CV + SAMPLE PORTFOLIOAntónio Miguel Ferreira Gonçalves

CURRICULUM VITAE

António Miguel Ferreira Gonçalvesmiguelgoncalves9@gmail.com0044 07985118053/ 00351 91 8453825Flat3, 412 Kingsland Road, E8 4AA, London, UK

WORK EXPERIENCENovember 2009 - April 2011Co-worker in Brisac Gonzalez Architects, London, United Kingdom

January 2007 - December 2007Co-worker in AlfaArquitectos, Coimbra, Portugal

WORKING REFERENCESBrisac Gonzalez Architects7 Bermondsey Exchange 179-181 Bermondsey Street, SE1 3UW London, United Kingdom

EDUCATION9-2002/ 4-2009Department of Architecture, Faculty of Science and TechnologyUniversity of Coimbra, PortugalDegree: Architect - Undergraduate diploma in Architecture - 6 years program - final average - 15 valuesThesis: “Architecture of causes: a social architecture in the era of economic globalization” - 18 values

EXPERIENCE ABROAD2004-2005Schoolarship student in the framework of ERASMUS PROGRAM, in NTNU, Trondheim, Norway

STUDENT REFERENCESArchitect Gonçalo Byrne, invited teacher in University of Coimbra (College of Science and Technology, Department of Architecture) since 1992 and director of Gonçalo Byrne Arquitectos

PRIZES1st place in the competition “Opera and Culture House”, Kristiansund, Norway, as a co-worker in Brisac Gonzalez Architects.101st place in the Pladur Iberian Contest (University Award).08

COMPUTER SKILLSAutocad, Rhino, Photoshop, Sketchup, Indesign

LANGUAGES Portuguese: mother tongeEnglish: FluentSpanish: medium knowledge

WEB PORTFOLIOhttp://issuu.com/antoniomg/docs/portolioamg2010

PUBLICATIONShttp://www.archdaily.com/101301/a-room-for-london-antonio-miguel-goncalves-antoine-pascal-and-anthony-thevenon/http://www.bustler.net/index.php/article/a_room_for_london/Thesis: *Gonçalves, António Miguel Ferreira – “Architecture of causes: a social architecture in the era of economical globalization”. Final Diploma, University of Coimbra, 2009

PROJECTS

FORGOTTEN SPACES 2011United Kingdon. London.11Open Competition

ROCKMAGNETEN DANISH ROCK MUSEUM COMPETITION (shortlisted for the second phase)Denmark.Roskilde.11Shortlisted Competition Brisac Gonzalez Architects

SERLACHIUS MUSEUM GÖSTA EXTENSIONFinland. Mänttä.11Competition Brisac Gonzalez Architects

A ROOM FOR LONDONUnited Kingdon. London.10Open Competition

SOCIAL HOUSING 63-69 BOULEVARD DE CHARONNE (2nd price)France. Paris.10Shortlisted Competition Brisac Gonzalez Architects

POLE MUSICAL CNR SIX-FOURS-LES-PLAGES (2nd price)France. Six-Fours-les-Plages.10Shortlisted Competition Brisac Gonzalez Architects

OPERA AND CULTURE HOUSE (winner)Norway.Kristiansund.10Shortlisted Competition Brisac Gonzalez Architects + Space Group

UNIVERSITY LIBRARY OF FRIBOURGSwitzerland.Fribourg.10Competition Brisac Gonzalez Architects

”ARCHITECTURE OF CAUSES: a social architecture in the era of economical globalization”Master Thesis.09http://hdl.handle.net/10316/9914

CIVIC CENTER + URBAN SPACEPortugal.Coimbra.Bairro do Loreto.09Competition URBANSOS 09

ASTRONOMICAL OBSERVATORY Spain.Madrid.09Competition PLADUR 09

READING PAVILION (winner)Portugal.Coimbra.08Competition PLADUR 08

URBAN REQUALIFICATION + INTERFACE Portugal.Lisbon.Barreiro.06.07School Project

UNIFAMILIAR HABITATIONNorway.Longyearbyen.Svalbard.05.06School Project

Project for the open competition Forgotten Spaces, London, 11

Urban Origami it is an artifi cial landscape based on the Origami technique, folded to create new spaces and new city landscapes. Th ese diff erent shapes will grow and will become part of the city creating new spaces for people of diff erent ages, that will appropriate the space according to their needs. In a really busy street there is now a place were people can rest, enjoy and have fun. Th e entrance to this new space is done through Shoreditch High Street. A sequence of shapes and edges create a new structure, an artifi cial landscape that invites the people to come in and to stay. Th e structure spreads occupying the void, not only in the ground level but also grows to the facade of the neighbour buildings creating new possibilities of exploring the potential of the grid. Th e grid can be used as a surface, creating spaces to rest, to read, to play, to be with friends and also as an edge, which could be used to incorporate artifi cial light, to place hammocks, to place swings. In terms of construction this multifunction grid it would be built using pre-fabricated and standardized materials which can be easily assembled and recycled. With this kind of materials we want to avoid waste as much as we can and other pollutants that normally we produced in the construction site.

