Aline C Barros . Portfolio

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Aline C Barros . Architect Portfolio

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Aline C Barros . Portfolio

  1. 1.  
  2. 2.    ê                                 é  á                             –  ççã         
  3. 3.    ãé              Exhibition on the tenth Architecture Biennale in 2013, in one of the apartments in front of Costa e Silva viaduct. The exhibition is an analyses about the life under the overpass. Therefore, the team developed a model of the viaduct and its surroundings.
  4. 4. ã                        ’ 
  5. 5.         
  6. 6.      
  7. 7.   From a cube of 9x9, subdivided in small cubes of 3x3, the group projec- ted a single-family home. The study consisted in dismember the small cubes and create new spaces and shapes to the house.
  8. 8.  
  9. 9.     
  10. 10.    In the historical downtown of São Paulo city, the group projected a small gallery. The gallery was about the blue color, blue animals and blue elements. But mostly, the Blue Gallery was an exer- cise to think about how to project a cultural buil- ding in a historical and important spot in the city.  
  11. 11.      
  12. 12.       1 1 2 2 3 3
  13. 13.  The museum is located in downtown of São Paulo city, a historical and construc- ted area. The big challenge of the project was connect this big museum with the city and the buildings around it. The result was a complex and deconstructive building.                                               
  14. 14.  Bridges.  Same height as the neighbors.  Main entrance underneath.  Empty spaces, different heights and mezzanines.    
  15. 15.                                                 1 1 1 2 2 2 3 3 3
  16. 16. W Cermak Rd S Acher Ave The park is about the transition between constructed and urban to the organic and natural. At the urban edges, one finds more solid and artificial elements organized, like the city, in an orthogonal grid system. While in the interior of the field there is a more organic and irregular distribution of elements orientated in multiple direc- tions. The river is conceived as the center of the park and a magnet that generates different collective effects and activities. Mostly, the park is about the potential of the open spaces in the social, environmental and urban fields                          Construction Urban Grid Metroplis Disorder Natural Organic
  17. 17.            
  18. 18.      
  19. 19.    
  20. 20.   From the situationists theory, the students planned and executed performances and experiences in São Paulo city. And from these experiences, the students set up a situationist map and created posters about this new way of see, use and build the public space. It was an exercise about experiment the city and imagine a new utopic city.
  21. 21.         
  22. 22.    Flexible and adaptable furniture for small spaces. The group projec- ted a furniture that can be use as a stool or as a coffee table and drawer.   
  23. 23.   A temporary urban furniture for the new bus points in São Paulo city. The roof is based on the umbrella concept but has a different geometry.         
  24. 24.  Students of fashion, industrial design and archi- tecture of Centro Universitário Senac gathered in the Sé subway during the Design Weekend in São Paulo. The students created several wrappers and invited users to experiment it and recreate it. The objective was to propose a reflection about the function of design in the citizen’s life in a place where the interpersonal relationships and the technology are remarkable. á 
  25. 25.            The wrapper consists of a hood, that refers to the protec- tion and anonymity in the city, and also of colored ribbons that allows the connection between the wrappers and the individuals. 
  26. 26.      é 

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