The school project involves the rehabilitation of a group of five buildings within Tapada da Ajuda, respecting the existing architectural morphology and typology while adapting it to new requirements, establishing a symbiotic relationship between the school and the surrounding natural environment.
This mixed-use residential and commercial building is conceived to define and protect a new landscaped public square, creating a place where urban life can unfold spontaneously.
Set on a west-sloping site, the house rests lightly within a garden, establishing a direct relationship with nature, marked by the breathtaking views over the sea.
The Sines Data Center is a large-scale data centre of considerable technical complexity. It is a building populated by servers dedicated to data storage and computing — a space commonly known as the cloud.
This seven-storey residential building, supported on columns above a ground-level base, creates space for a semi-public garden on top of the plinth, reinterpreting the typology of Lisbon’s main modernist avenues of the 1950s.
With the north and south façades expressing opposing conditions — closed and open, respectively — the end façades are characterised by a sculptural articulation of the concrete wall, seeking a delicate balance in the way its weight is conveyed to the ground.
This project for two houses takes shape between the desire to open up views towards the surrounding landscape and the enjoyment of garden terraces extending across the different levels, seeking a balance between privacy and complete immersion in the landscape.
The house emerges from two voids: a central courtyard “embraced” by the social areas, connected to a “semi-courtyard” containing the swimming pool. It is within this central courtyard that the views of those moving through the surrounding spaces intersect, creating a place where the daily energy of life in the house can be felt.
The intervention in Rossio de Aveiro focuses on the restructuring of an important public space for the city, combining urban amenity with ecological balance, rooted in the underlying environmental systems that support and surround the city.
The house is defined as a material and tectonic volume, with a faceted and articulated geometry, firmly anchored to the terrain. Conceptually, it evokes the presence of the defensive structures that punctuate this stretch of coastline, establishing a close relationship of vigilance between land and sea.
A volume embedded in the natural terrain and a floating volume supported by the first. Both are made of exposed concrete, differentiated by the textures created by their distinct formwork and by the tones of the applied pigments.
On a historically undeveloped plot, the project completes the urban frontage of Avenida Santos Dumont, seeking to acknowledge and respond to its specific context: the boundary between the city and the railway corridor.
Conversion of the former industrial buildings of an olive oil factory into housing, preserving the memory of the original façades. At the rear, an expressive garden takes over the courtyard and “climbs” onto the balconies of the different floors, reaching the upper terrace.
Through a process of fragmentation, the inner world of the house is revealed. This is expressed through a design based on the idea of partially eroding the maximum permissible building volume, by introducing a sequence of courtyards, partially reducing the upper floor, and almost completely dividing the ground floor into two halves.
While the street façade presents itself as a solid volume, articulated by the rhythm of projecting vertical and horizontal stone elements, the rear façade regains a sense of lightness, extending the interior communal spaces through large glazed openings and generous balconies.
The project involves the rehabilitation of the 19th-century chalet of Queen Maria Pia of Savoy, which is intended to remain the dominant element structuring the site and its external views, as well as the construction of two new residential buildings on the same plot.
Rehabilitation of a building constructed in the 1940s, forming part of Ressano Garcia’s plan for the urban expansion of Lisbon, with the apartments reconfigured and adapted to contemporary ways of living.
Originally comprising four apartments, the building was converted into a single-family house. The main façade was preserved, while the remainder of the building was entirely rebuilt, taking advantage of the juxtaposition of two distinct periods.
In the conversion of an office building by Tomás Taveira into apartments, the aim was to establish a broader relationship between the building and the city, evoking Lisbon’s characteristic openings, materiality, and the sublimation of its lightness and luminosity.
Redbridge School, a new international school in Campo de Ourique, was designed to promote a human-centred and innovative approach to education, focused on creativity, learning, multilingual exchange, and the role of art, within a safe and welcoming environment for children.
The project is based on the idea of a “building of viewpoints”, taking the possibility of looking out over the surrounding landscape to the extreme, while creating platforms—terraces and balconies—from which to experience the extraordinary views.
