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Page 1: portfolio diana sousa

PICKME

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D I A N A S O U S A

p o r t o , p o r t u g a l+ 3 5 1 9 1 3 4 4 6 7 0 1d i a n a s o u s a . m a i l @ g m a i l . c o m

c a r g o c o l l e c t i v e . c o m / d i a n a s o u s a

A R C H I T E C T U R E P O R T F O L I O

P O R T -F O L I O

A R C H I T E C T U R E / C U R A T O R S H I P / E D I T O R I A L / I N S T A L L A T I O N S / C I N E M A / E V E N T S

D I A N A S O U S A

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P O R T -F O L I O

A R C H I T E C T U R E /

C U R A T O R S H I P /

E D I T O R I A L /

I N S T A L L A T I O N S /

C I N E M A /

E V E N T S

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DIANA SOUSA

PROFILE / RESUME

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DESAFIOS URBANOSARCHITECTURE COMPETITION

JAN 2012 / PORTO, PORTUGAL

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[UN] VOID‘PERFORMANCE ARCHITECTURE’ ARCHITECTURE COMPETITION

JAN 2012 / GUIMARÃES, PORTUGAL

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GUINDAIS CINEMATHEQUE‘GO ARCHITECTURE’ ARCHITECTURE COMPETITION

NOV 2010 / PORTO, PORTUGAL

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SOFT ROCK‘KK POROSITY’ KENGO KUMA INTERNATIONAL WORKSHOP

MAY 2012 / PORTO, PORTUGAL

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STUDENTS RESIDENCEACADEMIC PROJECT / PROJECT I I[FAUP] PORTO SCHOOL OF ARCHITECTURE

JUN 2007 / PORTO, PORTUGAL

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URBAN COLLECTIVE HOUSINGACADEMIC PROJECT / PROJECT I I I[FAUP] PORTO SCHOOL OF ARCHITECTURE

JUN 2008 / PORTO, PORTUGAL

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GAIA MUNICIPAL LIBRARYACADEMIC PROJECT / PROJECT IV[FAUP] PORTO SCHOOL OF ARCHITECTURE

JUN 2009 / GAIA, PORTUGAL

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URBAN HOUSING IN KELVINGROVEACADEMIC PROJECT / STUDIO WORK 4[MAC] MACKINTOSH SCHOOL OF ARCHITECTURE

DEC 2009 / GLASGOW, UK

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PARTIK LIBRARYACADEMIC PROJECT / STUDIO WORK 4[MAC] MACKINTOSH SCHOOL OF ARCHITECTURE

DEC 2009 / GLASGOW, UK

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DÉDALO DISPLACEARCHITECTURE MAGAZINE + LECTURES + SEMINAR + CATALOGUE + WORKSHOP + ART INSTALLATIONS + CONCERTS[FAUP] PORTO SCHOOL OF ARCHITECTURE

2010-2011 / PORTO, PORTUGAL

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JAPAN: CHAOS AND COSMOSARCHITECTURE MASTER DISSERTATION[FAUP] PORTO SCHOOL OF ARCHITECTURESEP 2011 / PORTO, PORTUGAL

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PÁGINAS BRANCAS 2008ARCHITECTURE PUBLICATIONAEFAUP EDITORIALS + QUIDNOVI

JAN 2009 / PORTO, PORTUGAL

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PUBLISHED WORKARTICLES / INTERVIEW / EVENTS

/DRAWINGS / TESTIMONIALS

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A CITY IN BLOOM + MÁGUASHORT MOVIES

TALLIN, ESTONIA / PORTO, PORTUGAL

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FURNITUREDIY OSB CHAIR + CURATOR’S LAB STOOL + HOME OFFICE

2012 / PORTUGAL

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RECOMMENDATION LETTERSBEATRICE GALILEE (UK) CURATOR AND WRITER + NUNO BRANDÃO COSTA (PT) ARCHITECT

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DIANA SILVA SOUSA

PORTO, PORTUGAL

(+351) 913 446 701

[email protected]

DIANA SOUSA IS A PORTUGUESE ARCHITECT BORN IN PORTO, PORTUGAL, IN 1987.

IN 2005 IS ADMITTED IN FACULDADE DE ARQUITECTURA DA UNIVERSIDADE DO PORTO (FAUP)

WHERE STUDIED ARCHITECTURE FOR 5 YEARS. IN 2009 JOINED THE ERAMUS PROGRAMME FOR ONE

YEAR AT THE MACKINTOSH SCHOOL OF ARCHITECTURE (GLASGOW SCHOOL OF ART) AND IN 2011

ACCOMPLISHED HER MA IN ARCHITECTURE AT FAUP WITH THE THESIS “JAPAN: CHAOS AND COSMOS”,

WORK DRIVEN BY A TRIP MADE TO JAPAN.

BEING AN ACTIVE AND ENTHUSIASTIC STUDENT, DIANA HAS ALWAYS COLLABORATED IN CULTURAL

PROJECTS AND EVENTS DEVELOPED WITHIN THE SCHOOL STUDENTS ASSOCIATION. IN 2008, DIRECTED

AND ORGANIZED “PÁGINAS BRANCAS 2008”, AN ARCHITECTURE PUBLICATION OF PROJECTS FROM

ALL FAUP’S TEACHERS AT THE TIME (ADALBERTO DIAS, CAMILO REBELO, NUNO BRANDÃO COSTA,

ALVES COSTA E SÉRIGO FERNANDEZ, MANUEL GRAÇA DIAS, ETC.) PLUS A TWO-DAY SEMINAR ABOUT

THE THEME “THE OPORTO SCHOOL”. WAS ALSO RESPONSIBLE FOR THE “INNER CITY MAGAZINE”

WHICH FOLLOWED THE SEMINAR OF THE SAME NAME, THE HANDMADE JOURNAL “MANIFESTO” AND A

LOMOGRAPHIC PHOTO COMPETITION.

AS A FINALIST STUDENT, DIANA WAS EDITOR-IN-CHIEF AT DÉDALO MAGAZINE DEVELOPING, ALONG

WITH AN EDITORIAL TEAM, SEVERAL PROJECTS AND EVENTS: INTERNATIONAL WORKSHOPS, ART

INSTALLATIONS, LECTURES, CONCERTS AND PUBLICATIONS, AS WELL AS THE INTERNATIONAL SEMINAR

“DISPLACE: DEVIATIONS ON ARCHITECTURE PRACTICE” WHICH BROUGHT TOGETHER FOR THE VERY

FIRST TIME WELL KNOWN “ALTERNATIVE” ARCHITECTS AS DIDIER FAUSTINO, ENCORE HEUREUX,

RAUMLABOR, RECETAS URBANAS, STALKER AND MANY OTHERS.