Shortlisted competition for the Rockmagneten, Danish Rock Museum, Roskilde, 10

For forty years now, the four days of festival have intrinsically linked the city of Roskilde with music. In the coming years Musicon via Rockmagneten in general and the Rabalderstræde in particular, will form part of this phenomenon. Th e Frizonen is at the epicentre of the twenty fi ve hectare site. While the portion of Rabalderstræde within the competition site takes centre stage. Rabalderstræde will no doubt become the main artery between the city centre / train station and the festival grounds. For this reason we see the relationship between Rabalderstræde and the Bydelshuset as a crucial one. To ensure that Rabalderstræde is Musicon’s pulsating centre at all times, beyond the fi rst days of July, in the daytime, and during the night time we have envisioned the Bydelshuset more like a compact village instead of a dense singular structure. Ours is a strategy of dispersal, a scheme where the diff erent activities library, cafe, auditoriums, meeting rooms, shop, etc. are sprinkled along this part of Rabalderstræde. All the functions are located at street level giving rise to an animated and diverse environment. Action at street level is a necessity.

Competition Serlachius Gosta Museum Extension, Mänttä, Finland, 11

OpenHouse Our project begins with the simple and very apparent observation that the present museum is in an idyllic setting. Joenniemi Manor sits on the highest point of the site. It takes centre stage. To the south an expansive sloping lawn that terminates at the water’s edge opens vistas towards Melasjärvi. The house is buffered by the densely planted woods to the north, where a host of supporting buildings are sprinkled throughout. How then does one make a significant extension, one that is roughly three times the size of Joenniemi Manor without compromising the existing condition?A complementary extension Our proposal is a compact volume that does not challenge Joenniemi’s status. It is a complementary extension that is substantially lower and set back from the main house. The new building is simultaneously a support building and one that stands on its own. The new extension to the Gösta Serlachius Museum has a very simple palette. The interior walls of the ground and first floor are of Silver and Downy Birch. The brick floor of the main level will be of the same size and tone as that of Joenniemi Manor. While the exterior roof terrace is made of Scots Pine. The bulging shape not only houses the sauna but creates a sitting area to take in the sun. The building’s glass is low iron. The facade of the first floor has exterior sun shading to prevent overheating. The workspaces have operable windows for natural ventilation. On the ground floor a curtain of bespoke Finnish textiles will add comfort to the interior during the winter months. The curtain creates a buffer zone around all external doors, preventing the wind to enter.

Project for the open competition A Room for London, 10

Articulated Room Project

We are proposing a room that grabs the corner of the south bank centre. Our idea was to create a body in the roof, acting like a living organism finding different views of the city. In this way its articulated body adapts to the building’s shape. We would like to make people wondering what is that shape on the roof. Dialog with the building The room is expected to change location, but it will always keep the memories of its first address. The project was designed to play with the surrounding brutalist architecture, as the National Theatre, a building that is a clever way of building a nuclear power station in the middle of London without anyone objecting. This premise can be applied to the room, seems to be there without any permission. The design is based on sharp angles and its repetition, which could be clearly identified as the brutal architecture tools.

Shortlisted competition for the Ensemble Immobilier, B. de Charonne, Paris, 11ème, 10

Le site se distingue par la présence de grands jardins en coeur d’îlot sur les parcelles voisines, havres paysagés totalement insoupçonnés depuis la rue. L’ensemble de notre projet est conçu pour créer sur le site du no. 63 le même contraste entre la présence très urbaine de l’immeuble à l’alignement le long du boulevard, et un oasis de verdure en coeur d’îlot, en prolongement des jardins voisins. Cet espace ouvert devient un lieu où se rencontrent les habitants et les diff érents utilisateurs du site. L’accès à l’immeuble le long du boulevard, au FAM et à la crèche se fait par un passage couvert. L’accès aux autres immeubles d’habitation et à la Maison de la Santé se fait par la ruelle. Le jardin est alors libéré de toute contrainte de passage et devient un lieu d’agréement. L’organisation des logements favorise une orientation est-ouest, dans l’objectif de créer un maximum d’appartements traversants ou à double exposition.

