Add your project descriptioTranslation, by definition, is not limited to the conversion of one language into another. It is the diffusion of an entity between disparate mediums, dependent on a hierarchical synthesis and transmission of concepts between ambiguous yet demarcated layers. The act of adapting information is an intrinsically imperfect operation as it is simultaneously a reinterpretation, where conscious and unconscious decisions influence authored output. Ideas are often complex and convoluted, with constituents inevitably added or subtracted in the process. Architects, similar to translators, interpret concepts and drawings to make buildings. Converting a two-dimensional representation into three-dimensional space inevitably produces errors in translation, which cumulate regardless of an author's cognizance. n here.

Mistranslations transpire as imprints of abraded graphite channels from paper to screen, self-assembling into agglomerations of quadratic pixels, returning from the cybernetic in favor of composite clusters of timber, stone, and metal. As the cyclical pathways from the analog and digital become well-traversed, the resulting bumps and bruises create transmission losses that remain as vestiges of space.

Built mistranslations assume the form of a language that can be comprehended outside of semantics. These ambiguous translational intersections between rhetoric, representation, and reality will be investigated throughout this exhibition.

The exhibition's journey, in itself, is a traversal between languages and serves as a metaphor for the ideological translation of its contents. Throughout the exhibit, imperfect interpretations of the work occur through a series of translucent yet opaque textiles that divide the gallery interior.

These textiles separate the viewer from the exhibited material and concurrently serve as corridors through the space. The fabric's optical quality forms ethereal, wispy projections that lie just beyond the grasp of perception. By selectively concealing architectural models, allusions are made to the discovery and realization of an idea during the design process. Ideas with hazy, undefined edges reside within the realm of consciousness until they are translated into reality. Shadows cast by the concealed models lurk and sway in the exhibition room, like scattered concepts, observed by the visitor as they enter the designer's mind.

Ideas float in space as a collection of imagined architecture. Through the installation, the intention to tear away the boundaries of the built environment is represented physically by Tadao Ando's architecture. The interaction between the building and the exhibition will serve as an investigation into a situational approach to architecture that revels in distortion and ambiguity.

Throughout the gallery are models coauthored by the exhibition's architects. As a medium of architecture, the model is an object that is easy to understand because of its inherent physicality. Even in its imperfections – strands of glue, remnants of fingerprints – the model reveals what cannot be perceived in drawings and renderings. However, it also becomes a tool that explores the subdividing branches of an ever-evolving idea. In this way, the model is capable of freezing a moment in the design process as a tangible entity.

With the incremental aggregation of these captured volatile states, the architect can begin to study and compare the efficacy of ideological translations between models. With every model's material, structural, and aesthetic shift, a new set of mistranslations are introduced. As the model grows in scales of magnitude, it must contend with the realities of the physical world: the weight of material, the efficacy of structure, the connection of components. Styrene, acrylic, and glue translate into concrete, glass, and silicone. What value, then, do mistranslations hold?

Although "mistranslation" connotes an innate negativity, it presents a generative opportunity to utilize the unexpected remnants of the process to create development. In the realm of biology, genetic mistranslations are the tools by which organisms evolve and survive. We are interested in embracing mistranslations as a method of refining architectural design.

This project is a timber house whose intent is to offer a different perception of nature, both from the outside and the inside. The house sits amid trees and other vegetation; its surroundings are not only part of the landscape, but they also condition the project.

The house stands slightly elevated, almost floating. Concrete blocks provide access to the elevated platform that defines the level of the house floor. Looking straight ahead, it has a kind of lightness and visual permeability thanks to its numerous windows. From the side, panels that also serve as the roof structure create a sense of privacy, giving the project a sturdy expression.

With this project, we aimed to evoke, as a reference, Kazuo Shinohara's Ashitaka House. We were interested in exploring the concept of an open, fragmented elevation that supports a roof. This fragmented elevation allows for a visual connection to the outside from different angles and at all moments.

In the interior, we aimed to evoke the Japanese concept of "komorebi" (木漏れ日), the light filtering through the leaves. When light hits the 23 windows that compose each facade, it is filtered, creating a feeling of light through trees and leaves, bringing the exterior to the interior and thus connecting the space with the natural surroundings.

This project stemmed from a long-desired collaboration between two foreign architects of differing nationalities and backgrounds residing in Osaka, Japan. During its development, we were both working full-time at independent design firms. Over time, the project evolved into an endeavour that became the focus of our attention for nearly a year. As the COVID-19 pandemic began to spread rapidly, we actively sought positive and effective ways to use our time outside our respective offices. An opportunity then arose to design a housing complex in Portugal, allowing us to explore a new housing typology aimed at limiting the spread of the COVID-19 virus.

For the duration of the project’s design process, COVID-19 was in the midst of a rapid spread. In Portugal, the situation was incredibly aggressive, prompting a state of emergency and lockdown. As architects with a desire to create a unique habitat with comfortable living spaces for its users, we sought to implement effective strategies to accommodate people staying at home for extended periods.

The “new normal” required people to immediately adapt to a new lifestyle to prevent virus infection, with many professions and industries adjusting their work approaches. Some people began to work full-time from home, drawing a fragile and thin line between working and living space.

