LISBON

Brief 

Following the makers’ space and accommodation project in Shoreditch for first 

semester, we realised the impact of unconscious urban planning can bring both 

positive and negative consequences. In particular, when an area has seen an influx 

of creative people forming a new type of community, the area evolves into a trendy 

destination not just for locals and tourists but as well as the people in the art, 

music, fashion and design industry. Private land owners then use the rich cultural 

identity and booming immigration of people and small businesses as parts of their 

marketing strategy in building new real estates which not only affects the housing 

market but could also be damaging to locals’ livelihood and community. 

In foreign context, Portugal is one of the countries in Europe that is braving its 

way from financial crisis. Its government started a country wide rehabilitation of 

abandoned districts and renovate old spaces as cultural and social centres. While 

they were trying to revitalise the areas without conforming to privatisation, to 

avoid the rise of real estates, we know that gentrification is unavoidable in a place 

where the government relies on foreign, deep pocketed investors and tourism to 

revive the economy of the country. 

Continuing the theme of makers’ space from first semester, we further analyse the 

dynamics of craftsmanship, tradition and architecture. But as well as to acknowledge 

and study the pattern of the ongoing regeneration in Largo do Intendente, its 

similarity to Shoreditch and how their local industry relates to the city’s urban fabric. 

Most importantly, how we, as future architects should respond to an existing 

urban context that is rich in cultural identity brought and nourished by its local, 

non-native settlers. 

The project requires a scheme for a ceramic school located at an abandoned site at 

the edge of Largo do Intendente in Lisbon’s medieval quarter, Mouraria. Complete 

with studios, classrooms, workshops, common rooms, accommodation and building 

services, the project also has to deliver a particular programme focusing on the 

teaching practice of ceramics.

Site survey and description 

The infamous neighbourhood of Mouraria was a settlement area 

for a lot of foreign immigrants way back in history, including the 

Moors and Jews. And in modern context, majority of the population 

who live there are immigrants from China, Bangladesh, Pakistan 

and Mozambique. It is still nonetheless well known for its authentic 

Portuguese culture, tradition and architecture built within 

centuries of existence both by the native and foreign settlers. 

In 2009, the government started to plan a clean up project for 

the district including Largo do Intendente, which was for several 

years, known as a dangerous part of the city because of its prostitution 

and drugs scene. Seven years later, the square looked cleaner, 

brighter and new which is in complete opposite of the streets connecting 

the square where most local immigrants reside. 

The square itself has become a local trendy scene with famous 

local artists putting up work in the streets, along with new cafes 

and hipster bars popping up. They often use it as a space for open 

concerts, cultural festivals and artist events. The Pombaline style 

architecture buildings around the square, which were originally 

abandoned and run-down were restored and internally renovated 

to house new flats and hostels, as the area sees an influx of new 

people coming and settling in the neighbourhood. 

One of the connecting streets is called Benformoso. These long, 

narrow cobbled street with a parade of unkept buildings depict 

the realities, the area is known for. The facades of the buildings are 

either colourfully painted or decorated with ceramic tiles. Most 

structures are three to four storeys which are mostly extended with 

a loft flat.

1:2000 @ A3

The street is discreetly concealed yet directly connected to the 

main road making it a feasible location for restaurants, bars and 

shops, considering rent and accessibility. The ground floor units 

were filled with small to medium businesses such as butchers, 

green grocers, corner shops, barber shops, textile shops, curry 

shops, bars, cafes and restaurants in its stretch with some Chinese 

takeaways in the southern end marking the start of the little China 

town in Martim Moniz. 

Above of these commercial spaces, it is evident that the upper stories 

were used as flats due to the visual evidence such as laundry 

lines, flower pots and residents casually hanging out in their balconies. 

The type of urban condition and repetitive elements present are 

characteristics of typical London high streets with the exclusion of 

some signs of inhabitation e.g. laundry lines and the applied representation 

go building code and standards, e.g. the width of the 

street. With the distinct facade and atmosphere of this particular 

street, it is hard not to compare the differences in living standards 

and social class of its residents to the inhabitants of the square. 

