Portfol io Architecture Sónia de Castro Alves

IT’S THE BEGINNING FOR EVERYTHING

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Content

Curriculum Vitae 4

Competitions:

Performance Architecture 6

Pop up! 8

Shelter 10

“Promenade Vulcânica” 12

Academic works:

Urban Planning - The Operative Unit: Interface zone 14

Library Vila Nova de Gaia 18

Hotel 5* 24

Multifamily Housing 28

Drawings 32

Travel book 33

Photography is... 34

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Personal Information

First name(s)/Surname(s)

Address

Telephone(s)

E-mail(s)

Nationality

Date of birth

Desired employment /

Occupational field

Education and training

Dates

Title of qualification awarded

Principal subjects / occupational skills

covered

Name and type of organisation

providing education and training

Level in national or international

classification

Dates

Principal subjects / occupational skills

covered

Name and type of organisation

providing education and training

Dates

Principal subjects / occupational skills

covered

Name and type of organisation

providing education and training

Sónia de Castro Alves

rua Vila Ana, 205, 4810-715 Guimarães (Portugal)

(+351) 253523232 Mobile | +351 916490320

sonialves87@gmail.com

Portuguese

25 June 1987

Architect/Architecture

15/09/2008 - 31/07/2011

Master Degree in Architecture

Architecture, Construction, History of Portuguese Architecture, Theory, Urbanistic,

Critical Studies of Álvaro Siza, Rehabilition of Buildings

Faculdade de Arquitectura da Universidade do Porto (University)

Via panorâmica S/N, 4150-755 Porto (Portugal)

ISCED 5

15/09/2006 - 31/07/2008

Architecture, Construction, Drawing,

History, Ergonomics, Theory

Universidade Lusíada Vila Nova de Famalicão (University Architecture and Arts)

Largo Tinoco de Sousa, 4760-108 Vila Nova de Famalicão (Portugal)

15/09/2005 - 31/07/2006

Architecture, Geometry, Drawing,

History, Mathematics

Universidade Lusíada do Porto (University Architecture and Arts)

Rua Dr. Lopo de Carvalho, 4369-006 Porto (Portugal)

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Personal skills and competences

Mother tongue(s)

Other language (s)

Social skillsand competences

Organisational skills and competences

Computer skills and competences

Artistic skills and competences

Other skills and competences

Additional information

Portuguese

English B2 Spanish C1 Italian A2 French A1

Great ability for cooperation and teamwork;

Willingness and great ease to adapt to new places.

Ease in managing multiple tasks or projects simultaneously

Excellent skills in:

Autocad;

Archicad;

Adobe Photoshop;

Adobe Indesign;

Artlantis Studio;

Coreldraw;

Sketchup;

Rhinoceros + vray

Pratice freehand drawings;

Contemporary dancer (Participation in several pieces)

- Participated in activities “Universidade Junior” as monitor at Faculdade de Arquitectura da

Universidade do Porto (Oporto), for two years. Under guidance of Professor José Laje and

Teacher Clara Vale

- Publication of photographs in the book, “A vida no Campo”, Álvaro Domingues 2011;

- Illustration a book of poetry Haiku, “A Firefly Lights the Page”, Janak Sapkota, February

2012;

- Participation in Workshop: Humanitarian Architecture (October, 2010) organized by Facuk-

dade de Arquitectura da Universidade do Porto (FAUP);

Participation in competitions like:

- 20th Pladur Uralite Prize, student ideas competition, Oporto;

- Go Architecture v.02 (48 hours) 2010, international ideas competition, Oporto;

- Barraca da Queima Faup 2011, ideas competition, Oporto;

- IMOV Lanzarote, international ideas competition, January 2011;

- Shelter 13th international ideas competition, Tokyo, July 2011;

- Pop up (creative landscape), international ideas competition, Guimarães, September 2011;

- Performance Architecture CEC, international ideas competition, Guimarães, January 2012;

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International ideas competition Performance Architecture (CEC)Guimarães (Portugal) . January 2012

R e a d y m a d e b i g

in colaboration with: Paulo dos Sousa

It is intended with a symbolic and strong act to invite the civic participation in the public space.

The concept is simple: a group of boxes of several di-mensions supported by a crane.

Observing any urban metropolis, it is juxtaposed on its multi-faceted layers of objects, the presence of these protruding metallic structures, almost as “Tatlin towers.” However, their impressive looking is almost unnoticed. Their constant presence makes them to fall asleep to our eyes and become “ordinary”. Currently Europe is in a period of economic and social convulsions. Increase in unemployment; Crisis in the construction sector. Alongside these events comes the need for reflection and revision of the dogmas on which our society is structured. Perhaps the enormous miracle of technological developments that we have witnessed at XX century needs a counterpoint of cultural and ethical evolution. The use of the “cranes” needs to be rethought. The placement of a crane in a public square is a Ready Made Big. It reflects the need to rethink the meaning of this object-synecdoche and brings this thought to the public space.

