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BRUNO MANUEL VIDAL

BRUNO MANUEL VIDALP O R T F O L I O

CONTENTS

03 CONTEXTUAL MATTERAn Architectural Position

PROFESSIONAL

09 SUN VALLEY HOUSEIdaho, USA

17 CURZON STREET HOUSEDublin, Ireland

25 WEST CORK ARTS CENTRE Skibereen, Ireland

PROFESSIONAL

Idaho, USA

35 CINEMA OF VALE DE SANTO ANTONIO

ACADEMIC

Lisbon, Portugal

43 HOUSE FOR A RIVER KEEPERLisbon, Portugal

51 CURRICULUM

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52 REFERENCES

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CONTEXTUAL MATTER An Architectural Position

Matter, as a physical manifestation of existence, is the concrete substance through which one lives and expresses himself. Life and expression, as well as matter, changes and becomes something else. Like Lavoisier’s, the french chemist, law postulates “in Nature nothing is created, nothing is lost, everything changes”. Man, as part of this “closed” system we call Nature derives from and to it , as well as his creations. Architecture, as one of man’s fundamental creations, derived from the necessity to seek refuge for Nature’s harsh conditions, and it is not a surprise then that the basic materials come directly from it. An arrangement of stones, leaves, t imber, a rational Nature.

But architecture should never be reduced to a simple functional system. The response for a given problem always conveys economical, polit ical, social, psychological conditions that go beyond the mere function it ser ves. That is why Norberg-Schulz tells us that “similar functions, even the most basic ones such as sleeping and eating, take place in very different ways, and demand places with different properties, in accordance with different

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cultural traditions and different environmental conditions.” Therefore the same typology, for example of housing, can be remarkably dif ferent from dif ferent par ts of the world.

Architecture is also a language of signs, allowing it to have also a symbolic meaning. As other ar ts it deals with composition, scale, propor tion, r ythms, texture, elements that follow a cer tain cultural structure. This structure, although not always apparent, is based on behaviour, belief and knowledge. Memor y plays a crucial role in the way we think about the spaces in architecture, since it is the only ar t form that requires one to live in it in order for i t to be. The only “inner” ar t.

I t is always the physical presence of a place, along with its sensorial perception, that builds up our architectural imaginar y. Therefore each archetype is always present at ever y seminal creative moment, even if not conscience.

“The return to origins is a constant of human development and in this matter architecture conforms to all other human activities. The primitive hut - the home of the first man - is therefore no incidental concern of theorists [but ref lects the] essential meaning of all building for people.” joseph r ykwer t

above: personal sketches as a means to understand architectureprevious page: personal photo of a concrete wall

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To do architecture is, in a way, creating new worlds, as it evolves throughout time, according to its specificities, including situation, environment, perspective, technology and resources available. I t is what we could call create within a zeitgeist. Ever y building is creating a new time, as a new time is creating that building.

“Architecture holds the power to inspire and transform our day-to day existence.” steven holl

Space and time are the two main elements of architecture, mutable factors that build up our environment and how we relate with it . Both these elements are present in architecture by form, a material presence, an immanence of matter.

“Building demonstrates human understanding of nature and self by translating that understanding onto building form .” c. norberg-schulz

Matter is therefore contextual not only physically but especially culturally to a specific people and place within a time. Architectural matter, organized nature, is par t of the language of ourselves and our past. I t reverberates these people and the way they live.

But in an era of global network, reproduced images and information, culture of copy and saturation, a world of “more and more information and less and less meaning”1, we are no longer citizens of one place. The world became nomadic and dynamic, with cross references, exotic inspirations.

Is it ver y impor tant then to avoid the culture of simulacrum, propense to this globalized society, giving a false sense of authenticity, a step closer to the annihilation of one’s culture. This culture of simulation is perpetuated by copying form in transmuted matter, ser ving purposes of appearance and superficial correlation, as a void mimesis of the past. We shall strive for an architecture of a place, for what I call contextual matter.