Shortlisted competition for the Pole Musical Cnr de Six-Fours-les-Plage, 10

Le long de l’Avenue de Lattre de Tassigny, le Pôle Musical devient réellement un nouveau ‘pôle’. Son avancée attire, lui donne une identité forte et en fait un nouveau repère dans la ville; ses espaces extérieurs forment une place conviviale protégée qui devient lieu de rencontre, de laquelle on perçoit toutes les activités intérieures; sa richesse architecturale attire la curiosité; la qualité acoustique des salles et du conservatoire en font un lieu de haute qualité musicale pour la région. C’est un bâtiment conçu pour le climat de Six Fours les Plages, où les jeux de volumes ombragent les espaces extérieurs et les façades, et lui confèrent un usage confortable tant à l’intérieur qu’à l’extérieur. Où la lumière pénètre, sans éblouir ni surchauffer. Son architecture prend naturellement sa place dans le site. Les façades sont un mélange d’éléments opaques et vitrés qui permettent une lisibilité des espaces intérieurs. Sur la rue, ainsi que sur les volumes des salles de danse, des écrans brise-soleil les protègent du soleil ouest ou sud. le long de l’avenue, les parois des salles de cours forment un jeu de surfaces en accordéon, visible en transparence. Tout autour du patio le projet s’ouvre par sa transparence de façon à s’orienter facilement et visualiser les activités sur son pourtour.

Silêncio The complex represents culture in its most pervasive and innovative form. To create spaces for the unexpected, spaces to inspire us, spaces where the collective and individual can coexist, to inspire experimentation, invention, heterogeneity and freedom, is to liberate culture. Room with a view On the top floor of the new building restaurant, canteen and orchestra rehearsal room can be combined to create a very large room with spectacular views. An expansive exterior terrace adds greater flexibility in a setting where different scenarios, be they planned, impromptu, or incidental can occur.

Shortlisted competition for the Opera and Culture House in Kristiansund, 10

Competition for the Bibliotheque Cantonale et Universitaire de Fribourg, 09

Les bibliothèques sont les temples du savoir. Lieux calmes, propices à la concentration, ce sont souvent des lieux introvertis. Traditionnellement conçus comme des lieux sans vue extérieure, spacieux et baignés de lumière, l’ouverture vers des espaces calmes extérieurs permet tout autant à l’esprit de s’évader dans les moments de réfl exion. On peut le voir dans la BCU actuelle. Aussi, selon les contraintes du site,nous avons créé un lieu qui est un mélange de salles tantôt introverties, tantôt ouvertes sur l’extérieur, de volumes spacieux, propices aucalme et à la refl exion, dignes d’une bibliothèque de cette envergure. Le jardin actuel de l’Albertinum est un lieu négligé, diffi cilement accessible et totalement inutilisé. C’est une perle de verdure qui s’est malheureusement perdue. Nous faisons du jardin un lieu public et accessible, pour les usagers de la bibliothèque et les habitants de Fribourg. Nous reprenons le vocabulaire urbain des escaliers qui gravissent les collines de Fribourg pour relier le jardin aux rues avoisinantes.

Introduction

With this work I suggest a reflection on the architect’s activity in the 21st century. Considering the current economical and social transformations and based on them, I suggest finding out how the architect can, in fact, make his mark on the construction of society.

The architect definitely stamps the 20th century. With the transformation of the rural world into urban, construction grew more during this century than in all the preceding ones. Because of that, the search for the balance between the natural and the built environment, between folk architecture and professional production of high culture, between ethical and aesthetic : … “…las actitudes ante la ciudad contemporánea pueden también polarizarse entre los que juzgan la urbanización sin límites del territorio como una tragedia ecológica y social, y los que se suman a la marea inmobiliaria levantando signos de identidad o de fuerza.”1

The notion itself of the profession has been re-evaluated. The architect is seen as a professional for the elite, dismissing many of the ideas that generated from the Industrial Revolution and later, from Modernism. In the same way, architecture is interpreted according to a matter of style or fashion, in which the most famous professionals are considered celebrities, architecture stars, within the star system. Since image and aesthetic values have been overrated in the last decades, the true role of the architect as an agent of the wishes of society has been obscured by other interests: “En este planeta convulso, los líderes de la arquitectura compiten en ceguera con los líderes sociales, y aquéllos persiguen sus carreras narcisistas como éstos atienden sólo a las fintas políticas o económicas que permiten mantener en pie el precario edificio de una nomenklatura irresponsable.”2 The situation of the individual and of the collective is no longer analysed according to their needs but other values are now considered, where “the architectural object has been awarded the true status of a work of art, naturally becoming the creative icon of contemporaneity.”3

Contrasting different realities and contexts in a more and more globalised world, where the notion of boundaries has been constantly broken, the architect has to know where he/she stands in this new scenario and to look for answers for all of these new different realities.