And if compared with Shoreditch, one can tell that gentrification 

is few years away to Benformoso.

Site Analysis 

Lisbon in a city wide context is irregular in topography, with some 

parts of the city hilly in structure while some areas, continuously 

flat. These are evident through the existence of hundreds of unending 

public stairs, steep streets and trams that travel from the 

highest to the lowest point connecting its downtown and residential 

areas. Considering the non-uniform slope of the land and the 

uneven cobbled streets, most locals, even the elderly, walk around 

the city. The visitability of a building does not rely on the idea of 

making the streets more accessible and comfortable but rather relies 

to the inhabitants’ ability to cope with its environment. 

There is little vegetation in Lisbon, specifically within the site area 

as it is a dense urban city. It is mainly close to the waters that means 

flood damage within the area and water infiltration are potential 

hazards. With an annual average of 117 precipitation days and 774 

mm average annual precipitation, it is advantageous to have above 

street level structures and create a slope in the ground to prevent 

stagnation of rainwater. 

Lisbon has a temperate climate with warm summer and dry in the 

interior regions. There is a mean of 18°C (average of 12 months 

2015-2016) throughout the year with the lowest average temperature 

of 8°C on the month of January and with 34°C as the highest 

during the month of July. 

When researching about the connectivity of the area, we identified 

that the streets passing through the site connecting the square, 

from Rua dos Anjos to Benformoso seemed to be originally a part 

of the main road before they developed the city’s current main vehicular 

road, R. Palma; that connects the square to the main train 

station of Mouraria, Martim Moniz. This is maybe due to the fact 

that after the 1755 Earthquake and fire in Lisbon, they wanted to 

widen the streets and connect major roads to the newly renovated 

Baixa district. 

Getting off at Martim Moniz and walking around the site towards 

Intendente station, it was observed that the district has a massive 

push and pull with its identity, creating gaps and differences on 

the locality’s character and feeling. This could have been due to 

the fact that the regeneration of the area was concentrated at the 

central and civic places like the park and square around Martim 

Moniz station and Largo de Intendente. Hence left the smaller 

parts of the area (streets) to change on its own and be influenced 

by the change brought by its locus points. 

From these, and using Shoreditch as a precedent, we can foretell 

some possible changes within the community of Mouraria in the 

next 20 or so years. Brick Lane can be compared to the connecting 

streets of Rua dos Anjos and Benformoso which when affected 

with regeneration, could damage its heritage and completely alter 

the original communal identity of the site. The effects of the rehabilitation 

of the area could increase the living cost significantly 

that leaves the residents no choice but to relocate while a new type 

of community who can afford will come and integrate to the area. 

Hence, the evolution and change of its urban fabric, both tangible 

and intangible.

Research on programme 

The studio briefly learned the practice of tile making. We came 

across the ceramic tile work known as Azulejos, which is one of 

the products that Portugal is well known of, both for production 

and use in interior and exterior architectural facades of important 

and ordinary places. It has become a reflection of cultural, 

social and economic influences of the Portuguese. More to that, 

the Viuva Lamego tile factory which was originally a pottery 

workshop is located near our site. 

Ceramics is broad in practice. Hence rather than just focusing 

on the making process of ceramics and the spaces needed, 

the research phase explored some institutions in Europe that 

provide both accommodation and workshop spaces, artist in 

residency and experience programme to people who wants to 

develop their skills and knowledge about ceramics, with some 

coming from different academic backgrounds such as Architecture, 

Graphic design, etc. narrowing down specific objectives of 

the ceramics school . 

Royal College of Art 

Harvard Ceramics Studio 

Glasgow School of Art 

European Ceramic Work Centre Netherlands 

International Ceramic Art Studio Budapest 

Guldagergaard Denmark 

The precedented buildings and their specific programmes have 

differences in such a way where either the programme has to 

fit within the existing listed building or institutions have to design 

a building to fit the programme and its diverse users. With 

the project site preserving its facade, one can argue that taking 

the higher road (preserving the existing facade) for a design approach 

is much more sustainable and sensitive of its context. 