In order to subverterthe use of this structure, a heteroge-neous group of people (personalities linked to the most diverse branches of culture in Portugal, local communities,

traders, students, etc…) will be challenged to produce cultural objects, in a phase antecedent to the structure installation. A cardboard box will be provided. It can be used individually or collectively, endowing the freedom of creative expression to the involved. A message, a drawing, a text, the use of only one face, or the use of six.

“Express yourself.” In just one set, it is intended to join high culture with pop culture. Anonymous and Famous. Youths and Adults. Dissidents and Conservatives (and dissident conservatives). This diversity of experiences would be dis-posed along supported by the crane. It is expected to place a total of 450 boxes treated differently and unpredictably. A portion of these boxes will be placed untouched in their raw condition, so that they can be the target of intervention for those who wish.

This installation can be adapted to various locations around the city with the proper proportions. Preferably it is sugges-ted the Largo John Franco. This small square, in the old centre of Guimarães, is on its perimeter filled with traffic and car parking. For this reason, the unoccupied interior is conditioned. With this installation, is claimed and enhanced as public space.

435 boxs

1 crane

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Internation ideas competition - Pop up (creative landscape)Guimarães (Portugal) . September 2011

P o p a r t !

in colaboration with: Marisa Costa

I tried through the proposal that architecture and the spa-

ce until ‘empties’ win one contemplative function, historic

and iconographic, in order to find some connection with

labor market through the creative activities which could

correspond to the improvement of the local development.

The same approach brings us (Vimaranenses) and the

tourist more satisfaction.

What do tourist looking when they visit Guimarães? What

do they have to offer us? The tourist goes out looking

for the array of ‘ambience’ and unexpected happenings,

translated into groups of images and symbols that they

help in the proliferation of spaces and the diversification

of tourist activities. What is the way that tourist see this

world? It is through the illusions, the longing for escape

from the commonplace and founded ‘unrealistic’, which

take us to choose the destiny.

This proposal comes in order to give the importance of

belief and to prove that the architecture is not just a

visual product but is a group of materials and spatial ex-

periences that must be experienced and appreciated.

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wc

kitc

hen

reading area room

loungearea

floor -1 ground floor (0)

organization

13th International Architectural Design Compertition for students Tokyo . July 2011

S h e l t e r i n t h e T h a r d e s e r t

The shelter can be described into two main aspects. First, the shape which is mainly the result of the selected environment (the Thar desert in India). Characterized by a very peculiar architecture, often confusing and with the predominance of hot and vibrant colours. The idea comes from the same principle of the labyrinth, attributing thus a domestic connotation and of refuge, taking into account the thunderstorms of sand and rain which are very much probable to happen in those environments.Secondly, the materials composing the shelter are an-other crucial feature in the description of the shelter. The pigmented red concrete in the exterior of the shelter to-gether with its regular shape highlights the shelter in the sandy surrounding. Concrete without any treatment is the material used inside the building, creating a cold and the coarse aspect in the interior of the shelter.Both features are vital for the distinguishable characteris-tics of the shelter.

One last factor, which needs a point of consideration is the natural lightning condition. Thus, for the lightning purpose small openings are created in the central part of the shelter. This celestial and magical environment, gives a well-being feeling and a freshness sensation as the in-dividual enters the ground floor. The same happens when one climbs up in the building, in the first floor, where the outer landscape delights the wonder.

ground floor (0)

least one floor plan (-1)

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Internation ideas competition: International Museum of Vulcanoes lanzarote . Espanha . January 2011

in colaboration with: Juliana Rocha . Paulo dos Sousa IMOV 1095

“ P r o m e n a d e v u l c â n i c a ”

-1.

Pis

o1:

1000

-2.

Pis

o1:

1000

1

2

34 5

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7.

8.

9.

10. 11.

8.

N

Ground floor

floor -1

floor -2

The choice of placement for this museum is based on the development of two complementary themes: the ‘path’ up to and inside the building and the treatment and selection of the views towards the landscape.

At the top of the hill, the museum disappears and its entry arises through the presence of a small volume, being the first of successive events that will traverse be-fore reaching the lobby which includes the crossing of a crater followed by a short covered passage that makes the transition to the built space. It is the expression of a symbolic invitation to the knowledge and curiosity which constitute the very essence of a museum.

The arriving terrace is closed. The museum itself con-tains a strong component of closure. However, there are openings that enhance exceptional panoramic long-range views of the extraordinary volcanic landscape, which gra-dually appears as an unexpected surprise for visitors.