EXPERIENCED IN CURATORSHIP AND EVENTS PRODUCTION, SINCE 2007 DIANA ALSO ATTENDS

NUMEROUS WORKSHOPS AND COMPETITIONS AND CULTIVATES HER INTERESTS IN PHOTOGRAPHY,

CINEMA AND COOKERY.

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EDUCATION AND TRAINING

20 05 - 2011 | MASTER OF ARCHITECTURE ( M. ARCH) | FACULDADE DE ARQUITECTURA DA UNIVERSIDADE DO PORTO | PORTO, PORTUGAL | FINAL CLASSIFICATION 15/20

2011 | MASTER’S THESIS | JAPAN: CHAOS AND COSMOS | FACULDADE DE ARQUITECTURA DA UNIVERSIDADE DO PORTO | FINAL CLASSIFICATION 16/20

20 09 - 2010 | ARCHITECTURE EXCHANGE PROGRAM | MACKINTOSH SCHOOL OF ARCHITECTURE . GLASGOW SCHOOL OF ART | GLASGOW, UK

20 02 - 20 05 | SECONDARY LEVEL OF EDUCATION: ARTS | ESCOLA JOSÉ MACEDO FRAGATEIRO | OVAR, PORTUGAL | FINAL CLASSIFICATION 19,4/20

JUN 20 04 | LEVEL 1 CERTIFICATE IN ENGLISH (ESOL) ACCREDITED BY THE UNIVERSITY OF CAMBRIDGE | FINAL CLASSIFICATION C

JUN 20 0 0 | KEY ENGLISH TEST ACCREDITED BY THE UNIVERSITY OF CAMBRIDGE | FINAL

CLASSIFICATION PASS

COMPETITIONS AND WORKSHOPS

MAY 2012 | “KK POROSITY” . KENGO KUMA WORKSHOP | UNIVERSIDADE LUSÍADA | PORTO, PORTUGAL

FEB 2012 | “CONSTRUIR JUNTO” . EXYZT BUILDING WORKSHOP | FÁBRICA ASA . GUIMARÃES EUROPEAN CAPITAL OF CULTURE 2012 | GUIMARÃES, PORTUGAL

JAN 2012 | “MAKING CHAIRS” . FURNITURE DESIGN COMPETITION PROMOTED BY PAREDES CENTRE OF FURNITURE DESIGN | PAREDES, PORTUGAL

JAN 2012 | “PERFORMANCE ARCHITECTURE” . ARCHITECTURE COMPETITION CURATED BY PEDRO GADANHO | GUIMARÃES EUROPEAN CAPITAL OF CULTURE 2012, PORTUGAL

JAN 2012 | “DESAFIOS URBANOS” . ARCHITECTURE COMPETITION | SELECTED FOR EXHIBITION | PORTO, PORTUGAL

NOV 2010 | 3D MODELLING COURSE OF RHINO (19/20), VRAY (15/20) AND GRASSHOPPER (18/20) | PORTO, PORTUGAL

OCT 2010 | PRÉMIO ZON 2010 . SHORT MOVIES COMPETITION | PORTO, PORTUGAL

OCT 2010 | ARCHITECTURE WORKSHOP AT “GET SET ART FEST” (3D MODELLING WITH RHINO) WITH JOSÉ PEDRO SOUSA AND JOÃO BARATA FEYO | PORTO , PORTUGAL

JUL 2010 | CINEMARCHITECTURE INTENSIVE INTERNATIONAL WORKSHOP PROMOTED BY THE EU | SELECTED PARTICIPANT | TALLIN, ESTONIA

APR 20 08 | “PORTO REDUX” . ARCHITECTURE WORKSHOP ORGANIZED BY CCRE AND DÉDALO MAGAZINE

| PORTO, PORTUGAL

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EDITORIAL PROJECTS AND CULTURAL EVENTS

OCT 2011 | EDITOR-IN-CHIEF OF DÉDALO 8 DIS:PLACE, ARCHITECTURE MAGAZINE.

OCT 2011 | EDITOR AND PRODUCER OF DÉDALO DISPLACE LAUNCH PARTY | PLANO B | PORTO, PORTUGAL

SEP 2011 | MASTER’S THESIS: “JAPAN: CHAOS AND COSMOS” | FACULDADE DE ARQUITECTURA DA UNIVERSIDADE DO PORTO | PORTO, PORTUGAL

MAR 2011 | EDITOR AND PRODUCER OF DÉDALO DIS:PLACE LECTURES: DEVIATIONS ON ARCHITECTURAL PRACTICE | FACULDADE DE ARQUITECTURA DA UNIVERSIDADE DO PORTO | PORTO, PORTUGAL

MAR 2011 | EDITOR OF DÉDALO DISPLACE CATALOGUE OF DÉDALO DISPLACE LECTURES

MAR 2011 | PRODUCER OF DÉDALO WRAP UP | PLANO B | PORTO, PORTUGAL

JAN 2011 | PRODUCER OF DÉDALO DISPLACE BRIEFING LAUNCH PARTY WITH LIVE CONCERT OF BLOODGROUP (IS) | FAUP | PORTO, PORTUGAL

DEC 2010 | PRODUCER AND TUTOR OF DÉDALO DISPLACE INTERNATIONAL WORKSHOP WITH EASA ABOUT PSHICOGEOGRAPHY | PADARIA FERNANDO SANTOS | PORTO, PORTUGAL

JAN 20 09 | PÁGINAS BRANCAS 2008: ARCHITECTURE BOOK | AEFAUP EDITORIAL + QUIDNOVI| PORTO, PORTUGAL

JAN 20 09 | PÁGINAS BRANCAS 2008 2 DAYS LAUNCH SEMINAR | FACULDADE DE ARQUITECTURA DA UNIVERSIDADE DO PORTO | PORTO, PORTUGAL

20 07-20 09 | EDITOR IN CHIEF OF AEFAUP EDITORIAL PROJECTS

20 09 | MANIFESTO FANZINE (3 ISSUES) | FAUP | PORTO, PORTUGAL

MAR 20 09 | INNER CITY MAGAZINE (2 ISSUES) | FAUP | PORTO, PORTUGAL

FEB 20 08 | LOMOGRAPHIC PHOTOGRAPHY CARNIVAL COMPETITION | AEFAUP + PORTUGUESE

LOMOGRAPHIC EMBASSY | FAUP | PORTO, PORTUGAL

PERSONAL SKILLS AND COMPETENCES

GREAT CAPACITY IN LEADERSHIP, COLLABORATION, TEAM WORK AND INTERDISCIPLINARITY. CAN EASILY ADAPT TO DIFFERENT WORKING CONTEXTS .