But one can also argue that Architecture is a historical evidence 

that depicts the life and current society of that particular time. 

Given the hunger for experimentation, I chose the later.

Concept 

The initial concept of the project was mostly a collage of 

the derivatives of the site analysis e.g. site restrictions, 

openings, connectivity, relationship to the square and to 

the existing community and most importantly, its impact 

on the lives of the locals. The current condition of the 

neighbourhood, how it is facing gentrification and what 

possible future outcomes can result from all these changes 

brought the idea of accepting change. 

Hence the decision to apply these findings in a very conceptual 

approach that widens the possibilities of different 

building design techniques, may it be context conscious 

or not, to create a new landmark for Mouraria to mark the 

incoming wave of a new community. 

But it was difficult to pursue the design. The shape of the 

building observes two different approach, one experimental 

and the other conservative. The idea came from using 

Frank Gehry as a precedent architect which the architecture 

community loves to ridicule. I wanted to challenge 

this way of thinking as a student. I interpreted ceramics 

as a form of art rather than a form of architecture, which 

in times, can be obscured and vulgar. Hence, the strong 

character brought by the idea of form and the exploration 

of deconstructivism in architecture. 

Through numerous bubble diagram iterations, it was easier 

to define the organisation of spaces both horizontally 

and vertically. Conscious practicality on the design approach 

was applied due to the magnitude of the project. 

To be able to fully integrate with the design concept, the 

strategy for building services to be straight forward. 

Spatial bubble diagram 

Design development 

Flow of movement 

Circulation space 

Public space and private space 

Ceramics and sculpture as a literal form of architecture

Proposal

The project’s aim is to respond to the gentrification of Intendente 

and to contribute positive social and economic impacts particularly 

on education, community development and place making. The 

idea is to create a centre for research and development of ceramics 

that promotes sustainable process of making and encourages to 

form relationships within and outside the community, in formal, 

informal and institutional level. 

The intention is to integrate the diverse cultural influences in contemporary 

Lisbon through encouraging the local residents to participate 

in free workshops, seminars and exhibitions. This will give 

an opportunity to learn ceramics through educational and cultural 

exchange, building international and local relations. Thus giving 

us the possibility to promote local livelihood workshops and equal 

opportunity amongst artists, students and community through 

product sales, festivals and promotional events. 

All of these can be achieved by having flexible working areas, to 

accommodate various types of makers and learners in large general 

studios which can double as lecture spaces. The gallery and 

reception are both public spaces related to the square, encouraging 

community engagement. Various studios, workshops and laboratories 

are designed on site for different types of ceramic practice 

and to avoid material contamination. Open home studios and 

working areas are also designed to encourage cross-pollination 

within the school, allowing academics and students to work side 

by side. But it also include formal and private teaching spaces exclusively 

for the use of the students and academics which includes 

the home studios, library, students and academics communal area, 

canteen and accommodation. 

There are two site entrances, one facing the square and the other 

by the public staircase. The entryways were precedented with 

open social spaces in which acts as public thresholds just before 

the building entrances. Both buildings have lifts, stairwells and 

provide disabled access to promote inclusivity and diversity within 

ceramics practitioners. Private facilities in other levels, e.g. accommodation, 

library, studios, canteen can only be accessed with staff 

and student cards via separate entryways, doors and lifts, with the 

exception of fire exits. As the school is connected to the accommodation, 

security can be an issue, thus an implementation of public 

access curfew should be placed. 

The pathways and circulation spaces are easily accessible, straightforward 

and wide enough, to make sure that moving and transferring 

equipments and products can be done conveniently. As the 

site is well accessible with two train stations both 10-minute walk 

from the square and street parking in front of the square, the design 

features no vehicular parking to promote the use of public 

transport, walking and other sustainable method of transportation. 

