아카이브 | 2007 년 6 월, 2009

태그 : 철학, 스타일, 단어

자신의 스타일에 대한 생각

2009년 6월 25일에 알바에 의해 게시됨

siza23

Álvaro Siza 비에 라와 그의 스타일

내가 처음 그의 프로젝트의 토론에서 자주 인용 : 한 Siza 스스로 자신의 멘토 페르난 Tavora, [...]: 의해 일부 내용을 고려하여 포르투갈의 건축가 알바 Siza의 작품 내 논의를 시작하고 싶습니다

내 아키텍처는 사전되지 않습니다 - 언어를 설립하거나 언어를 확립 않습니다. 그것은 구체적인 문제에 대한 응답입니다, 어떤 변화에 참여하는 상황 ... 아키텍처에서, 우리는 이미있는 동안 우리는 그 언어의 단결을 다 해결 될 거라 생각 위상을 전달했습니다. 한 일 Pre - 언어, 순수하고, 아름다운 설립, 나에게 관심을하지 않습니다.
- 알바 Siza (1978) [피터 Testa, 건축 알바 Siza (포르토, 포르투갈 : Faculdade 01 Arquitectura 다 Universidade 년), p. 포르투, 1968? 39]

사람들은 과거의 스타일로 복귀 옹호하거나 현대 건축과 포르투갈에 대한 Urbanism 부탁 나쁜 경로에있다 ... "스타일"하지 중요성 중 하나이며, 무엇을 건의 작품과 생명 사이의 관계, 스타일만을 결과입니다 그것.
- 페르난도 Tavora (1962) [파울 바렐 고메스, "쿼뜨레 Batailles 엉 Faveur 디부 일개 건축 Portuguaise"Europalia 91 : 포르투갈 포인트 01 Repere : 건축 뒤 포르투갈 (브뤼셀 : Fondation 년), PP 난 건축, 1991 붓는다. 41-42 [내 번역]

[...] 세 문장 공개 감정의 흐름과 그 언어의 의심이있다는 생각. [...] 언어는 자신의 독립적인 논리가있다. 우리는 우리 자신의 경험을 정의에 관한 이야기를 말한다면, 판사는 사건, 그리고 우리의 감정을 표출했다. 아직 우리가 언어의 구조에 대한 다음과 같은 말씀이 우리에게 주어진. 삶의 어두운 액체 역동 언어의 준비 곰팡이로 우리를 설득하지 않고는 어떤 모양으로 밖으로 남아 있지 부어 속였다. 우리 인생의 이벤트를 알려 서술 구조의 형태에 걸릴. 우리는 a bildungsroman, 멜로 영화 또는 선전으로 삶의 그림자 삶의 행사에 상상. 준비 단어를 우리의 정서의 이름과 우리, 사랑을 그리워, 그리고 화가 성장 - 뭐든 - 정교한 내역에 연결된 단어에 따라 그 이름이 정서. 의미 - 심지어는 초보적인 개별적인 단어로 전달 - 특정 임의의 방법으로 분할되며, 또 다른 하나의 언어로 번역에서 쉽게 보여줍 간단한 시도로. 필연적으로 끊임없이 생각하고 있지만 preformed 패턴의 먹이감이 떨어지고 있고, 또 다른 삶의 intimations 의식의 지평선에 생각의 범위 밖 쉬머. [...]
알바 Siza의 페르난도 Tavora의 진술이 뭔가 유사한 구조에서 발생했습니다하시기 바랍니다. Tavora 그는 "스타일,"표현은 정말 더 이상의 내용으로 연결이 제대로 보인다 - 그런 의미로 보인다 불필요한 표현에 불과 flourishes 어떤 통화를 거부합니다. 그는 대신 "일과 삶 사이의 관계의 성장이 될만한 것을 하시더군요."Siza, 페르난도 Tavora과 평생 친구, 재탕 이전 건축가의 정서의 학생 : ""사전 - 설립된 언어를 거부하고 답변을 추구 "구체적인 문제는 변화에 참여하는 상황."건축 양식도 어디 에선가 유토피아에 대한 임의의 상속이나 형태의 임의의 시스템이 될 것이 목표지만, 우리의 요구를 직접 성장할 것이라고, 그리고 그 요구를 '상호 작용 우리의 환경, 그리고 대부분은 일반적으로 (해당되는 경우도 대부분 막연히)와 함께 우리는 누구인가.