EXPERIENCED IN CULTURAL AND ARCHITECTURE EVENTS PROMOTION AND ORGANIZATION.

WORKED AS A STUDENT AND AS A PROFESSIONAL IN ARCHITECTURE CURATORSHIP.

EXPERIENCED IN EDITORIAL AND FURNITURE DESIGN.

TECHNICAL SKILLS AND COMPETENCES

EXPERIENCED IN PHYSICAL AND VIRTUAL MODEL MAKING AND FREEHAND DRAWING.

ARCHICAD / RHINOCEROS / VRAY / GRASSHOPPER / ADOBE PHOTOSHOP / ADOBE INDESIGN / ADOBE

ILLUSTRATOR / ARTLANTIS STUDIO / FINAL CUT / GOOGLE SKETCH UP

PERSONAL INTERESTES

PHOTOGRAPHY / COOKERY / TRAVEL / ART / CINEMA

LANGUAGES

PORTUGUESE (MOTHER TONGUE)ENGLISH (ADVANCED WRITING AND SPEAKING)SPANISH (EMPIRIC KNOWLEDGE)FRENCH (BASIC WRITING AND SPEAKING)

DRIVING LICENCE OF CATEGORY B

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D E S A F I O S U R B A N O S/ S T U D E N T S A R C H I T E C T U R E C O M P E T I T I O N

/ J A N U A R Y 2 0 1 2 / P O R T O , P O R T U G A L

THE FOLLOWING PROPOSAL AIMS TO ENHANCE AND PRESERVE THE IDENTITY OF THE

HISTORIC CITY CENTER OF PORTO, THUS MAINTAINING THE CHARACTER, APPEARANCE

AND GENERAL FEATURES OF THE THREE BUILDINGS THAT CONSTITUTE THE UNIT OF

THE SOUTO STREET BLOCK, INSERTED IN AN AREA DESIGNATED AS WORLD HERITAGE

BY UNESCO.

THUS, THE INTERVENTION INVOLVES THE PRESERVATION OF THE ORIGINAL FACADES

CONFIGURATION (EAST AND WEST), WHICH WERE THE MAIN ELEMENT TAKEN AS A

STARTING POINT AND THE BASIS FOR THE DEVELOPMENT OF THE ENTIRE PROPOSAL.

FOLLOWING A BRIEF ANALYSIS OF THE THREE BUILDINGS, AND DUE TO THEIR

CONSIDERABLE STATE OF DEGRADATION, WE CONSIDERED THAT THEIR COMPLETE

RECONSTRUCTION WOULD BE NECESSARY. THEREFORE, WE OPTED TO UNIFY THE

THREE VOLUMES IN A SINGLE BUILDING, WHICH ALLOWED THE INTERIOR SPACES TO

OBTAIN GREATER QUALITY AND BIGGER INTEREST. THIS WAS ALSO A WAY TO RECTIFY

THE OLD FACADE WHICH STOOD BEFORE THE FORECOURT AND TO CREATE NEW

OPENINGS, THUS ACHIEVING A NEW CHARACTER AND HIGHER SANITATION LEVEL IN

COMPARISON WITH THE EXISTING ONES.

IN REGARDS TO THE INNER ORGANIZATION, EACH APARTMENT WAS DESIGNED WITH

YOUNG USERS AND STUDENTS IN MIND; SO THE BASIC CONCEPTS WERE FLUIDITY,

CONTINUITY AND FUNCTIONALITY, ATTEMPTING TO CONCEIVE PRACTICAL SPACES AND

ACHIEVE A GREAT LEVEL OF COMFORT.

EACH APARTMENT IS MARKED BY THE PRESENCE OF A FUNCTIONAL BOX, WHERE THE

BATHROOMS, CLOSETS AND STORAGE FURNITURE ARE. THE REMAINING SPACES ARE

DEVELOPED FROM THIS BOX, SUCH AS THE LIVING ROOM, KITCHEN AND BEDROOMS.

THREE OF THE NINE APARTMENTS WERE DESIGNED AS DUPLEXES WHICH ALLOWS FOR

A GREATER SPATIAL FLEXIBILITY.

THE BUILDING HAS A VARIED HOUSING TYPOLOGY, IN A TOTAL OF THREE T0, ONE T1

SIMPLEX, THREE T1 DUPLEX AND, AT LAST, TWO T2 SIMPLEX.

THE PROPOSAL AIMS TO RECONCILE BOTH THE EXISTING AS WELL AS THE

CONTEMPORARY, CONJUGATING TRADITION AND INNOVATION.

U R B A N R E H A B I L I TAT I O N + H O U S I N G + O F F I C E S + L O C A L C O M M E R C E

I N C O L L A B O R AT I O N W I T H I R I N A M I R A N D A ( P T )

/ I S A B E L G O M E S ( P T ) / M A R G A R I D A T R AVA N C A ( P T ) / S O R A I A F E R N A N D E S ( P T )

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[ U N ] V O I D/ P E R F O R M A N C E A R C H I T E C T U R E . A R C H I T E C T U R E C O M P E T I T I O N

/ J A N U A R Y 2 0 1 2 / G U I M A R Ã E S , P O R T U G A L

“AN AREA WITH NO CLEAR BOUNDARIES, NO CURRENT USE, VAGUE, DIFFICULT TO UNDERSTAND

BY THE COLLECTIVE PERCEPTION OF CITIZENS, USUALLY FORMING A BREAK IN THE URBAN

FABRIC. BUT IT IS ALSO AN AVAILABLE AREA, FULL OF EXPECTATIONS, WITH STRONG URBAN

MEMORY AND UNIQUE POTENTIAL: THE SPACE OF THE POSSIBLE, THE SPACE OF THE FUTURE”

*IGNASI DE SOLÀ-MORALES

PERFORMANCE ARCHITECTURE, AN INTERNATIONAL COMPETITION OF IDEAS INTEGRATED IN THE

PROGRAM GUIMARÃES 2012 - EUROPEAN CAPITAL OF CULTURE, PROPOSED A RETHINKING OF

TEMPORARY STRATEGIES - ARCHITECTURAL AND URBAN - TO INTEGRATE THE PUBLIC SPACE OF

THE CITY.