Lisbon is known with its bright daylight due to its geographical 

location, topography and the city’s choice of material and colour 

of their buildings that attract and reflect light. But to let natural 

light travel deep into the workshops, the design has to provide an 

open space in between. The scheme introduced two buildings connected 

through an open space inside courtyard. This is to allow 

daylight and cross ventilation across the longest length that can be 

measured in site, making it possible to create dual aspect rooms, 

viewpoints, and additional facades. 

Ground floor 

Open courtyards 

Building A: 

Kiln room A and B 

Toilets [men’s, women’s and disabled] 

Technician’s office with pantry 

3x Laboratory 

Workshop A 

Building entrance 

Utility lift 

2x passenger lift 

2x Emergency stairwell 

Building B: 

2x Studio 

Emergency stairwell 

Workshop B 

Disabled toilets 

Passenger Lift 

Cafe 

Reception with small office 

Sitting area 

Reception 

Main staircase 

Gallery with pop-up shop 

Spiral staircase

First Floor 

Building A: 

Workshop/Studio C overlooking Kiln room A 

Workshop/Studio D 

Faculty office and pantry 

2x Lecture rooms 


Floor entrance 

Utility lift 



Building B: 


Emergency Stairwell 

Open mezzanine working space 

Artists in residence studio/workshop 

Second Floor 

Building A: 

Building A takes the straightforward approach of design, 

mimicking the usual structure of mixed-use residential 

high-rise. The formal facilities of the school 

were divided into five levels with the public stair entrance 

located on the second floor, on the same level as 

the lecture theatre. 

Meanwhile, the workshop rooms, studios, laboratories 

and kiln rooms were interconnected throughout the 

ground and first floors, allowing direct access and convenience 

for all users. Teaching spaces, studios, hallway 

lockers and a faculty room is located in third floor while 

the library and computer rooms were spread throughout 

the fourth floor. A canteen, student office, studio 

workshop and a digital media room is located in fifth 

floor; all public floors are equipped with toilets (mens, 

women disabled). 

The sixth to ninth floors are designed with communal 

kitchen, balcony, lounge and rooftop garden with different 

types of accommodations ranging from a single 

ensuite bedroom to two bedroom flat. This is to provide 

accessible and easy but limited lodging spaces for 

artist in residence, visiting academics, artists, students 

and staff, in case they find it difficult to look for local 

accommodations. 

Open courtyard entrance through site context staircase 

Public building entrance with reception and office 





Lecture theatre accessible through mezzanine 

Building B: 

Workshop/Studio E 

Open working spaces 

Second floor gallery 

Main staircase 

Spiral staircase 


Emergency Stairwell 

Third Floor 

Building A: 

Library 

Artists in residence studio with kitchen/pantry 





Building B: 

Workshop/Studio F 


Roof balcony 

Main Staircase 


Emergency Stairwell

Fourth Floor 

Building A: 

Canteen with Kitchen 

Computer rooms 

Faculty office and pantry 

Head office 

Sitting area 

Lecture room 





Building B: 

Artist in residence studio/workshop 


Open studio/workshop 

Main Staircase 


Balcony 

Fifth Floor 

Building A: 

Accommodation spaces 

Building B completely reflects on how contemporary 

museums integrate exhibition, commercial, learning 

and making spaces together under one roof with separate 

private and public rooms whilst making it possible 

to indirectly relate them using spatial hierarchy and 

viewpoints e.g. Natural History Museum where the 

laboratory and offices can be partially viewed by visitors 

through some of the windows of Darwin centre. 

The plan of building B is irregular in shape and was influenced 

by the origami-like skin that acts as the fabric 

of the building, which opposes the principle “form follows 

function”. The idea was to open up the tight street 

of Benformoso to change the atmosphere and character 

of this particular spot, engaging the public stairs, making 

the street more public. 

