The Moby II project has two distinct technical-scientific objectives, the first of which is related to the development of new constituent modules for the transport of the initial Moby model. The aim was to adapt the initial model to the metrics, size, proportion and geometry suitable for transport. This adaptation leads to the redesign of all Moby modules, thus presenting Moby II with a clear innovation when compared to Moby.

The second technical-scientific objective that this project sought to resolve is related to cost control, where new materials were analysed in order to make Moby II more competitive. This research on materials, finishes, equipment and design, enables the presentation to the market of a Moby II with significant added value in terms of price, quality, design and adaptation to the needs of different regions of the world. This objective has clearly been achieved through a very significant reduction in production costs.

The intervention presents itself as an opportunity to encourage urban revitalisation, as a sign of change and a motto for the start of a wider operation.

The conception of this space as a regeneration generating pole and centre of attractiveness and connection between areas with relevant potential foresees the restructuring of this area with a unifying green structure and the creation of a prominent housing unit in the region.

The realization of a housing structure under a continuous green system will enable the structuring of the territory and the reinforcement of social and urban cohesion, as well as the implementation of notorious urban dynamics, important for the development of the city.

In this sense, this project has a scale, which in itself surpasses the domain of the intervention area, resulting from a global, differentiating and unique vision in the region.

The intervention strategy contemplates:

– Housing. It is planned to build three residential buildings, with a maximum of 12 floors, in a volumetric set of 8 and 12 and a total of approximately 334 dwellings, the design of which should be as flexible as possible and can be adapted to the socio-cultural economic situation of the market, allowing for functional versatility so as to become a reference element in the current context and evolution of the city of Luanda.

– Trade and services. The three buildings are expected to be occupied on the ground floor, in contact with the green space, and the mezzanine floor, with commerce and services, providing the whole enterprise with great dynamics, attractiveness and versatility in terms of occupation proposals. The solution includes a total of 12 spaces, all with one mezzanine floor, and diversified areas.

– Green Zone. It is proposed the creation of a surrounding area of predominant green, singular and unique, with high environmental and landscape quality and differentiation. It works as a platform that shapes the terrain. The limits of the land will have walls 60cm high and up to 2m in green fence. The use of native species is privileged. All the exterior green space to be and leisure will be the target of a more specific landscape study.

– Parking space. Below the green platform, which is the privileged belvedere overlooking the sea, the various levels of parking are distributed below and already underground to support the whole development, as well as the users of the beach and all the green space that is intended as a reference. This underground car park is subdivided in three platforms of two floors below ground each, thus covering the whole intervention area.

The solution for the “Parque Urbano do Paço de Giela” that we propose, comprises the autonomous but articulated development of 4 different structuring axes:

1 – Valorisation and integration of the Palace and adjacent buildings in the Urban Park, through the design of road and pedestrian routes and the recovery of the design of landscape arrangements and tree species that, guarantee its connection with the whole Urban Park, restoring to it the singularity and nobility once lost. Through the definition of a series of routes (paths), where the valorisation of the water theme becomes evident.

2 – Environmental Knowledge and Interpretation, called “Himalaya Park”. This park will allow, on the one hand, to make known the important work of the visionary countryman Father Himalaya, (man of science, pioneer of ecology in Portugal) and, on the other hand, to develop and promote the taste and respect for the environment in its most diverse forms. 

3 – Cultural and leisure events in the open air, will integrate the “Praça do Sol” and the ” Anfiteatro do Vento”. In this project area, activities in the areas of music, theatre, dance, the new circus and others can be developed. 

4 – Tourism and leisure, integrating the “Hotel da Giela” and the “Espaço do Garrano”, where through this lodging unit and its location it will be possible to take the best advantage of the landscape, as well as to offer a series of leisure services such as spa, swimming pool, tennis court and restaurant where it will be possible to show the best of the region’s gastronomy. On the other hand, to make known to the visitors the theme of the Garrano horse and allow the contact with the species.

The Mouriz School is located on an industrial plot. It has a small façade overlooking the street, but reaches maximum expression lengthwise as a result of the constraints of the land. 

From this markedly orthogonal building, there is a zigzagging line that constructs and defines its entire façade. This creates an outward three-dimensionality and a quasi cinematographic language made from wood, whose design stems from the tradition of the place.

It is a building that marks the land, that stands out and contaminates its surroundings with its own identity carved out in the landscape. Its strong visual expression is linked to the movement and silhouette of its façade, and the way the windows are etched into it as if it were a musical score. A melodic line that gains substance and, through apparent repetition, earns its own identity. In contrast, its extremities are hollow and can be seen as two large eyeglasses gazing over the landscape, projecting the inside outwards and thus removing its physical barriers.

A school as a route, open to many encounters.

Standing on a promontory, with a unique view of its surroundings, is the Vilela school. Like a temple, this building has a strong presence in the built environment, giving it structure and a point of reference.

Given the location and its prominence in the landscape, the design of this school was influenced by a desire for transparency. It was therefore designed as a glass body that is dominated by a sinuous roof, which simultaneously unifies, integrates and characterises the entire structure.

With its strikingly dramatic design, this school represents the search for a degree of de-materialisation of the structure. This is achieved through the use of glass, which creates a flexible, almost graphic line of light and shadow that typifies the entire façade of this school.

It has its own language that veers away from a need for consensus and passiveness. The aim is to achieve a school that stands out, an active space that is open to participation and change, thus stimulating, developing abilities and awakening feelings. It is a flexible space, open to the local community and their future appropriation of it.

Project of execution for remodelling and interior arrangement of the Parish Church of S. Pedro, with new churchyard and parish centre and sacristy design and conception of interior furniture, baptismal font, ambo, altar; intervention area 1.570 m2, Factory of the Parish Church of Parada de Todeia, Sobreira, Paredes (work finished in 2010).

A casa, um paralelepípedo de granito que pousa e se encaixa no terreno. O volume é explorado e trabalhado através de aberturas pontuais, talhadas como negativos que dão lugar a janelas, varandas ou cobertos. Uma construção que se integra urbana e paisagisticamente de forma sóbria e com linguagem contemporânea numa zona de loteamento predominantemente residencial. O programa é à medida da família, desenha-se coerentemente pelo espaço que é amplo. O rigor das plantas vê-se refletido no desenho de alçados, na métrica das pedras e nas aberturas que se vão repetindo pelas diferentes fachadas. A cobertura é plana, reforçando assim a ideia de caixa. A casa é exemplo da importância que tem o desenho na conceção formal da obra.