This project is part of a Master's thesis entitled Architecture and Fashion: the process of dressing bodies and spaces. It explores the intersection of both disciplines as complementary fields in shaping space, identity, and sensory experience, recognizing that each operates on the body — either as structure or extension.

Adopting a conceptual and experimental approach, the research investigates how architectural principles — such as structure, materiality, scale, and movement — can inform clothing design. To materialize these theoretical ideas, a prototype was developed that integrates the functions of dressing, transporting, and inhabiting.

The outcome proposes a hybrid language in which clothing acquires architectural qualities and architecture engages with the intimate dimension of dressing, suggesting new relationships between form, function, and the body.

The toy Brasilidades combines the geometric and minimalist style of the Bauhaus with vibrant colors inspired by Brazilian biomes, explored by fashion designer Jum Nakao. It is composed of 11 wooden animals formed from 6 cm circles, which unfold into shapes such as semicircles and quarter circles.

The pieces allow for the creation of both abstract and figurative representations of Brazilian fauna — peixe-dourado, tartaruga-marinha, papagaio, boto-cor-de-rosa, tucano, lobo-guará, tamanduá, porco, tatu-bola, onça-pintada, baleia-azul, arara, macaco. Made from sustainable materials, the toy offers a playful and educational experience that brings together design, art, architecture, and fashion.

The project consisted of developing a set of 21 scale models for an exhibition dedicated to the centenary of the Portuguese architect José Carlos Loureiro. The process involved the interpretation and materialization of different works by the architect, translating them into physical models with formal and constructive rigor.

The exhibition was structured around three thematic sections — Public Cause, Housing for All, and Architectures of Representation — reflecting the main aspects of Loureiro's production. Each model sought to synthesize the spatial, constructive, and conceptual principles of the works.

The work required collective coordination, time management, and technical precision, from the analysis of the projects to the material execution of the pieces.

The project consists of designing a children's bedroom that integrates interior architecture and furniture, creating a functional, playful environment adapted to the child's scale. The proposal is organized around a compact wooden core that concentrates different uses — sleeping, storage, and play — promoting space optimization and user autonomy.

The formal language is based on simple geometries and organic openings, visible in the circular cutouts and soft shapes, which stimulate imagination and interaction. The use of a soft color palette, highlighting warm and natural tones, contributes to a welcoming and balanced environment.

The proposed tower is located on the eastern side of the Ramalde site, following the existing urban grid of Porto. It is conceived as a continuation of the surrounding tower complex, drawing on references such as Henrique Ciriani, Giuseppe Terragni, and Roberto Burle Marx.

The core concept is a gallery tower, organized around a central circulation walkway along its longitudinal axis. Instead of a solid and massive structure, the project emphasizes lightness, permeability, and natural light, counteracting the typically dark interiors of tower buildings.

The circulation core is open, allowing vertical permeability. The roof incorporates a lantern that enhances natural lighting and ventilation. The ground floor is dedicated to retail; upper floors consist of simplex apartments (T1–T3); the top floor has duplex units (T4).

Consisting of an authorial photographic survey of selected contemporary architectural works in Porto and Lisbon, this project was developed through the documentation of a predefined set of buildings, approached via direct observation and engagement with the city as an open archive.

The photographic methodology privileged light as a primary compositional tool, alongside façades, textures, and constructive details that expose the material and spatial logic of each work.

The use of black and white imagery was a deliberate choice to remove chromatic distractions, enabling a more rigorous reading of form, contrast, shadow, and materiality — foregrounding geometry, proportion, and the interaction between light and surface.

The work involved visiting a selection of churches, basilicas, and castros (prehistoric fortified settlements), using drawing as a primary tool to study and interpret architectural space and historical layers through direct experience.

The approach focused on capturing spatial composition, proportion, and structural hierarchy, with particular attention to elements such as naves, altars, vaults, columns, defensive walls, and settlement layouts.

Drawing on site enabled a slower, more attentive reading of architecture and landscape, fostering an understanding of geometry, rhythm, materiality, and construction logic beyond photographic representation.