OUR PROJECT THUS INTENDED TO USE IT AS A RESOURCE TO THE CRITIQUE OF THE SOCIAL

IN THE REINVENTION OF THE PUBLIC SPACE, WITH PARTICULAR RELEVANCE BEING GIVEN TO

THE IMPORTANCE OF THE INTERACTION WITH THE COMMUNITY. UN (VOIDS) COMES FORTH IN

THE NEED TO REVITALIZE AND CONNECT SOME OF THE SPACES WHICH ARE NOT DULLY NOT

QUALIFIED, LATENT OR EXPECTANT, IN THE PERIMETER OF THE CITY, WHICH WE FELT EARLY

ON TO BE APPROPRIATE FOR THE PURPOSE OF THIS CONTEST. THAT IS TO SAY THAT OUR MAIN

PREMISE WOULD BE TO RESPOND TO THE PROGRAM BUT ALSO TO USE IT AS A “REMINDER” FOR

SPACES WHICH, IN OUR OPINION, DESERVE OUR ATTENTION WITHIN THE URBAN CONTEXT.

WE SELECTED FOUR URBAN AREAS WHERE THE EVIDENCE OF THE “VOID” RESULTS FROM

SOME KIND OF ABSENCE WHEN CONFRONTED WITH THE SOCIAL AND URBAN MATRIX, BE IT

A QUESTION OF DEFINITION OF THE PHYSICAL SPACE, OF THE SYMBOLICAL SPACE, OR EVEN

SPACES WHICH ARE DIFFICULT TO UNDERSTAND BY THE COLLECTIVE PERCEPTION OF THE

CITIZENS, WHICH ALSO CONSTITUTES A BREAK WITH THE URBAN FABRIC.

OUR STRATEGY WAS TO “FILL THE VOID” WITH A “MASS” OF MEANINGS AND VALUES,

HIGHLIGHTING THE CITY, ITS SURROUNDINGS AND SOCIAL INTERACTION. TO THIS END, AND

WITH THE HELP OF THE LOCAL SERVICES, NAMELY THE TEXTILE AND PLASTIC MANUFACTURING

INDUSTRIES, WE DESIGNED FOUR STRUCTURES THAT WOULD SIMULATE A DENSE “MASS”

OF VERTICALLY HANGING WIRES. STRATEGICALLY PLACED IN FOUR SELECTED POINTS OF

GUIMARÃES, THESE STRUCTURES ARE ADAPTABLE TO EACH SITE STRESSING THE EXHIBITED

VALUES AND MEMORIES.

THE FIRST SPACE IS IN THE LARGO CÓNEGO JOSÉ MARIA GOMES AND ALTHOUGH IT POSSESSES

AN INCREDIBLE SPATIAL WEALTH, IT LACKS SOCIAL INTERACTION, OPERATING ONLY AS A

SPACE FOR PASSAGE OF ALL THOSE ENTERING AND LEAVING THE CITY, BUT WHO DON’T EVEN

CROSS IT. THUS, OUR STRATEGY FOR THIS SITE WAS TO “FILL THE VOID” WITH WHICH WE FACED

OURSELVES AND PROJECT UNTO IT VARIOUS CYLINDRICAL OBJECTS ILLUMINATED BY A WHITE

LIGHT BASE, WHICH EMBODYING THE PEOPLE AND THE LIFE THAT THIS FORECOURT DESERVES.

THE SECOND SITE, IN THE PRAÇA DE S. TIAGO, WE INTENDED TO CREATE A STRONG

CONNECTION BETWEEN THE SPACE WHICH IS THE CITY’S MAIN SQUARE – PRAÇA DA OLIVEIRA -

AND THE FIRST ONE WHICH PRECEDES IT. THE PUBLIC SPACE BETWEEN THEM IS CONTINUOUS BY

MEANS OF AN UNDERGROUND PASSAGE UNDERNEATH A “BRIDGE” BUILDING, SO TO SPEAK. THIS

UNION SHALL THEN BE REINFORCED BY THE “REMINDER” FROM THE PRAÇA DE S. TIAGO WHICH

THUS INTENDS TO BE A PART OF THE FESTIVE ENVIRONMENT AND COMMUNITY SPIRIT WHICH IS

DAILY EXPERIENCED AT THE PRAÇA DA OLIVEIRA.

THE THIRD PLACE, LOCATED IN AN OLD ENTRANCE OF THE MEDIEVAL SECTION OF THE CITY,

EMBODIES THE “CITY DOOR”. IT RECOVERS THE MEMORY OF THIS PLACE, WE EXTENDED THE

CITY WALL WHICH ENCIRCLES THE OLD CITY AND PROJECTED IN THE DENSITY OF WIRES

“DOOR”, THUS MATERIALIZING THE IMPORTANT INTERACTION AND OPENNESS BETWEEN THE OLD

TOWN AND THE CONTEMPORARY CITY.

AS THE FOURTH URBAN VOID, WE CHOSE THE LARGO CONDESSA DO JUNCAL/ACADEMIA DE

MÚSICA VALENTIM MOREIRA DE SÁ WHERE WE PROJECTED A BANDSTAND THAT REFERS THE

PRESENCE OF AN OLD SIMILAR PLACE, WHICH WOULD NOW ESTABLISH A GREAT RELATIONSHIP

WITH THE MUSIC SCHOOL WHICH EXISTS IN THAT PARTICULAR PLACE. THE FORM OF AN EMPTY

BANDSTAND APPEARS AS AN EMPTY SPACE OF A MASS OF WIRES WHICH OCCUPIES FILLS THE

ENTIRE TRIANGULAR SITE WHICH SURROUNDS IT. LIKE THE PREVIOUS INTERVENTION - THE CITY

DOORWAY - HERE WE ALSO INTENDED TO RECOVER OLD MEMORIES OF THE CITY, BUILDING THE

BANDSTAND BASED ON THE SIMPLE AND SOLE BASIS WHICH REMAINED FROM THE OLD ONE.

SURROUNDED BY A GARDEN, A MUSIC SCHOOL AND A CHURCH, THIS SPACE WILL ACT AS AN

EXCELLENT SOCIAL BINDER AND CENTER TO DIVULGE AND DISSEMINATE NEW TALENT, BE IT

MUSIC OR THEATER.

THE STRATEGY OF OUR PROPOSAL AIMS ULTIMATELY TO REPRESENT IN THE VOID THE MEANINGS,

NEEDS AND MEMORIES OF PLACES, DUE TO THE FIRM BELIEF THAT IT SHALL BE BY MEANS OF

THE COHABITATION WITH THE CONTEMPORARY CITY THAT THE OLD TOWN WILL GAIN A NEW LIFE.