Our conception of the city stemmed from that of a large, complex organism, separated into the binaries of natural and vernacular, or artificial and planned. The artificial city, in our eyes, was formed by humans at an urban top-down scale. Conversely, the area of the development was encapsulated by the culture of the vernacular city.

Throughout the 20th century, it was thoroughly proven that the artificial city does not produce the intended effects of its design. Differences between the artificial and natural city can additionally be seen in its development and economic growth.

This proposal aimed to provide residents with the maximum possible quality of life through simple architectural strategies of design and planning with minimal expenditure of costs and resources. To strike a balance between high-density and traditional vernacular cities, it became necessary for individual living spaces or small urban nodes to blend the threshold between the city, public space, and home.

We believed it was needed to critique and understand pre-existing relationships between architectural typologies, urban planning, and vernacular buildings. Through evolutions of the urban fabric, well-known precedents can be utilized to optimize the liveability of space through the creation of new structures.

During our design process, we referred to buildings in the surrounding and nearby vicinities, some anonymous, or at least for which the author is unknown, to understand how we could express our intentions.

Considering the social context, location, and existing urban fabric as the primary drivers of the project, we aimed to create safe and cost-effective solutions that integrate social distancing into the architecture, thereby limiting contact between residents. Particularly in the COVID-19 Pandemic, housing should allow flexibility to adapt to current societal conditions.

As such, this project explores a new building typology that utilizes proper airflow, the disinfecting qualities of sunlight, and ample spacing between units. Formally, the building is characterized by cuts in the centre of each building’s plan and terraces that resemble a “V” shape. Respective building volumes are divided in two due to each property’s unique characteristics.

The main driver of the project was to create a safe and low-cost solution to establish social distancing with architecture. Especially during the COVID-19 pandemic, housing should allow for flexibility to adapt to current societal conditions.

The red plaster façade is covered by a pattern that ties to the rationale of the plan. It is based on the idea of incrementally increasing façade divisions by floor.

The interior and exterior are utterly dissimilar. The site plan and elevation use orthogonal logic. The residents of all three apartments are linked by the communal geometry, which cannot be seen all at once, but perhaps can be felt.

This project concerns the partial renovation of a single floor within a residential tower in Miami. The client owns the entire level; however, the intervention is limited to one half of the floor, while the other half is preserved in its original condition. The existing plan is mirrored, and this symmetry becomes a key constraint and reference for the design approach.

The renovated portion is intended primarily for receiving guests. Rather than proposing a radical transformation, the project seeks continuity between the existing and the new, working within the floor's existing spatial logic. Luxury is approached as a condition of comfort, clarity, and spatial coherence, supported by the careful use of durable, high-quality materials and furniture. These elements are not treated as decorative features, but as components that contribute to long-term spatial value.

The central objective of the renovation is to add value through spatial organization rather than through accumulation. The design is structured as a sequence of transitional spaces that mediate between different functions and degrees of privacy. These transitions are understood as active architectural moments that enhance perception, orientation, and use.

This strategy is particularly evident in the arrival space. The foyer is given a central role as the primary point of spatial articulation.

“Green box” spaces are distributed throughout the renovated area. These void spaces serve as spatial organizers, creating divisions without conventional walls.

Existing walls were selectively removed to allow for larger, more continuous spaces, improving visual and physical connections across the floor. At the same time, the project avoids complete openness by introducing intermediary elements that structure movement and perception.

Through this approach, the project maintains the mirrored condition of the original floor while reinterpreting one half as a coherent spatial system oriented toward reception and social use. The renovation emphasizes clarity, continuity, and measured transformation, proposing an interior defined more by spatial logic and function than by visual impact.

This exhibition is a reflection about the inner void space of the Juromenha fortress. It’s several works placed in almost random order, but that relate with the place and the views of landscape.

Located in Alto Alentejo, in the Guadiana Banks, the Fortress of Juromenha masters the landscape, haughty to the village that was her mother. It’s a legacy of unquestionable importance by their patrimonial and identity values. Today, far from his zenith, is reduced to ruins. A presence, a quiet keeper in the landscape, which now belongs too.

This exhibition is the result of the conference “In | Side | Out”, held on 17th of December of 2016, which showed the population projects for their village.

We designed a wood structure that would support the models and would be fixed, after to the ground. They would be placed almost as if randomly order, but always relating to it’s context and place, revealing views to the visitors at the same time as the projects.

This is a renovation project for an old, typical Japanese house built in the 70's in Moriguchi, Osaka. The building, due to its age, had almost no commercial value. In the Japanese housing market, buildings depreciate over time due to maintenance requirements arising from earthquakes and other climatic conditions. After the 25-year threshold, private houses have basically no value. When the client decided to acquire the site, the previous owner offered the building free of charge on the condition that it be maintained and not demolished.

The client and his family would now live in this house, so the structure needed to be modified to accommodate larger spaces and additional room to support five people. The concept from the start was to create a central space where the entire family could reunite, maintaining as much of the original structure as possible while giving the house a sense of lightness and transparency.

The central tatami room opens to the kitchen and the exterior, and only two columns remain where walls and sliding doors once stood. Where we once found a heavy staircase that acted as a barrier, the new staircase allows for greater visibility into the central spaces.

Divisions and corridors were removed to create larger, more permeable spaces; new elements, such as small columns, were introduced during construction to preserve the existing roof. Doors become more than dividers; they become planes floating planes.