Inside, the museum is structured in order to allow that the exhibition’s organization which is done in a narrative sequence of spaces with different characteristics that are developed in a downward direction. However, the location of vertical accesses in intermediate points permits a flexi-ble use of space, allowing other exhibition strategies.

Legend:

1. store2. hall3. viewpoint4. restaurant5. cafetaria6. temporary exhibition room7. audovisual room8. permanent exhibition room9. library10. workshop

11. area loading and unloading

scheme facade

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U r b a n P l a n n i n g . T h e O p e r a t i v e U n i t - I n t e r f a c e Z o n eAcademic Work 5th yearOpOrtO, june 2011

orientation: Architect Luís Pedro Silva . Architect Rui Mealhain colaboration with: Ana Rita Freitas . Luis Duarte . Marco di Giovanni

[Reading plans]

Identified problems:

- Excess of zoning maps;- Contrasting asymmetries on the territory;- Disconnection among equipment;- Mobility patterns give over-value to the au-tomobile;- Lack of public space; - Pavement narrows with many obstacles;- Bad public illumination – insecurity;- Lack of parking;- Imprecision of road hierarchy;- Split between two sides of street Circunva-lação;- Disarticulation of transport network;

2. Individual work: Interface zone

[Potentialities]

- There are big available areas, pos-sible to intervention; - Ease to the accesses;- Existence of anchor building (hos-pital, faculty);- Intense presence of green zones;- Streets with many trees, enhancing the space;

One of the aims of this proposal goes through a redefinition of road axis into a logical landscape which intends to declare its continuous green axis.According the strategy of redefini-tion of street Circunvalação, it is priority to assign a qualified space of pedestrian area, which is cur-rently in fault.

[System Park & Ride]

The expansion of line north of Circunvalação will have articulated with a system Park & Ride stra-tegically inserted into redesign of node highway (A3). It is unders-tood that the city and in particular this zone will be favored by in-serting the train already built (line Leixões), and the possibilities to extend the subway line.

Materials:granit cube

travertine

deck

betuminous

paved in stone

green space

granite block

Detail: Interface Zone

station

eixo arborizado e de estar da circunvalação

guia em granito

terreno compactado

microcubo granito 6x6cmtraço secomassame de betãobrita

caldeira da árvore

sistema de iluminação

deck de madeira

banco em betão

contra-guia de granito

almofada de areia

massame debetão

tout-venant

section 1

section 2

section 3

section 6

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L i b r a r y V i l a N o v a d e G a i aAcademic work 4th yearVila Nova de Gaia, June 2010

orientation: Architect Carlos Guimarães . Architect Carlos Nuno Lacerda Lopes

Concerning to the Project IV, we have developed a library at suburbs of Gaia, between vl8 and the street José Falcão. The proposal is related to the experiences of full and empties urban spaces. To emphasize what the lands-cape has the best; the building was lifted up. In this way, the space is shared between the reading room and the educational area. These are spaces privileged by silence, solar orientation and landscape (to see in one side Gaia and another side Oporto, two different realities).

The light is the most important subject at the library. I used the feelings in the architecture to create an impact in the user, that is, when we enter the hall, the empathy for the space is it provoked by double height and effect of light.

Sensations, study, thinking, idea…As an explorer stayed happy with yours discoveries, here, each step that we will give, happens the same, the sur-prise of the supposed unknown.And the ‘mute silence’ it is finally found. Might be to the strong power which the landscape reaches us through the shape.

OPORTO

Vila Nova de Gaia

CAFETARIABOOKSTORE

W.C

ADMINISTRATIVE AREA COMMON AREA

HALL

AUDITORIUM

SUPPORTING

SERVICES

OFFICESRECEPCION

RUBBISHCHANGING ROOM STORAGE

DO

CU

ME

NTA

TI O

N

CE

NT

ER

ADULT SECTION

CHILDREN’S SECTION

MULTIM

EDIA SPACE

section 1

section 2

section 3

section 4

Roof plan

First floor (1)

Ground floor 0

roof plan

floating floorpolyethylene foam blanketvapor barrierregularizationinsolationregularizationconcrete slab

marblecement glueregularizationinsolationgeotextile matself-adhesive asphalt roofing feltconcrete slab

granite paving flagssandtout venantgravelcompacted soil

A B

A’ B’

C C’