1 LEACH, NEIL, The Anaesthetics of Architecture, Cambridge, MIT Press, 1999

HOLL, STEVEN, JUHANI PALLASMAA AND ALBERTO PEREZ-GOMEZ, Questions of Perception: Phenomenology of Architecture, San Francisco, William Stout Publishers, 1994

NORBERG-SCHULZ, CHRISTIAN, Genius Loci Towards a Phenomenology of Architecture, New York, Rizzoli, 1979

RYKWERT, JOSEPH, On Adam’s House in Paradise: the Idea of the primitive Hut in Architectural History, 2nd ed.,Cambridge, MIT Press, 1981

PROFESSIONAL

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SUN VALLEY HOUSE Idaho, United States

A new vacation house to an elderly couple in the foothills of Sun Valley. In an astonishing set defined by its mountains and pristine virgin landscape, the house sits within the grain as a conceptually look-out house, framing specific views in the distance or close-up, depending on the character of the spaces. This is a ski resor t area, therefore conceived as a family gathering home of ludic activities. The house is a sequence of spaces orientated towards the best views and sitt ing in order to minimize its impact on the landscape. The roof emulates the striving forms of the surrounding nature, tr ying to achieve a better integration. A local grey stone is used to build the lower f loor walls, matching with the zinc cladding above, interplaying with big openings and small punches: a landscape obser vator y.

RICK JOY ARCHITECTS

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above: study modelopposite above: ground floor planopposite under: lower floor plan

1- entrance courtyard2- guests parking3- entry space4- living room5- living terrace6- kitchen7- dining8- hot tub9- pantry/bar10- master bedroom11- private terrace

12- master bathroom13- ski storage room14- laundry15- toy storage16- garage17- playroom18- bunk beds19- sauna20- exercise/yoga room21- guest bedroom22- mechanical

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above: site planopposite: exterior photomontage

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above: section through stairs under: section through garage opposite: kitchen view

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CURZON STREET HOUSEDublin, Ireland

Reconfiguration and extension of this modest Victorian house to provide an additional bedroom/study, and to improve kitchen/dining room facili t ies. The enclosure is in boardmarked fairfaced concrete lined with timber panelling and joiner y.The new rooms are displayed around a cour tyard, which is the focal point of the inter vention. The roof of the kitchen return extends to provide a covered outdoor connection between the kitchen and study/bedroom. At the junction between the two par ts the yard is open to the sky where the gate opens to the side laneway. This gives an increased sense of space in the cour tyard garden by vir tue of the long diagonal dimension of the outdoor space.

DONAGHY + DIMOND ARCHITECTS

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above: front of the housebelow: back of the house

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above: f irst f loor planbelow: ground floor plan

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1- entrance2- living room3- bathroom4- dining5- kitchen6- bedroom7- courtyard

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1- wall: 150mm exposed cast in situ concrete wall with board marked finish; 80mm air cavity; 2x75mm insupak insulation boards up to lane level/ 100mm rigid thermal insulation above; 100mm concrete block; cementitious waterproofing; l ime plaster2- roof: standing seam zinc roof; 22mm WBP plywood board with waterproof membrane over; 100mm rigid thermal insulation; vapour control layer; 25mm t+g douglas-fir soffi t boards; 150x50mm douglas-fir rafters at 580mm centers3- french drain: washed clean rock fi l l ; polypropylene felt geotextil membrane; bituthene tanking membrane with protection board over; 100mm drain pipe4- floor: 100mm polished concrete screed with underfloor heating; 80mm floor rigid insulation; cementitious waterproofing; 250mm concrete slab heavy radon barrier

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above: model with contextbelow: sketch of kitchen /dining area

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WEST CORK ARTS CENTRE Skibbereen, Ireland

The building is designed to create a clear and identifiable form for WCAC sitt ing distinctively within the grain of the town while holding the character of i ts site together, re-establishing the historic relationship between street, porch, backlands and water. The ghost of the original baker y is recast in new material rising from its footprint and fil l ing its form.The project is a sequence of rooms indoor and out, continuing from street and bridge through the galleries to the upper levels with views extending fur ther into the hinterland as one rises. These rooms are contained within a concrete and framed carcass, sheathed in leaves of iron.A place to gather in.

DONAGHY + DIMOND ARCHITECTS 1ST PLACE INTERNATIONAL COMPETITION

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0 5mabove: ground floor planopposite above: f irst f loor planopposite middle: second floor planopposite under: top floor plan

1- courtyard2- entry foyer3- main gallery4- store5- gallery II6- terrace7- workshop8- artists studio 9- administration offices

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above: east elevationunder: main galleryopposite: exploded axonometric

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roof structure

cladding

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concrete structure and dry stone wall

1- performance space2- entrance foyer3- gallery 14- gallery 25- terrace6- workshop7- artists studios8- dance studio 9- administration offices

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ACADEMIC

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CINEMA OF VALE DE S. ANTONIO Lisbon, Portugal

Within a dense, compact and homogeneous urban grid, a piece of equipment is set– a cinema– functioning as a structuring point of centrality and reference, reinforcing and recreating the sense of an old neighborhood. This ref lects the concept of my proposal for this site. The cinema would interconnect the neighborhood at two dif ferent levels and the whole community as a single unit. I ts role would be similar to that of a Greek Agora or even a Medieval Castle. This would be an inter vention that would validate the urban setting to give it whole soweness.