Open communal kitchen, dining and balcony 

4x Studio flats 

3x 1 bedroom flat 


6x ensuite bedrooms 




Sixth Floor 

Building A: 

Open communal kitchen, dining and balcony 

3x ensuite bedrooms 





Residents’ building rooftop 

The intention was to highly publicise the opening of 

the street to relate it to the square and to create layers 

of spaces that act as thresholds to the site. But another 

underlying reason for the intentional transformation 

was to eradicate the dubious character of the space due 

to the potentially illegal and suspicious establishments 

existing in this particular area.

Elevation 

The drive of the project was how the form can be used structurally 

to support the building where it folds forming the roof and main 

facade. The structure itself was designed reversely, initially making 

iterations of origami models that act as shells that can stand on its 

own. From then, it was scanned, photocopied and redesigned to 

be structurally feasible. Then, interpreted into drawings allowing 

interior spaces to be formed. The elevation and sections explicitly 

inform us how building B is designed to interact with the existing 

building fabric. The structure itself is protruding creating losures 

and tension points that mimic the silhouette of the topography of 

the site, breaking the traditional figure of what a building looks 

like. Hence explored the idea of a sculptural landmark through 

creating a facade that acts as a foreground layer or barrier that 

does not inhibit the outsiders in looking into the activities happening 

inside the structure. This contemporary approach in design 

somehow contradicts the existing building context and urban 

fabric which was design’s purpose.

Section 

The section drawings show both buildings’ structural strategies, 

their difference in materials and design approach. Each has a proposed 

basement level allowing spacious and complex plant rooms 

and as well as possible workshop extensions in the future. 

Building A is divided into residential and educational building, 

making it complex to further subdivide spaces according to use 

and strategy for mechanical, electrical, plumbing and drainage. 

With the building form narrow and elongated, the approach was to 

organise the spaces according to its use and inhabitants, resulting 

the traditional arrangement of hallways, access and entry points. 

Double height spaces were only used for ventilation purposes and 

has yet successful in implementing hierarchy in spatial design for 

building A, leaving the section repetitive and straightforwardly 

stating convenient design reasoning. Meanwhile, building B has 

an informal set of foundation and skin, questioning the integrity 

of the structure and materiality. Hopefully with advance design 

and technical learnings in the future, it will be possible to further 

develop this type of design proposal.

Bay study, strategy and MEP 

As the project aims to have a safe and liveable structures, the 

buildings are designed to have mechanical and traditional passive 

ventilation through a lot of openings, awning windows and high 

ceilings to equalise the temperature of the building. When the 

building is high, it is easier to get daylight to transfer to the lower 

floors. This is the reason why there are two buildings with different 

levels and different material use. The front building has an origami 

inspired folded roofing that extends as a skin and overhanging for 

the structure. It has an alternating tempered glass, steel roof panels 

and building envelope facade that features building-integrated 

transparent photovoltaics for solar energy gain. 

The second building has an average of least 1:2 ratios of walls and 

windows in both east and west sides. There are no windows on the 

northern side due to outside site constraints but it also reduces 

heat loss during winter. It has a lot of windows camouflaging as the 

wall’s façade to encourage passive ventilation of air and maximum 

amount of light. The intention of a different tectonic characteristics 

of building B is to juxtapose the all glass and steel facade 

materials of building A, creating a contrast between a foreground 

and background structure to introduce spatial layering between 

the proposals and the existing site structures. 

On energy efficiency, the heat that is usually wasted through firing 

in Kilns can be stored in water pipes as radiant heat (hot water 

pumped through the floor) in underground basement plant room 

and this will act as a source of on-site renewable energy. It is also 

good for clay studios as it is quiet and does not stir up dust particles 

or create drafts like in forced air systems. The decrease in air 

movement is especially suited for drying ceramics evenly. 