P E R F O R M AT I V E A R C H I T E C T U R E + T H R E A D PAV I L L I O N S + C O N C E R T S PA C E

I N C O L L A B O R AT I O N W I T H V I T O R D E C A S T R O L O P E S ( P T ) / S O R A I A F E R N A N D E S ( P T )

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G U I N D A I S C I N E M A T H E Q U E/ G O ! A R C H I T E C T U R E . 2 4 H S T U D E N T S A R C H I T E C T U R E C O M P E T I T I O N

/ N O V E M B E R 2 0 1 0 / P O R T O , P O R T U G A L

CINEMA IS MOVING IMAGES, WHERE IN A PRAGMATIC MANNER IT IS ADMITTED THAT

THE OBSERVER IS A FIXED ELEMENT CONDITIONED BY THE PROJECTION SCREEN.

HOWEVER, THE CONTEMPORARY ERAS ENCOURAGE US TO REFLECT AND THINK ABOUT

THE ROLE OF THE SUBJECT AND THE CINEMA IN THE ACT OF PROJECTING.

THUS, WE DECIDED TO SUBVERT THE RELATIONSHIP BETWEEN “SCREEN / VIEWER” AND

PROPOSE A NEW RELATIONSHIP.

THE SCREEN APPROACHES IN A MORE INTIMATE MANNER, ENVELOPING THE VIEWER,

CREATING A NEW DYNAMICS, WHICH PROVIDE THE CINEMA WITH A MORE VERSATILE

AND FLEXIBLE CHARACTER. THIS IS VISIBLE AT THE PROGRAMMATIC LEVEL IN THE

MANNER HOW THE INTERVENING PARTIES FREELY DRAW THE SPACES / PROJECTION

ROOMS. TO THIS END, WE USED A CURTAIN / PROJECTION SCREEN SYSTEM SUPPORTED

BY TRACKS. THESE TRACKS, WHICH IN THE COVERAGE / PUBLIC SPACE, GUIDE

FLEXIBLE TEMPORAL STRUCTURES AKIN TO ORIGAMI SCULPTURES. THESE SPACES

HOUSE AT A PROGRAMMATIC LEVEL EXHIBITIONS, TEMPORARY OUTDOOR SCREENINGS,

LEISURE SPACES FOR PUBLIC SERVICE, FOR ALL THOSE SEDUCED BY THE DRAWING OF

AN OLD WALL COMING FROM THE LARGO ARNALDO GAMA.

AT NIGHT THESE TRACKS ARE OUTLINED BY LED LIGHTS THAT ACCOMPANY THE

MOVEMENT OF THE CURTAINS ON THE LOWER FLOOR, DEMONSTRATING THE CONSTANT

CHANGE OF THE BUILDING. A REFLECTION OF THIS IS THE NEAR ABSENCE OF THE

FACADE, IN WHICH THE SCREEN “SELFISHLY” TAKES CENTER STAGE, WHICH IS

SOMEWHAT PREDICTABLE AT A PROGRAMMATIC AS WELL AS A VISUAL LEVEL, THUS

BECOMING A CONCEPT IMAGE - DESIGN - BUILDING.

PARALLEL TO THE FLEXIBILITY OF THE MAIN ROOM, THERE IS A WHOLE VERSATILE

EQUIPMENT AND ORGANIZATION DESIGN. HENCE THE EXISTENCE OF FURNITURE

CELLS, WHICH CONTAIN THE PROGRAMME, SUCH AS, THE OFFICES, ARCHIVE AND

MEDIA LIBRARY, WHICH ARE EASILY MOVED AND THUS DESIGN THEMSELVES DIFFERENT

SPATIAL CONFIGURATIONS.

THE BUILDING IS ACCESSED BY TWO LEVELS: AT LARGO ARNALDO GAMA AND BY THE

GUINDAIS STAIRCASE. TO THE FIRST, WE ADDED A LIGHT AND RHYTHMIC PATH FILLED

WITH PANELS WITH CULTURAL AGENDAS. THE SECOND IS FOUND SINUOUSLY IN-

BETWEEN THE TIGHT MESH TYPICAL OF PORTO.

C I N E M AT H E Q U E + T E M P O R A R Y E X H I B I T I O N S PA C E + L I B R A R Y

+ A D M I N I S T R AT I V E O F F I C E S + C A F É + R E S TA U R A N T

I N C O L L A B O R AT I O N W I T H I S A B E L G O M E S ( P T ) / S O R A I A F E R N A N D E S ( P T )

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S O F T R O C K/ K E N G O K U M A P O R O S I T Y W O R K S H O P / P O R T O , L U S Í A D A U N I V E R S I T Y

/ M A Y 2 0 1 0 / P O R T O P O R T U G A L

T E M P O R A R Y I N S T L L AT I O N M A D E W I T H P O R T U G U E S E C O R K

AT L U S Í A D A’ S B A R O P E N S PA C E

/ T U T O R : R E N I T O

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S T U D E N T S R E S I D E N C E/ A C A D E M I C P R O J E C T / F A U P , P O R T O S C H O O L O F A R C H I T E C T U R E/ J U N E 2 0 0 7 / P O R T O P O R T U G A L

S T U D E N T S R E S I D E N C E + C A F É & G A L L E R Y B U I L D I N G

/ P R O J E C T I I / T U T O R : D A N I E L O L I V E I R A

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U R B A N C O L L E C T I V E H O U S I N G/ A C A D E M I C P R O J E C T / F A U P , P O R T O S C H O O L O F A R C H I T E C T U R E/ J U N E 2 0 0 8 / P O R T O P O R T U G A L

U R B A N M A S T E R P L A N + C O L E C T I V E H O U S I N G + G A R A G E + C O M E R C I A L

A R E A S + P U B L I C G R E E N A R E A

/ P R O J E C T I I I / T U T O R : R U I R A M O S

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G A I A M U N I C I P A L L I B R A R Y/ A C A D E M I C P R O J E C T / F A U P , P O R T O S C H O O L O F A R C H I T E C T U R E/ J U N E 2 0 0 9 / G A I A , P O R T U G A L

C H I L D R E N L I B R A R Y + A D U LT S L I B R A R Y + A U D I T O R I U M + C A F É

+ A D M I N I S T R AT I V E O F F I C E S + C A R PA R K

/ P R O J E C T I V / T U T O R : N U N O B R A N D Ã O C O S TA

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U R B A N H O U S I N G I N K E L V I N G R O V E/ A C A D E M I C P R O J E C T / M A C K I N T O S H S C H O O L O F A R C H I T E C T U R E [ G S A ]/ D E C E M B E R 2 0 0 9 / G L A S G O W , S C O T L A N D , U K