5TH YEAR TUTOR FERNANDO BAGULHO

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above: site planunder: study sketchesopposite above: ground floor planopposite under: model view from entrancenext pages: section A

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1- entrance hall2- ticket office3- toilets4- exterior theatre5- cafe/restaurant

6- cafe’s patio7- cafe’s kitchen8- cafe’s storage9- video rental shop10- staff entry

11- theatre12- projection room13- courtyard14- public elevator15- public ‘piazza’

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1- entrance hall2- ticket office3- toilets4- cafe’s kitchen5- cafe’s storage

6- administration7- courtyard8- access to external theatre9- mechanical10- technical space

11- multifunctional theatre12- group make-up room13- private make-up room14- guests parking15- shop

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above: model aerial viewopposite: wall section at entrance

1- reinforced concrete structure2- waterproof membrane3- 40mm rigid insulation4- drainage mat5- geotextile layer6- compacted gravel7- sand8- l imestone paving blocks9- 20mm “lioz” stone paving with sandblasted finish

10- 40mm “lioz” stone with sandblasted f inish and conceiled steel f ixings11- concealed rain water pipe12- 200mm clay block13- 100mm light concrete screed14- l ight concrete screed with 2% fall to 100mm wide gutter

15- galvanized steel drainage channel16- rooflight with thoughened glass17- painted steel casement window

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HOUSE FOR A RIVER KEEPERLisbon, Portugal

Tagus river : a gateway to new worlds and adventurous explorations. Men have always protect i t throughout time. Its shores were punctuated with beautiful for ts and towers giving it a new rhythm. Today dark red containers line its shores creating a wall between land and river.A house it is never only just that. In this case it is also lighthouse, tower, container ; a reference point in the river, a meeting point in the por t. This is the place where things are staggered as layers: house, crane, boat and kiosk. The stair is almost like an elevation spring, yet ever ything remains stable under four sturdy columns that are, in this case, a structural synthesis of shelter.

5TH YEAR TUTOR FERNANDO BAGULHO

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under right: volume modelunder left: shadows studyopposite above: house floor planopposite under: ground floor plan

1- entry vestibule2- l iving room3- kitchen4- observation room 5- observation terrace 6- bedroom7- bathroom8- kiosk/bar9- crane hanging small boat10- stairs to house above

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0 1mabove: river side elevationopposite: east elevation

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BRUNO MANUEL VIDAL

EDUCATION

Largo Ana de Castro Osorio 9, 3 Esq, 2760 Caxias, PortugalT. +351 967046615E. brunovidal1@gmail.com

Universidade Técnica de Lisboa , Faculdade de Arquitectura, 2006 Università degli Studi di Roma La Sapienza, Facoltà di Architettura, 2005

PROFESSIONAL EXPERIENCE

Rick Joy Architectsdesign team member, 2010 - 2011 Sun Valley HouseTelluride HouseTucson Mixed Used Development Master Plan

Donaghy and Dimond Architectsproject manager and design team member, 2007 - 2009 West Cork Arts Centre CompetitionInchicore Model SchoolLord Edward Street Rehab Centre Refurbishment‘Create’ Office Tara HouseWebsiteIveagh Gardens House ExtensionCurzon Street HouseRathgar Road House AdditionTibradden House Gate Lodge

SKILLS

AutoCAD, VectorWorks, Adobe Photoshop, Adobe Illustrator, Adobe InDesign, Adobe Premiere, CorelDraw, Cinema 4D, Macromedia Flash, SketchUp, Hand Modelling, Sketching, Photography

ACTIVITIES

University of Arizona, invited studio crit ic, 2011 University College of Dublin, Cohesive Construction Workshop, 2008Universidade Técnica de Lisboa, invited studio crit ic, 2007Universidade Técnica de Lisboa, seminar “Landscape, Architecture and Water, visions and interventions through the drawing”, 2002

LANGUAGES

Fluent Portuguese, English, Spanish, I talian, Basic French

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Philipp Neher, Rick Joy Architects, associate director, T. + 1 520 624 14 42philipp@rickjoy.com

Marcus Donaghy, Donaghy and Dimond Architects, principal, T. + 353 1 416 81 32marcus@donaghydimond.ie

Fernando Bagulho, Universidade Tecnica de Lisboa, professor, T. + 351 21 347 37 75geral@atelierchiado.pt

REFERENCES

Bruno Manuel Vidal ©

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