아직 모든 것을 의미합니까? 그것은 유사한 야망 폴락, 클라인, 01 Kooning, 등등의 "미국의 액션 페인팅"을 관찰 작용, 자신의 챔피언과 평론가가 날 기억이 납니 다만, 해롤드 로젠버그. 그는 처음 소개된이 그림은 "창조의 메소드 - 아니라 스타일이나 모양 strove 사진을 달성했다."[헤럴드 로젠버그는 "개념을 액션 페인팅의"아트웍와 패키지 (시카고 : 시카고 대학의 보도 자료, 1969), 피 213]. 그 그림을 생각하고 미리 이미지의 배반하는 압력에 의해 인간의 몸짓의 기록 unmediated했다. 이 그림은, 트랙 피겨두고처럼 펼쳐진 삶 자체를 기록했다.
하지만이 관계에서 건축을, 그것은 매우 정의하여 예술을 의미할 수도 있고 계획된? 처음에 우리는 무승부를, 그때 누군가의 지시에 양의 어떤 빌드해야합니다. 아키텍처도 매우 자발적인 과정도 그것이 매우은 "내장의 영역을 자동으로"그림을 바꾸어보십시오 contrivances을 받아 그 특허. 이러한 진술, 또는 이론의 야망, 건축과 관련, 이해하기 위해서는 무엇을 그들이 마침내 알바로했다 Siza의 작품에 대한 결과를 이해하고, 우리는 두 개의 병렬 내역을 추적해야합니다. 첫 번째는 이해 포르투갈어 건축가의 이전 세대에 의해 개발된 - 누구 가운데 Tavora, 중요한 역할 - 포르투갈어 특유의 건축의 재생과 영향에 관한 자신의 생각을했다. 필요가 추구하는 또 다른 스레드는 건축 역사 산책길의 개발에 관한 : 모바일 피사체의 개념에는 피사체의 변화 인식과 건축 객체의 관계를 반영했다. 특히 중요 개념적 판례에 의해 설정됩니다 이러한 변화가 어떻게 르 Corbusier의 작품에 자신이 새겨있다.

포르투갈의 1940 년대와 1950 년대의에서 두 나라의 아키텍처 개발 건축가가 비어있는 문체 패턴의 집합으로 넘어질 뻔 적어도 하나 이상의 그룹의 감정에 깊이를 빌려 줬다. the 에스타도 노보의 파시스트 독재 (정권 불렀다)은 그들은 동질 상태 방식 - 기념비, 심지어 작은 퍼지게 수 있었을 때 참조에 의해 모델의 좁은 범위를 채택했다; 준 - 외관에 신고전주의풍;에 기능성 현대 고려. 파시스트 익숙한 패턴에 따라, 그것은 역사적으로 동종 및 단일 포르투갈의 단독과 독특한 표현으로이 아키텍처 proffered. 그건 상관이 아키텍처는 과거의 버전을 현대적인 프로그래밍 요구와 상태의 자신의 목표에 맞게 영웅에서 도출 - 표현, 작은 어떤은 그것을 위해 그 합법성을 끌었다 포르투갈어 전통 건축의 닮은하지 않았다. 엄격한 아버지 포르투갈 국가 대표의 탈을 쓰고 나라의 표현 그냥 가족이었다 경우 확장된 현실 정치의 차이의 표현이 필요하므로 너무 아키텍처 인공 문체 동질성 위임장 않았다. 어떤 의미에서 국가, 언어, 인질과 언어의 배반의 의혹을 과장 긴급 빌려줬. [내 논쟁의 역사는 여기에 크게 파울 스레드 바렐 고메스하여 문서, "쿼뜨레 Batailles ko를 Faveur 디부 일개 건축 Portuguaise,"pp을 끈다. 30-62]
두 번째는 개발 국가에서 민간 및 상업용 건물의 증가했다. 해외에서 활동중인 시민의 큰 숫자와 포르투갈에 주택 또는 비즈니스 구축으로 돌아간다 -가 포르투갈에서 지속 패턴 - 격려했다 오늘날 많은 수입 건축 양식 건물의 건설. 전적으로, 기후,, 기술 소재 도시, 다양한 사회적 상황 내에서 그들의 뿌리, 그리고 많은 마을과 포르투갈의 countrysides의 대조 균일, 이러한 새로운 건물이 아주 기괴한 게재했다.