U R B A N H O U S I N G + O U T D O O R C I N E M A + C L I M B I N G W A L L

/ S T U D I O W O R K 4 / T U T O R : H E N R Y M C K E O W N

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P A R T I K L I B R A R Y/ A C A D E M I C P R O J E C T / M A C K I N T O S H S C H O O L O F A R C H I T E C T U R E [ G S A ]/ M A Y 2 0 1 0 / G L A S G O W , S C O T L A N D , U K

P U B L I C L I B R A R Y + C A F É + K I N D E R G A R T E N

/ S T U D I O W O R K 4 / T U T O R : T O N Y B A R B E R

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D É D A L O # 8 D I S P L A C E/ A R C H I T E C T U R E M A G A Z I N E F R O M F A U P/ S E P T E M B E R 2 0 1 0 - O C T O B E R 2 0 1 1 / P O R T O , P O R T U G A L

DISPLACE LECTURES: DEVIATIONS ON ARCHITECTURAL PRACTICE

+ CATALOGUE + WRAP UP PARTY

MARCH 31ST - APRIL 2ND - FAUP, PORTO

CURATORS (DÉDALO #8 EDITORIAL TEAM): CARLOS TRANCOSO, DIANA SOUSA, JORGE

ALVES, NUNO PIMENTA, SORAIA FERNANDES

SPEAKERS: BEATRICE GALILEE (UK) / PEDRO GADANHO (PT) / DIDIER FIUZA FAUSTINO

(FR) / RAUMLABOR (DE) / RECETAS URBANAS (ES) / ENCORE HEUREUX (FR) /

MODULORBEAT (DE) / PEDRO BANDERIA (PT) / FELD 72 (AT) / STALKER (IT) / MOOV (PT) /

EXYZT (FR) / DÉDALO #8 EDITORIAL TEAM / DATA (PT) / DASS (PT) / MIGUEL C. TAVARES

(PT) / OSMD (PT)

-

DÉDALO DISPLACE LAUNCH PARTY

LECTURES + INSTALLATION + GIG + DJS

OCTOBER 2011, PLANO B, PORTO

SPEAKERS: DÉDALO #8 TEAM / R2 DESIGN (PT) / STÉPHANE MALKA (FR)

INSTALLATION: PLANO X BY DOSE (PT)

DÉDALO BASH: THROES + THE SHINE (LIVE) / SUSHI RIDDIM SQUAD / LUDOVIC /

SOLDADO FUNK AKA HUGO C. / TMSQ+KETA / JOÃO SANTOS+RICARDO LEAL

VIDEO MAPPING: AN AWESOME FELLA (PT)

-

DÉDALO #8 DISPLACE

ARCHITECTURE MAGAZINE - OCTOBER 2011

EDITORIAL TEAM: CARLOS TRANCOCO, DIANA SOUSA, JORGE ALVES, NUNO PIMENTA,

SORAIA FERNANDES

DESIGN: JOÃO SANTOS , RICARDO LEITE

LANGUAGE: PORTUGUESE/ENGLISH

SIZE: 24 X 17 CM

NUMBER OF PAGES: 118 + 78

CONTENT: HAUS-RUCKER-CO (AS) / FELD 72 (AS) / OLIVIER RATSI (FR) / RECETAS

URBANAS (ES) / INÊS D’OREY (PT) / RAUMLABOR BERLIN (DE) / STÉPHANE MALKA

(FR) / ENCORE HEUREUX (FR) / PEDRO BANDEIRA (PT) / SIMON SADLER (US) / MARK

LEE (US) / PEDRO GADANHO (PT) / ATELIER DATA (PT) / PEDRO BAÍA (PT) / DASS (PT)

/ ÁLVARO DOMINGUES (PT) / CATARINA COSTA (PT) / RICARDO LEAL (PT) / INÊS ALVES

(PT) / DIANA VIEIRA (PT) / VITÓRIO VASCONCELOS (PT) / SOFIA AUGUSTO (PT) / JOSÉ

MARTINS (PT)

L E C T U R E S + S E M I N A R + C ATA L O G U E + M A G A Z I N E + W O R K S H O P + PA R T I E S + A R T I N S TA L L AT I O N S

/ A S E D I T O R I N C H I E F AT D É D A L O # 8 / W W W. R E V I S TA D E D A L O . C O M

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J A P A N : C H A O S A N D C O S M O S/ A R C H I T E C T U R E M A S T E R D I S S E R T A T I O N A T F A U P/ S E P T E M B E R 2 0 1 1 / P O R T O , P O R T U G A L

TRAVEL IS, I THINK, THE BEST WAY TO LEARN ARCHITECTURE. AS A RESULT, THIS

DISSERTATION IS CREATED FROM A PHYSICAL EXPERIENCE LIVED WHILE I WAS

VISITING JAPAN. SY BY SIDE WITH THEORIES, ARGUMENTS AND IDEAS FOR AN

ARCHITECTURE,SOME PONTUAL EPISODES WRITTEN IN THE FIRST PERSON ALLOW

TO A BETTER UNDERSTANDING AND APROXIMATION OF THE TRUE FEELING OF THIS

COUNTRY.

A FUNDAMENTAL CHANGE IS CURRENTLY TAKING PLACE IN SOCIETY: FOR THE FIRST

TIME IN HISTORY, HALF OF THE WORLD’S POPULATION LIVES IN BIG CITIES, DENSE AND

HIGHLY URBANIZED.

IN THIS CONTEXT, JAPAN AND, MORE FOCUSEDLY, THE CITY OF TOKYO, PROVIDE

IMPRTANT AND INTELIGENT ARCHITECTONIC EXPERIENCES THAT RAISE AT LEVELS

NEVER SEEN BEFORE THE INVESTIGATION OF PROBLEMS CAUSED BY THE NEED OF

SPACE TO DWELL IN BIG CITIES.

IMPORTANT STEPS TAKEN ON EVERY HOUSE PROJECT FOR A BIG CITY START FROM

CURRENT AND CULTURALLY SPECIFIC NOTIONS OF PROXIMITY, PRIVACY AND

RELATIONSHIPS BETWEEN RESIDENTS. SPACE HAS EVOLVED. IT IS NOT SUBORDINATED

TO BOUNDARIES AND MATHEMATICALLY CALCULATED FUNCTIONS ANYMORE. NOTIONS

OF LIMIT ARE INCREASINGLY APPROACHING A TRANSPARENCY THAT IS NOT MATERIAL

BUT WHICH EXTENDS ALONG THE ABSTRACT FIELD OF THE INFORMATION NETWORKS

OF URBAN AREAS.

