo. Norway

Year 2014

With Alex Perret

Consciousness, a massive mobilization for Hyblokka

This dramatic fiction tells the original story of Hyblokka.

ObservationHyblokka is still part of the landscape of Oslo but it no longer holds the same place. The disaster has led it to a complete silence. Hyblokka, sym-bol of a powerful modern architecture, has been shaken. To hide this extreme fragility, the author-ities have totally covered it with a huge canvas, which was supposed to only be temporary. A long period followed this dramatic event, during which architects, public authorities, urban planners and philosophers have discussed Hyblokkas future. Away from those bogged-down debates, the inhabitants of Oslo are noticing that the paradox between the monumentality of Hyblokka and its profound fragility is getting worse. An enigmatic atmosphere now surrounds that former glory.

Praise of modernismHyblokka was the first of a group of buildings planned to host the Government. It quickly be-came one of the most symbolic buildings in Oslo, both because of its monumentality and its em-brace of modernist principles (piloti, the free plan, roof garden, free design of the faade). Y-blokka followed, but the symbolism and the modernism initiated by those two buildings spread to entire neighborhoods. As well as being avant-gar-de, they deal with art as public property. These buildings have been models for other projects in several cities across the world: New York, Paris, Barcelona, StockholmThis urban masterpiece, designed by the architect Erling Viksj, is synonymous with hope for the city of Oslo. Indeed, as the rest of the world, Oslo has been wanting to move on ever since the World War II ended.

QuarantineWhilst the city of Oslo keeps developing, sym-posia, debates and lectures about the future of Hyblokka have been taking place ever since the disaster. But even though Hyblokka is not

overlooked, it suffers the lack of real action. Little by little, it starts to become isolated from the planning of the rest of Oslo. While Hyblokka was a symbol of an urban regeneration, now it seems terribly remote from the urban dynamics that animate the Norwegian capital. MobilizationEven if the debate around Hyblokka is still bogged down, the inhabitants of Oslo stay tuned. There are two opposite positions: The first is to keep Hyblokka as it is now. The second is to tear down the building since its just a building, and then build something new. But are we able to build something which can fill the void that a demolition would create?Conscious of the architectural, spiritual and mor-al strength of Viksjs building, the inhabitants of Oslo will give Hyblokka back the symbolism it always wanted to embody: A social democratic building. Tired of the current situation, together they decide to cross the mental boundary and fulfill again the aim of this place, by giving it life without forgetting its deep history.

AppropriationThe free design of the plan easily enables the inhabitants to make new places inside Hyblok-ka. Thus they can insert their understanding of a new modernity through contemporary uses. The permanence of Hyblokka was in its scale, and its position in the urban landscape.After several years, the tarpaulin that covers the faade is finally removed. The faade is now designed according to the inhabitants desires and assumes the diversity of the people who are living in the building.

In addition to this, new eyes can open on the city of Oslo by going up to the terrace, which gives an overview of Oslo from inside the city and breaks the silence that Hyblokka was immersed in since the disaster.

Now Hyblokka is definitely back again in the daily life of Oslo.

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Towards a critical sustainability

Regarding to the current world situation we agree that sustainability has to be involved in archi-tecture. Every architect and every single human being is concerned about that topic. Nevertheless it should not be a point to reach but either a tool used during the design process to improve the quality not only the comfort of the building. Therefore, sustainability its no longer the only input to have in mind when we are designing a building.

By quality we want to evoke the atmosphere of building. We said above, that architecture is losing its soul and it is not able to generate atmosphere anymore. We are deeply convinced that architec-ture starts by establishing an atmosphere re-garding to local and global issues. Then we enter a process where we have to make choices and concessions to reach that atmosphere. We also agree that sustainability should go fur-ther than some simple regulations or standards. To our opinion its definitely related to resources and knowledge which are both local and global. Then architecture becomes translocal and it is able to operate interconnections between differ-ent cultures without denying their singularities.

Transcribed an atmosphere

Nordic lightThrough that meeting point pavilion we tried to have precisely that kind of process. We asked the question of resources, knowledge, materiality, the meeting point by itself, its location.We chose to work on one pavilion which high-lights the Nordic light as one of the main resource we can find here in Norway.As a reference we looked towards Japanese culture where light is used to define boundaries. Light defines the degree of privacy aswell as the degree of consideration you have for your guests.