Having as reference, at all times, the current society and its values, I will try to show that there is a different way of thinking and making architecture, one that does not put the individual interest above the collective, the private above the public and the financial above the social. Above all, one must be aware that the architect is not the only social actor, but he can clearly influence and contribute to the improvement of the general population’s life conditions: “Architecture and its spaces do not change society but through architecture and the understanding of its effect, we can accelerate processes of change under way.” 4

In this work I analyse projects that are sensitive to the social issue of architecture in several contexts: from the performance of non-governmental organisations, which design projects in emergency situations, originating from political conflicts, social or natural catastrophes to other situations, also in a context of extreme poverty, but in an urban environment, where there is a joint effort and a political will to revert that state of precariousness. I focus on projects which show that architecture does concentrate on social problems, trying, through the means at its disposal, to build a more balanced society, a society that provides more democratic conditions of inhabitability.

Therefore I think it is pertinent, for its currentness, but especially for its importance, to rethink architecture’s path, at a time when the capitalist society is showing signs of bankruptcy; that same society which is responsible for the current state of architecture.

1 Fernández–Galiano, Luis – Totem y catástrofe. Arquitectura Viva. (Monografia). Madrid. Nº 117-118. 2006. p. 278.

2 Fernández–Galiano, Luis – Totem y catástrofe. Arquitectura Viva. (Monografia). Madrid. Nº 117-118. 2006. p. 280

3 Baptista, Luís Santiago – Performances Artísticas: A natureza processual e conceptual da contaminação entre arte e arquitectura. Arq/a: Arquitectura e Arte. Lisboa. Nº 63. Novembro 2008

4 Tschumi, Bernand – Architecture and Disjunction. Cambridge, Massachusetts, London: The MIT Press, 1997. p. 15.

“Architecture of Causes: a social architecture in the era of economical globalization”, Master Thesis, 09

Final Considerations

The analysis of contemporaneity was the starting point in this work to reflect upon the current outlines of the architect’s profession and architecture..

The city today is the mirror of society. Like present-day society, the city is bankrupted both socially and in its values where personal relationships have been traded for financial relationships. The city is no longer built around people and their habitat but rather around money and the big financial centres. Architecture has become an object, the symbol of a new economical power and, as a hostage of the latter, it stops fighting for people, for cultures, for all that they might have that makes them characteristic, individual and unique, in the name of a global power that homogenises them.

Aware of this power, politicians and multi-national corporations use architecture as a means of affirmation and enchantment of a society already alienated and numb from the problems. Thus, the architect close to this power and author of these symbols, gains celebrity status. This status has been transferred to the field of architecture, where it has become a product on offer. The mark of architecture and its image have become more important than the building, relegating social, cultural and functional motivations to a secondary status.

The projects that I have studied throughout this work seek to contradict this idea, showing that architecture surpasses the media aspect with which it is mainly associated today. They prove that it is possible to make an architecture for the people, one that promotes their interaction, their socialisation, respecting their origins and their differences. These projects are based on plans and architectures that integrate people in the cities, making them an active part of the city, motivating them, helping them feel, at last, part of society. This is very significant because the moment community feels part of something it will inevitably and decisively realise and understand that only through these exchanges is it possible to evolve.

There has to be some reciprocity in the connections between architecture and society, because changes have to happen in both spheres. They have to mutually influence, in a positive sense, knowing that the path without each other does not make this change possible.

I have found that architecture is part of the problem but also part of the solution. I believe that there is a set of politicians, architectures, sociologists, philosophers, people who believe that through new ideas and new philosophies of life we can make a better architecture, a better city in order to have a better society.

Project for the UrbanSOS competition, Bairro do Loreto, Coimbra, 09

Our proposal intends to give a social, cultural and sportive life, not only in the quarter that we choose to work, where the projects are inserted, but also to all the surround area, fi nding a way to bring back and incuse a major spirit of community and pleasure to live there. Th e idea to develop the project of a civic centre came up related to the desire that this community have from more than twenty years. Th e idea to have this kind a program is to provide the social support that a community should have, and this can contemplate a variety of formations, like music, theatre or dance, colloquies to inform correctly the population, free access to literature, social accompaniment, all kind of supports that can help a community growing with less fragilities. Seemed important to us too, create some sportive spots that, we believe, can make the diff erence, special in the young groups development. We developed multifunctional fi elds, a skate park using the bridge structure of a road and a small basketball fi eld. Create green pleasure areas was another important goal for us, that could serve all groups of the community, with playgrounds for kids and for seniors. Th e only way to improve a community is improving each one of its individuals. Using a collective project, our goal is to make the diff erence on the particular behaviours.