DESPITE ITS RECESSION, JAPAN IS TODAY ONE OF THE MOST DEVELOPED ASIAN

COUNTRIES AND CULTURALLY PROXIMATE TO THE OCIDENTAL WORLD. AS AN

ESSENCIAL FORCE OF THE ARCHITECTONIC GROWTH, EVERY IDEA PROPOSED AT

THE EVOLUTION PROCESS OF JAPANESE CITIES CONTRIBUTE TO A NEW MEANING OF

DWELLING AND INFLUENCE, DIRECTLY OR NOT, A GLOBAL KNOWLEDGE OF LIVING

IN URBAN AREAS. MOST OF ALL, THEY ARE EXPERIENCES THAT CHALLENGE SOCIAL

STABLISHED NORMS AND OFFER NEW ALTERNATIVES THAT SIMULTANEOUSLY SHAPE

THE LIFE OF THE RESIDENT AND THE FACE OF THE CITY.

M A S T E R D I S S E R TAT I O N + E D I T O R I A L D E S I G N

O N T H E W E B : H T T P : / / I S S U U . C O M / D I A N A S S / D O C S / J A PA O _ C A O S _ C O M O S

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P Á G I N A S B R A N C A S 2 0 0 8/ A R C H I T E C T U R E P U B L I C A T I O N B Y A E F A U P + Q U I D N O V I/ J A N U A R Y 2 0 0 9 / P O R T O , P O R T U G A L

DIRECTION: DIANA SOUSA

EDITOR: QUIDNOVI + AEFAUP

PREFACE: DIANA SOUSA AND JORGE HALL

EDITORIAL: JOSÉ MANUEL SOARES

TESTIMONIALS: ALEXANDRES ALVES COSTA / TERESA FONSECA / MANUEL CORREIA

FERNANDES / MANUEL GRAÇA DIAS / DOMINGOS TAVARES / NUNO GRANDE / RUI BRAZ

AFONSO / FRANCISCO BARATA FERNANDES

PROJECTS’ AUTHORS: ADALBERTO DIAS / ALBERTO LAGE / ALEXANDRE ALVES COSTA

AND SÉRGIO FERNANDEZ / CAMILO REBELO / CARLOS GUIMARÃES AND LUÍS SOARES

CARNEIRO / CARLOS MACHADO / CARLOS PRATA / FILIPA GUERREIRO / FRANCISCO

BARATA FERNANDES / GONÇALO FURTADO / JOSÉ MANUEL SOARES / NUNO PORTAS,

LUÍS VIEGAS, ALBERTO LAGE AND RUI CARDOSO / MANUEL GRAÇA DIAS / NUNO

BRANDÃO COSTA / NUNO GRANDE AND PEDRO GADANHO / NUNO LACERDA / NUNO

VALENTIM / PEDRO ALARCÃO / JOÃO PEDRO SERÔDIO / +MORE

B O O K O F A R C H I T E C T U R E P R O J E C T S B Y FA U P ’ S T E A C H E R S + 2 D AY S S E M I N A R

[ P O R T O S C H O O L O F A R T C H I T E C T U R E ]

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P U B L I S H E D W O R K/ A R T I C L E S / I N T E R V I E W / E V E N T S / D R A W I N G S / T E S T I M O N I A L S

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A C I T Y I N B L O O M + M Á G U A/ S H O R T F I L M S/ 2 0 1 0

‘A CITY IN BLOOM’

TALLIN, JULY 2010 / CINEMARCHITECTURE INTERNATIONAL WORKSHOP

IN COLLABORATION WITH: CARLOS TRANCOSO (PT) / CHRIS AMSTER (GB), DANIEL

BROOKFIELD (GB) / JORGE ALVES (PT) / WILLIAM HENLEY (GB)

SOUNDTRACK: DAM MANTLE (UK)

ON THE WEB: HTTP:/ /VIMEO.COM/31237114

-

‘MÁGUA’

PORTO, OCTOBER 2010 / COMPETITION PRÉMIO ZON 2010

IN COLLABORATION WITH: CARLOS TRANCOSO / JORGE ALVES /MARGARIDA TRAVANCA

/ TIAGO ASCENÇÃO

SOUND: ANDRÉ ALMEIDA SANTOS

CLOTHING DESIGN: ELIZABETH TEIXEIRA / RICARDO ANDREZ

JEWELLERY: LILIANA GUERREIRO

ON THE WEB: HTTP:/ /VIMEO.COM/32670851

W O R K S H O P + C O M P E T I T I O N

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D I Y O S B C H A I R/ A R T O N C H A I R S : ’ M A K I N G C H A I R S ’ D E S I G N C O M P E T I T I O N / P A R E D E S D E S I G N M O B I L I Á R I O / J A N U A R Y 2 0 1 2 / P A R E D E S , P O R T U G A L

WHY

HOW SHOULD WE TALK ABOUT A CHAIR - ABOUT FURNITURE? SURE IT ISN’T EASY TALKING.

PLAIN THINGS ARE BEST. MAYBE THIS COULD EVEN BE MY ARCHITECT SIDE SPEAKING, BUT

THE WORLD NEEDS SIMPLE THINGS. TODAY ALMOST EVERYTHING HAS BEEN INVENTED AND

DEPLETED, AND PEOPLE ARE TIRED OF DECORATIVISM AND FAIRY TALES. TODAY WE NEED CHEAP

AND EASY PRODUCTS ‘CAUSE THERE’S A SERIOUS ECONOMIC CRISIS TO BE DEFEATED.

WE NEED SIMPLE - SIMPLE IN HOW IT’S BUILD, HOW IT LOOKS AND HOW IT FEELS. AND A CHAIR

SHOULD BE JUST AS THAT, COMFORTABLE AND CLEAR.

THE GREATEST INVENTION ON THE ART OF DESIGNING PRODUTCS TO SELL, BEEING IT

ARCHITECTURE OR ANY OTHER KIND OF DESIGN, IS THE INTERACTION GAME WITHIN THE USER

AND THE PRODUCT. IF PEOPLE ARE TIRED THEY SURE NEED A PUSH AND GIVING THEM THE

CHANCE TO PARTICIPATE ON THEIR PRODUCT ASSEMBLY IS A GREAT WAY OF GETTING THEM

INTERESTED.

AS AN ARCHITECT I DESIGN FOR SOCIETY, FOR THE WELL BEING OF MY CLIENTS. THIS SAID,

THE DIY CHAIR - DO IT YOURSELF - IS AN AMBITION, IS A WAY OF TAKING MY SPACE INTENTIONS

AND IDEAS TO A BIGGER SCALE. THIS IS A WAY OF TAKING CHEAP DESIGN TO A COMPLETELY

DIFFERENT LEVEL, AN APPEALING ONE.