Facade Detail Building A 

1. Roof comprising waterproofing membrane, triple insulation 

layer, vapour barrier, cast in place reinforced concrete slab 

2. Double waterproofing membrane, insulation layer, vapour barrier, 

cast in place reinforced concrete slab 

3. Facade formed by horizontal and vertical steel box profiles with 

aluminium glazing units with tempered safety glass with board insulation, 

airspace and reinforced concrete structure 

4. False ceiling consisting acoustic board insulation in perforated 

gypsum board and tie rods suspended from slab 

5. Installation housing thick plywood panels 

6. Adjustable sun shading 

7. Transom window with exterior double glazing in tempered safety 

glass 

8. Steel flashing 

9. Resin flooring, plywood board support, floor heating, vapour 

barrier, reinforced concrete slab 

10. Steel Z- profile fastening fake exterior ceiling made of gypsum 

board to supporting structure 

11. Paving concrete blocks, concrete, ballast layer 

12. Steel threshold 

13. Steel Z- profile securing continuous façade to slab 

14. Resin flooring, screed, floor heating, waterproofing membrane, 

cement and sand screed, ballast layer earth

CONCRETE SLABS SUPPORTED DIRECTLY BY EARTH 

AND STEEL COLUMN LOADS 

l 

l 

l 

STEEL ISOLATED FOOTINGS 

FOUNDATIONS 

COLUMNS ARE ARRANGED IN 

PATTERNS THAT SATISFY THE 

DESIGN 

_ _ _ 

l 

l 

l 

l 

GRADE BEAM AND 

CONTINUOUS FOUNDATION WALL 

MADE BY REINFORCED CONCRETE 

DIAGRAMS SCALE 1:400M 

DIAGRAMS SCALE DIAGRAMS 1:400MSCALE 1:400M

! 

 

" 

 

 

 

 

 

 

 

 

+ 

SDS 

Social Community engagement 

The bases of the social impacts of my ceramic school are responses 

from the recent gentri4ication of the area. It focuses on education, 

social equality, community development and place making. 

The idea is to create a centre for research and development of ceramics 

that promotes a sustainable process of making and encourages 

forming relationships within and outside the community at 

the formal, informal and institutional level. 

The intention is to integrate the diverse cultural in4luences in contemporary 

Lisbon through encouraging the local residents to participate 

in free workshops, seminars and exhibitions. This will give 

an opportunity to learn ceramics through educational and cultural 

exchange with international and local relations. It can promote 

livelihood and equal opportunity amongst artists, students and 

community through product sale events. 

All of these can be achieved through the use of large formal/informal 

general studios, which double as multipurpose lecture spaces. 

The exhibition and reception area are rather permanent but a 4lexible 

spaces, as they will stand as a public area inside the building. 

There are two entrances within the site, which are taken advantage 

of as they are dually used as entrances and public social spaces. 

Both buildings have lifts and the pathways are resolved to make 

sure all spaces are used in varied ways. 

Fig. 1.4 Ground 4loor plan diagram: not to scale; blue – exhibition area and east building reception; yellow – 

ground level open courtyards 

 

 

 

 

" 

Fig. 1.5 Second 4loor plan diagram: not to scale; blue – exhibition area and multipurpose reception and informal 

studio spaces; yellow – south facing courtyard accessible from the stairs 

SIte Location 

There is little vegetation in Lisbon, specifically within the site area 

as it is a dense urban city. It is mainly close to the waters that mean 

4lood damage within the area and water in4iltration are potential 

hazards. With an annual average of 117 precipitation days and 774 

mm average annual precipitation, it is advantageous to have above 

street level structures and create a slope in the ground to prevent 

stagnation of rainwater. 

The site is well accessible as there is two train stations that are both 

10-minute walk away. There are also spaces on the inside courtyard 

for a bicycle shed and has no parking area which promotes 

the use of public transport, walking and other sustainable method 

of transportation. 

Climate 

Lisbon has a temperate climate with warm summer and dry in the 

interior regions. There is a mean of 18°C (average of 12 months 

2015-2016) throughout the year with the lowest average temperature 

of 8°C on the month of January and with 34°C as the highest 

during the month of July. 