Cubed Stars The Yelmo de la Pedriza area it’s the background for the project of the Astronomic Observation Room. The landscape is deeply rough where the stone makes a very strong statement. Regarding the surroundings, we took the stone as a reference to catch spirit if the place. The program is spread through three stone cubes, a pure geometry, that make a remark of the man’s presence in that remote place. Dispite this sign of man’s presence, during the day the three volumes will be absorved by the landscape, as just another bunch of stones in la Pedriza, but, during the night, as the stars that shine in the sky the cubes will enlighten the darkness of the mountain.

Project for the 19th Pladur, student competition, Astronomic Observatory, Madrid, 09

Project for the 18th Pladur, student competition, Reading Pavilion, Coimbra, 08

Re[ad]cycle The “Parque Verde”, together with the footwalk bridge “Pedro e Inês”, it´s introduced as the waterfront background of Coimbra city. This park undertakes nowadays as a new space for leisure and meeting in the city. We decided for the left riverside of Mondego to receive this reading pavilion, because the right riverside it´s alreay filled with a restoration zone, the Portugal pavilion and with some small constructions with an ephemeral character, being the left riverside a less dynamic zone that, over the time, was being renegated and forgoten. The city of Coimbra wins a new atraction space. This proposal assumes a new position and a relation with the bridge “Pedro e Inês” and the both riversides of Mondego. The reutilization of the ship containers used in the construction site of “Parque Verde”, inserted in the Polis program, was the starting point for this intervention, using the ship container as a constructive module. As a book, in this case, the ship container it´s not thrown away or abandoned, but recycled. In this way, our proposal take advantage from the structural potential of the ship container to create a building that the interior spaces make use of the Pladur® systems to create ambients and comfort.

School Project, Urban Requalification + Interface, Barreiro, Lisbon, 06.07

Situated in a strategic position in the south border of rio Tejo and consequently of Barreiro, the interface allows to filter several and different traffic flows, regional, national and international. Absorbs the Train à Grande Vitesse towards to Oriente Station, does the goods transfer from the train to the light rail and to the harbor and it’s also a train station. In terms of regional traffic, its where is going to start the new overground of south border that travels all this south area and connects to the north. This new over ground it will replace the old railroad that in the past ripped Barreiro. Now it’s an element of social aggregation through a continuous public garden that connects new and the old Barreiro. The interface it’s where starts the new continuous green that overlaps this new element creating public spaces and social gathering on the top of the station. The station is no longer a “non place”.

School Project, Unifamiliar Habitation, Svalbard, Norway 05.06

When we arrive to Longyerbyen, by plane or by boat, and we want to go to the city, we have to cross all the industrial area with lots of big buildings (Power Plant, Rubber Wall and some houses)- organized/ disorganized -and machines, truks, workers, noise and grey. If we look up to the mountain we will see a small stripes/lines of houses with a white background, contrasting with the grey of the harbour/industrial area. It’s a completely different picture comparing to the entrance of the city. It’s calm, quiet and we can look “peacefully” and in silent to the city, to that “war” area of the entrance, and mainly to the fiord. Gruvedalen it’s a very deep place, it’s a place with a very “characteristic flora”, no trees, almost no vegetation and a big mountain as background. So i think that it’s nice to built small towers, and spread the towers in the terrain, built some kind of forest with the buildings. With this concept I can conciliate the view to the fiord and the overview to the city, break “the boring” local organisation (lines of houses), and the houses also work as wind breakers.

In the land without forestThe houses are growing up like treesClimb the trees to see the fiord…

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London, 25 January 2011 To whom it may concern, RE: LETTER OF RECOMMENDATION MIGUEL GONCALVES Miguel Gonçalves worked in our office from November 2009 to October 2010. During this time Miguel worked on several shortlisted competitions: a university library in Fribourg Switzerland, an opera and culture house in Norway and two projects in France: a music centre and a mixed used social housing scheme. In a fairly hectic period in our office, Miguel proved to be a very good team member as he is hard working, enthusiastic, and has a great attitude. He is equipped with a wide range of design tools; easily navigating between different software. Miguel is someone very pleasant to work with; we have appreciated his contribution and efforts to meet the sometimes difficult and onerous deadlines on time with determination. We wish Miguel every success in the future and have no hesitation recommending him. Yours sincerely, Edgar Gonzalez Brisac Gonzalez Architects