OSB CHIPBOARD - ORIENTED STRAND BOARD - IS THE ELECTED MATERIAL. IT IS AN ENGINEERED

WOOD PANEL PRODUCT MADE OF RESIN-BONDED WOOD STRANDS OR FLAKES. THE WOOD

STRANDS ARE PRECISELY CUT AND ORIENTED IN ORDER TO PRODUCE A WOOD PANEL WITH

UNIFORM STRENGTH AND DENSITY.

OSB MANUFACTURERS HAVE AN ENVIRONMENTALLY FRIENDLY CONSTRUCTION. THE RESINS

USED IN TO MAKE IT PRODUCE VERY LITTLE EMISSIONS. IT CAN BE MANUFACTURED FROM A

WIDER VARIETY OF TREE SPECIES THAN PLYWOOD, INCLUDING FASTER-GROWING SPECIES. IT

CAN ALSO BE MADE FROM YOUNGER TREES AND USES MORE OF A TREE’S WOOD. AS A RESULT,

THE FORESTS USED TO PRODUCE OSB CAN BE MORE READILY RENEWED THAN THOSE USED TO

PRODUCE PLYWOOD.

ORIENTED STRAND BOARD CAN AND SHOULD BE RECYCLED.

WHAT

THIS TIME YOU ARE PART OF THE DESIGN. 3 SIMPLE PIECES THAT YOU CAN LOCK TOGETHER

ANYTIME YOU WANT.

NEED ANY SPACE FOR A DANCE PARTY? PUT IT RIGHT INSIDE YOUR CLOSET. NEED CHAIRS FOR

A BIG BIRTHDAY PARTY? PICK AS MUCH HAS YOU CAN FROM THE GARAGE AND SET THEM UP.

AND IF YOU FEEEL THE NEED FOR A NEW CLEAN DESIGN LOOK AT HOME JUST LEAVE IT THERE

TO WARM UP YOUR FEELINGS. IMAGINE YOUR BEST FRIEND IS ORGANIZING A BARBECUE AND

DOESN’T HAVE ANY SPARE CHAIRS.IT IS YOUR CHANCE TO PICK YOUR FAVORITE DESIGN CHAIR

AND SHOW IT UP TO EVERYONE. YOU WILL IMPRESS THEM!

HOW

THERE’S NO NEED FOR SCREWS OR FIXTURES. YOU WON’T EVEN NEED ANY OTHER TOOLS

BESIDES A SIMPLE/INDUSTRIAL SAW. ITS ASSEMBLY BECOMES VERY SIMPLE DUE TO THE VERY

CAREFULLY PLACED AND DESIGNED FITTINGS THAT ALLOW FOR THE PARTS TO LOCK TOGETHER,

LIKE A WOOD PUZZLE.

5 EASY STEPS: ONE SHEET OF OSB CHIPBOARD, CUT A STRIP OF 35 CM WIDE. CUT IT AGAIN IN

3 PIECES (35/35, 40/35 AND 90/35 CM), DRAW AND CUT THE FITTINGS AND YOU ARE READY FOR

ASSEMBLY.

AND IF YOU FEEL THE NEED FOR SOME MORE COLOR IN YOUR LIFE, JUST PAINT IT AS BRIGHT/

DARK AS YOU WANT.

THIS CHAIR ALLOWS FOR TAKING APART AND REBUILDING AT ANY TIME. TAKE IT WHEREVER YOU

WANT.

P E R F O R M AT I V E A R C H I T E C T U R E + T H R E A D PAV I L L I O N S + C O N C E R T S PA C E

I N C O L L A B O R AT I O N W I T H V I T O R D E C A S T R O L O P E S ( P T ) / S O R A I A F E R N A N D E S ( P T )

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C U R A T O R ’ S L A B S T O O L+ H O M E O F F I C E/ F U R N I T U R E D E S I G N/ 2 0 1 1 - 2 0 1 2

C U R AT O R ’ S L A B S T O O L F O R ‘ C O N S T R U I R J U N T O ’ W O R K S H O P B Y E X Y Z T/ S T O O L + K I T C H E N B E N C H / G U I M A R Ã E S , P O R T U G A L / F E B R U A R Y 2 0 1 2

H O M E O F F I C E/ O VA R , P O R T U G A L / N O V E M B E R 2 0 1 1

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Recommendation letter I’m honored to inform you that the applicant Diana da Si lva Sousa was my student in the subject “Projecto 4” during the academic year of 2008/2009 in “Faculdade de Arquitectura da Universidade do Porto” (FAUP), Portugal. Besides her human skills, she proved to be remarkably efficient, adding a great amount of accuracy, sensitivity, effort and persistence in her developed work. Therefore, I’m strongly legitimated to affirm that she fulfills all the required skills to be successful at any work she challenges herself to accomplish. Accordingly, without hesitation, I recommend her acceptance. Porto, 30th of March 2012

Nuno Brandão Costa (Architect, assistant teacher in “Faculdade de Arquitectura da Universidade do Porto (FAUP)” - Portugal, invited teacher in “Escuela Superior Técnica de Arquitectura da Universidade de Navarra” - Spain)

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May 1st 2012

To Whom It May Concern:

I have had the pleasure of working with Diana Sousa on two occassions. First when she was a student at Porto University and head of the Dédalo magazine.

As part of their work, Diana and her team did an expert, dedicated and meticulous job. She invited some of the most engaging and interesting architects of my generation to speak about their work and in doing so ideas, strategies and attitudes that had been forming disparetely came together in Porto and cemented. The discourse was fascinating and I was extremely impressed by the vast organisational achievement of the conference, funded and sponsored entirely by the students.

Following this first encounter, I invited Diana Sousa and her partner in Dédalo, Nuno Pimenta, to work together to curate the Porto satellite exhibition of the Lisbon Architecture Triennale. I did so because I believed that Diana’s commitment and positive energy together with her sharp attitude, discerning taste and youth would bring a great deal to the project of Triennale. Reaching out to a younger audience, connecting with students and promoting young talent is at the top of my agenda for the Triennale.

While on this occasion the Porto satellite did not continue, I would absolutely recommend Diana as an employee and wish her the very best in what will surely be a wonderful career.

Yours truly,

Beatrice Galilee

Chief Curator

2013 Lisbon Architecture Triennale

Beatrice Galilee

TRIENAL DE ARQUITECTURA DE LISBOA Campo de Santa Clara, 142-145

1100-474 Lisboa

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D I A N A S O U S A

D I A N A S O U S A . M A I L @ G M A I L . C O M

C A R G O C O L L E C T I V E . C O M / D I A N A S O U S A