As the project aims to have a safe and liveable structures, the 

buildings are designed to have mechanical and traditional passive 

ventilation through a lot of openings, awning windows and high 

ceilings to equalise the temperature of the building. The site has 2 

buildings that are connected win an open space inside courtyard 

in-between. 

Site Location 

Fig. 2.1 Map of central Lisbon by Google Maps 

Fig. 2.3 Minimum and maximum average temperature from Lisbon Portuguese Institute of Sea and Atmosphere 

Lisbon has a temperate climate with warm summer and dry in the interior regions. There is a 

mean of 18°C (average of 12 months 2015-2016) throughout the year with the lowest average

structure. It has an alternating tempered glass, steel roof panels and building envelope facade 

that features building-integrated transparent photovoltaics for solar energy gain. 

f the site according to orientation 

get daylight to transfer to the lower 4loors. This is the 

h different levels and different material use. The front 

roo4ing that extends as a skin and overhanging for the 

d glass, steel roof panels and building envelope facade 

arent photovoltaics for solar energy gain. 

Fig. 3.2 Ceramic school South facing elevation (left); Fig. 3.3 Fabrikstrasse15 Section by Gehry Partners, LLP as 

precedent 

(left); Fig. 3.3 Fabrikstrasse15 Section by Gehry Partners, LLP as 

precedent 

Energy efficiency 

When the building is high, it is easier to get daylight to transfer 

to the lower 4loors. This is the reason why there are two buildings 

with different levels and different material use. The front building 

has an origami inspired folded roo4ing that extends as a skin and 

overhanging for the structure. It has an alternating tempered glass, 

steel roof panels and building envelope facade that features building-integrated 

transparent photovoltaics for solar energy gain. 

Fig. 3.4 Novartis building has transparent modules that produce electricity on a building designed by architect 

Frank O. Gehry for Novartis in Basel Switzerland - Photo by Thomas Mayer 

F F 

Fig. 3.5 Integration into the building exterior (left); aerial view of Novartis Campus in Basel Switzerland (right) 

The second building has an average of least 1:2 ratios of walls and 

windows in both east and west sides. There are no windows on the 

northern side due to outside site constraints but it also reduces 

heat loss during winter. It has a lot of windows camou4laging to 

the wall’s façade to encourage passive ventilation of air and maximum 

amount of light. 

The heat that is usually wasted through 4iring in Kilns can be 

stored in water pipes as radiant heat (hot water pumped through 

the 4loor) in underground basement plant room and this will act 

as a source of on site renewable energy. It is also good for clay 

studios as it is quiet and does not stir up dust particles or create 

drafts like in forced air systems. The decrease in air movement is 

especially suited for drying ceramics evenly. 

The second building has an average of least 1:2 ratios of walls and windows in both east and 

west sides. There are no windows on the northern side due to outside site constraints but it 

also reduces heat loss during winter. It has a lot of windows camou4laging to the wall’s façade

Reflection 

The project will further become a part of the constantly changing 

urban fabric of the site reflecting the changing community and 

young culture. It also explored the intangible part of architecture, 

how catastrophe, natural calamities, political, economic and social 

changes help shape the architecture of a modern city. Whether it 

is a good or bad change, it will only depend on who answers that 

question as we know that regenerating areas usually does involve 

changing a place’s character either in a small or large impact. The 

city in a larger context will probably stay the same as how most 

European countries tend to preserve their architecture dating back 

a few centuries old. This is because we ought to rely in history and 

pride on our own ancestry to define who we are. Sometimes it is a 

drawback but nonetheless it is that very character that sets us apart 

from the others, making each culture unique and alive even in the 

21st century. 

There are lots of difficulty in coming up with the proposal because 

of the educational institution's ideals and beliefs in the debate of 

experimentation versus proper architectural identity in response 

to context, that hindered my proposal’s technical development. 

But even so, it was fun to be able to explore a type of architecture 

that is constantly questioned, or worse ridiculed. It widen my 

perspective that at the end of the day, whatever the project is, the 

designer has to be able to defend their design through research 

and their trust on their designs.

LISBON

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