LocationThe pavilion is located in a very pragmatic way: it has to be easily visible and easily accessible. Thus it is in the middle of the three stages. The hori-zontal light of the roof breaks the monotony of the tree stems around and tries to assert itself as a part of the location without offending it.

LightThe pavilion uses the darkness as a way to settle the different levels of privacy which have to lead to emphasize the quality of the Nordic light. Outside, the roof prepares the visitor to enter into the pavilion with softer indoor light. The paths inside are darker and the space oscillates be-tween a narrow corridor or a wider room which gives depth to the darkness. The main room has a diffuse indirect light coming from a roof opening towards the north. The inside atmosphere tries to suspend time from the festival community. The space can be understood either as a spiritual space or as a place to rest before going back to the festival.

WoodWorking with darkness to reveal the light is quite challenging and we manage to reach that point by using oak. Using wood was obvious because its one of the main resource that Norway has. Alvar Aalto had an interesting opinion regarding to it: even if I dont like wood I have to use it because forest almost represent 75% of the Finland, a both pragmatic and sustainable thought.

To emphasize the graduation of darkness we could have painted the wood with some greyscale painting but it seems more interesting to con-sider wood as a living material and work with its inner structure. That is why we mean it could be interesting to work with the chemical reaction wood can get. One can darken oak by applying a mixture of white vinegar and steel wool. The iron in the mixture will cause a corrosion to the mate-rial which then darkens. The amount of iron in the vinegar determines the gradient.

Nordic light

Program PavilionLocation Oslo. Norway

Year 2014

With Filip Bjerke Fyri

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Through this project, we want to focus on ques-tions we have revealed upstream in the urban proposal. The revalorization planned for the riv-erbanks to reduce existing borders between the Barriol district and the old city centre highlight strategic locations. One of them is the soccer field, apparently abandoned. This area gathers a wasterland, the new pedestrian bridge, a tram-way and an urban park. First, its the horizontality that characterized this space, a nice way to assert itself against the verticality, a main characteristic of the ancient city.

The project seeks to use horizontality through the capacity that offers this kind of program. The stadium is made by a green plan on the ground (grass), the park offers another one plan a few meters above (canopy formed by the pine forest). The work we have done onto the horizontality have starts to become interesting when it is asso-ciated with the one we have done onto the trans-

parency, continually sought in the direction of the canal and the city centre. This creates a tension between all of the components of the program.

Finally a particularly thinking is lead on the light, creating a system (horizontality transparen-cy light), which make the architecture alive. She slides under concrete plans, loses itself in the canopy, is divided on the corners of the sports complex. This one, monolithic, emerges in the suburban housing. His shape, cutting the land-scape is reminiscent of the chain Alpilles locat-ed further north-east. The light is only zenithal when its combined with concrete. Otherwise, she arrived in front through large openings, treated as huge windows, which are applied on metal plates deployed filtering the light entering the rooms. The substructure supporting the occulta-tion defines the design of the form that is used for concrete.

Soccer training center

Location Arles. FranceYear 2012

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Pavilion

Location Esch. LuxembourgYear 2013

With Laurent Boutin-NeveuAdrien Mnard & Yan Roche

This pavilion takes place in the Festival des Cabanes 2013 within the topic of work. Then our proposal tries to emphasize the concept of work as a human condition through the history of the surrounding area and the landscape work. This pavilion is buried in the ground as a reinterpreta-tion of the mining history of the western area of the Luxembourg. It is also a way for us to express the hardness of this task which highlights the concept of work as a human condition. Beyong this simple thoughness of digging the ground, we

also aim to emphasize the relation to the ground, the site and the landscape through this work.

Alain Roger wrote : Every landscape is made of pure art. This pavilion tries to manifest this artificialisation of the ground, this act of digging through this pure abstraction: an evanesccent cube buried in the ground, the straight wooden cladding, the foliage over the ground and a simple stairway.

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This cultural building takes place in the planning project designed during the first semester. The program composed of a music school, a library, and an exhibition room, only takes up the fourth of the particle aviable to realize this project.