The building addresses the transition from a conventional block composed of two buildings with an internal courtyard to a single building with two façades, proposing a new covered public passageway.
The house was built in red concrete, with a pitched roof, seeking a conceptual archetype closer to the area's original summer houses.
At the top of one of the buildings at the crossroads of Avenida dos Estados Unidos da América and Avenida de Roma, a set of spaces referred to as "ateliers" in the original design is adapted for residential use, revealing once again the beauty that had been lost.
Set on the dunes of the Costa Nova seafront, the new Socio-Cultural Centre offers a contemporary reinterpretation of the traditional palheiro building culture, in a landscape-building made entirely of timber whose walkable roof becomes a public route with views over the sea.
The new Abrantes Market is at once a building and a street. Essentially, it is a street shaped and covered by a shell of exposed concrete painted white.
It is a five-storey building with two radically different façades: the "public" one in white lioz limestone and the rear one in glass, linked by an interior world of exposed concrete, punctuated by elements in birch wood.
The cod aquarium is a building that connects the Maritime Museum and the CIEMAR research centre within a dispersed complex united by the themes of the sea and fishing.
The rigidity of the existing pavilions, occupied by classrooms like genuine "learning machines", contrasts with the "informality" of the new part, which connects the pavilions and fosters "informal learning" through the collective spaces.
Although the garden is something of a commonplace, the questions of the "boundary" and the "enclosure" are, in this case, particularly pertinent.
Where the successive linear "malls" intersect, their meeting points generate the Squares, spaces of confluence. Natural light descends onto them from the peculiarly shaped opaline glass roof lanterns, which hover above and break through the roof.
The main particularity of this house lies in the dialectic between its "natural" underground half and its raised, "artificial" upper half; between its introverted, intimate face of half-light or reflected light, and its open, permeable and luminous face, from which it becomes possible to look out to the distant horizon.
The building was conceived as an opaque, black, protective orthogonal shell that creates a strong sense of interiority and privacy. The necessary transparencies were cut into the corners, inhabited by landscape fictions.
The house is composed from the Alentejo repertoire: white matter, light and shadow, thickness and mass, texture. Inside, the spaces follow one another between "allusions" to the traditional pitched-roof volume and variations in scale and depth that transform the atmosphere of that intentionally sober inner world.
The Cascais Conservatory occupies the former Pensão Boaventura building, which has been fully rehabilitated. The new multipurpose hall was built as a simple extension of the original house's stone base towards the palm grove.
This house in Sagres responds to the harsh climate of the Algarve coast, departing from the tourist typologies common in the region.
The building reflects a clear intention to embrace its "displaced", strange and unexpected character. It is a large volume entirely clad in zinc which, from its site, registers only a response to the undulation of the terrain, following the sinuous topography with its form.
In this project for a new Library, the rehabilitation of a Chapel and a Youth Forum, the aim was not merely to design a new building but, above all, to articulate the diverse volumes of a context that lacked any apparent sense of unity.
The building reveals an ambiguous character. On the one hand, it "dissolves" and accepts the prevalence of the natural elements; on the other, it asserts its presence as an artificial element of an abstract nature.
The house develops an intimate relationship with the ground plane: it buries itself as it rises, becoming itself the ground on which one walks; it lifts off as it descends, projecting out from the slope.
On a long, narrow plot, the house unfolds as a serpentine volume that "slides" down the slope.
The line-building runs along the various directions of the strange polygon, seeking out its geometry. In its apparent movement, it settles into segments of variable "state": thick and grounded, thin and floating, or flush with the ground.
Water, visible from all of the building's volumes, becomes the thread that ties the Museum experience together. Being, in fact, the very basis of its maritime theme, it also offers a potential exhibition space.
Given the autonomy observed among the existing buildings, we wanted this new school to enter into a clear dialogue with its neighbouring buildings, providing a first impetus towards a cohesive vision for the whole.