D’ D

section DD’

section CC’

section BB’

section AA’

soilgraveltout venantsand

screed

geotextiledrain pipe

blade with drainage geotextile

concrete slab

screed on concrete with mesh sun

self-adhesive as-phalt roofing feltgeotextile matinsolationregularizationcement gluemarblemarble pladur 25mmmetallix profile (fixed)insolationwaterproofinginsolation 5 mm

gravel

floating floorcement glue

vapor barrierregularizationinsolationregularization

fixed framework

rockwool 25cm

Pladur 2 cm

thermal insulation 5cm

leveling floor i=1.5%waterproofinginsolation 5cm

vapor barriercement screedsupport

concrete slabs

construction details

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H o t e l 5 *Academic work 3rd yearOpOrtO, june 2008

orientation: Architect Ricardo Caetano de Freitas . Architect Paulo Silvaselected for annual exhibition Lusíada

We just see what we want to see and hear what we want to hear! When we are at Leça da Palmeira it is not to listen the noise of refinery, but the sea and visu-alize the sky and the land. These are the elements with strong impact, which take us to “the path of dreams and sensations”.The project is marked by two volumes, and we can call the ‘two big walls’ the separation of the materialist world to the dream world.The main objective of the project is based on the trans-parency between the landscape and the interior of the proposal, i.e., to show what Leça have the most beautiful, its wonders.

The idea of dockside is the main starting point for this project, to create a platform that brings us until the sea. With a purpose that’s reflected into symbolic value, in other words, from the dockside we enter in a boat (ho-tel), then we unload merchandise (luggage) at the end the person is tempted to wander through the space, and being confronted with several prospect from the outside and happenings.I tried to emphasize just what really matters, which is nothing more than the sea. The building is underground, and this way is protected from the weather of outer en-vironment.

LEÇA DA PALMEIRA

SEA

PETROGALADMINISTRATIVE AREA

ADMINISTRATIVE AREA

RESTAURANTCOMMON AREA

ROOM

CHANGING

ROOM

OFFICES

LAUNDRY

AREA LOADING AND UNLOADING

W.C

LIVING ROOM FOR STAFF KITCHENAUDITORIUM PANTRY

STOREROOM

HALL

BAR

C O MM

O N A R E ASPA

CHANG

ING RO

OM

ESPLANADE

OBSERVATORY

idea - dockside

ROOMRO

OMROOMRO

OMROOMRO

OMROOMRO

OMROOM

ROOMRO

OMROOMRO

OMROOMRO

OMROOMRO

OMROOM

Ground floor (0)

least one floor plan (-1)

least second floor plan (-2)

Construction details - module room

section 1

section 2

section 3

A A’

wooden slats zinc plateajustable pedestals leveling floor

wooden planks covering

wood joist

slatted wooden

tecsoundgypsum plastergypsum board dampers rockwoolcalha em metal

floating floor (jatobá wood)

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M u l t i f a m i l y H o u s i n gAcademic work, 2nd yearVila nOVa de FamalicãO, February 2007

orientation: Architect Rui Bianchi . Architect Maria do Carmo

The proposal aims to develop a Multifamily Housing, in the center of Famalicão (Portugal), more specifically close to the square D. Maria II and perpendicular to the street Ferrador. The land is marked by a mesh of the XX century. The idea is based on two important concepts: first, the urban inclusion and secondly, its continuity.

Thus, emphasizing the sun exposition and the direct communication with the surrounding area and through the alignments. The main point is to offer quality to the city, which have been expanded for half a century by the pressure of the real-states interests.

Therefore, the solution results from the studies on the street facades (square D. Maria II), and, I understand that the city in fact, works like a ‘stairway’, with ups and downs. The land is limited by two buildings, one with 10 meters and on the opposite side, another with 4 meters of height.

The idea is thus based on tree sequences, one part with tree floors, with two and the last one with one floor, to give the idea of continuity.

VILA NOVA DE FAMALICÃO

P A R K I N GCOMMERCE + HOUSING

HOUS I NG HOUSING

D I S C O N T I N U I T Y

Second and Third floor (2,3)

Ground floor (1)

section 1

section 2

section 3

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D r a w i n g s

Academic work 1st e 2nd yearOpOrtO/FamalicãO 2005/2006

Orientation 1st year: Teacher Joana Pimentel . Professor Dr. Joaquín Soria TorresOrientation 2nd year: Architect Luis Manuel Lourenço Serro . Professor Dr.º Bernardino da Costa Gomes

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T r a v e l B o o k Academic work 4th year História da Arquitectura PortuguesaOpOrtO, 2008

orientation: Architect Alexandre Alves Costa . Professor José Miguel Rodrigues

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Photography is...

“Every portrait that is painted with feeling is a portrait of the artist, not of the sitter”

Oscar Wilde

“A photograph is a secret about a secret. The more it tells you the less you know”

Diane Arbus

“Photography can never grow up if it imitates some other medium. It has to walk alone; it has to be itself.”

Berenice Abbott

“There are always two people in every picture: the photographer and the viewer.” Ansel Adams

like an expression

art

memory

moments

time

Guimarães, Portugal(+351) 916490320sonialves87@gmail.com