The chosen idea is using the void as a spatial unifier element. The between two topic is as important as the building himself. In this case the program was burst and thought in a centripal way around a space which have to gather it.The second main position is in the specific use of the ground as a way of discover the building. The ground, intrinsic element of the architecture, raises according to plans which allow to generate the entrance within the building. Underneath those one we also find circulations which allow to articulate the project.The bursting of the program and the game plan

proposes a linear reading of the building giving it a certain lightness. The calepinage on the front facade borrow his materiality and his roughness from the public square in order to strengthen the principle of lifting plans. The inside is radically different. This one has to be extremely clear because of all different activities which are take part in it and ask light. It is designed according to two concepts, that of light and that of way. The central point, bathed in light, helps to understand the functioning of the building. Indeed from this point of entry to the various program elements is readable because of the overabundance of light. To move from one space to another so be the next way: light - dark - light. Finally, the material inside should reflect light so as to highlight this principle but also so that the activities taking place there, are pleasant.

Cultural center

Location Vaulx-en-Velin. FranceYear 2011

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ProgramOur discussion focuses on the different positions taken by the body at rest. The seating device that we propose works as an anamorphosis characteristic postures: sitting, standing, lying, leaning.The bench is a summary of typical postures, resulting in a soft surface, ready to accept new forms of presence. It reveals a multitude of possibilities and evokes the continuous transformations of motion in a logic dynamic flow, these are characteristics of the contemporary society.

Materials and dimensions- Multiple-bench seats: sitting, lying, leaning...- Standard size: 80x80x200cm.- Material: Three-ply plates Pine Exterior Glue.- Dimensions: 5000 2000. - Thickness: 23mm.

Design process- Definition of typical profiles corresponding to different positions.- Linking of its profiles in a fluid way. Lines of the bench are worked so as to propose a form inviting and comfortable. Profiles which generate the form are separated into two categories (A-profiles cases; B-profile seats) which are inserted: A-B-A-B. This allows us to scoop the material, making the bench lightest . It also creates an assembly area that stiffens and stabilizes the bench. Finally the bench is divided into six groups to facilitate its transport.

Fabrication- Validation of the conceptual and constructive principle through a model. - Looking for material optimization.- Use the minimum surface to machine all parts.- Cutting with a digital milling machine.- Assembly of profiles by the method ABAB along the two axes are shared by each profile.- Adding spacers to gain in strength and stability.

XS Architecture

Location Lyon. FranceYear 2012

With Laura Vidal-Alvarez,Bastien Moulin & Alex Perret

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MAGAZINE

Qui ne dit mot consent - QNDMC

Location Lyon. France Year Since 2011

ABOUT US

Qui ne dit mot consent, architectural magazine, is an initiative of twelve students in architecture from ENSA Lyon. Together, we agree to say that the architecture student lacked a space for his expression. QNDMC, seeks to convene the positioning of these students. In a broader sense, it seems more relevant to our future, to compare these positions, of course with architects but with more disciplines revolve around architecture. Thus, QNDMC also welcomes the opinions of architects, artists, geographers, historians, students or professionals.

The magazine is biannual. Each issue offers positioning on a contemporary topic. It is defined by the twelve members, its delimitation is done with the help of a strong personality, well-known for having already made a definite contribution to the field to which the topic is related on. Publication of each issue is introduced by a lecture given by the iconic character with whom we collaborated. Publication paper is accompanied by a digital publication on www.qndmc.com.

MANIFEST

QNDMC wants to raise awareness, critical thinking, creativity.QNDMC do not want to be confined to an informed public and specialist.QNDMC thinking is changing and thus not exhaustive.

This magazine wishes to question, open and build critical thinking, composite, by bringing eye and opinions from all sides. Based on a collaborative basis, the diversity of its corpus is address to different sensitivities to allow a wide audience to question and to feed an opinion on the issues involved. QNDMC is by no means dogmatic, but rather a mediation, an instrument.

QNDMC project is a student initiative, a desire to take a critical look at the world of architecture and its related fields. It is a wish to open a perspective, a debate. The project provides an ambition to be accessible and so diverse. Oral: the lecture. Interactive: the digital platform. Posted: review, because the object produced, tangible presents to us as a result.

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