건축가, 초기 Keil Amaral 의해 주도 저장 Tavora 등, 전통적인 특유의 건축의 모델로 볼 수 있을까요? 그들은 구제는 주장했다. 그들은 결국 Arquitectura 인기 안에 포르투갈, 이는 그들이 문서화, 지역별로 조사 지역이라는 두꺼운 생산, 포르투갈에서 특유의 건축의 품종. 그들은 특유의 리조트없이 건물의 "스타일 그들은 우리가 이해할 수 있도록 공식적인 규범"상수 "라고하는 형태로,"거나 무엇을 찾았다. 비록 그들은 도서의 본문 내에, 그들은 유형의 중요성을 부정할 도입에 typologies 차트. 그들은 그 종류에서 "포르투갈어 아키텍처"모색하고 코드로 reified 수도와 마찬가지로 국가의 모델과 함께 맡겼거든 걱정하고있다. 그들로부터 도망 답답한하고 배신한 codifications 언어입니다. 그들은 그렇게 건물, 비록하지 유형 또는 구체적인 건축 요소에, 경향 정들게와 차례 "바로크의 겸손"특정 형질의 측면에서 우리 국민 "의 성격은"뭔가를 반영하고있다. 정확히 그 어떤 공식적인 특성 - 등고선의 단순화해야합니다, 예를 들어 - 일부러 남겨 남아 있지 않습니다. 대신에, 그들은 지리적 요인과 함께 그 건물에있는 "엄격한 상호 관계" "뿐만 아니라, 경제적 및 사회적 조건을 지적한다."그들이 "단순히 직접적인 표현, 침입도 preoccupations없이 스타일로 이러한 관계의 명확하고 직접적인 의식을 교란하고있다. "[Arquitectura 인기 안에 포르투갈 (리스본 : Sindicato Nascional) Arquitectos, 1961 베스트. 매수 도서의 소개의 페이지에서 일일이 세지있다. 이 번역은 내 개인적인 문제입니다.]

파울로 바렐 고메스, 포르투갈어 아키텍처의 뛰어난 그의 간략한 시놉시스지만, 생각을이 책은 일과 삶 사이의 관계의 "metaphysic에 반영했다."[고메스, "쿼뜨레 Batailles 엉 Faveur 디부 일개 건축 Portuguaise"피 42]이 자국의 삶과 그 조건의와 unmediated, 우리는 말을한다 prelinguistic 제품으로 볼 수있다. 난 또 누구의 작품은 작가의 친절히만큼 그것은, 추적 또는 조치에 작가의 삶의 기록은 미국의 행동 화가 unmediated 이었는지도 대변하지 않았다 "로젠버그의 생각"마음에있게 될 것입니다. [, "미국의 액션 화가"뉴의 전통 (뉴욕 : 맥그로 - 힐, 1965 년), p. 해롤드 로젠버그에 로젠버그의 토론보기 27]이 건물을 도구처럼, 그들의 인간의 과제로 투명합니다. 그들이, 그리고 사회의 필요성을 간접적으로 그 부분을 전담하는 도구는 작업을 수행하는 방법의 존재에 의해 그 그립들을 반영해야합니다 손을 수행할 수가되고로 가져온 논리 : 작업 곰 . 간판이 아직 signifier와 의미 사이의 임의의 관계로 분할되지 않습니다.
진실의 학위가 뭐든간에 그 양식은 농촌 지역 사회와 가정에서 이러한 건축가들의 예제, 자의식 복제와 전통의 증분 변경 사실을 그린의 중심 지역에 "인생"에 대한 더 많은 자연의 관계가있을 수있습니다 분실 및 액세스할 매우 자체 - 그 나라말에 검색에서 일어나는 의식. 자국의 경우는 단지 하나의 현대적인 상황과 어떻게 조화를 위해 건물을 생산 모델 이었어요, 이러한 건축가 '효과가있을 모더니즘의 특정 전통 가닥 더 좋아. 그들은, Hannes 메이어처럼 독점적으로 현대 건설과 현대적인 문제에 대한 해결책의 테크닉에 초점을 맞춤으로써 언어의 문제를 제거하려했을 수도있습니다. 하지만 그건 그들에게 호소했던 특유의 실제 공식적인 캐릭터가 났던데.

그들이 지적 아키텍처 증분 방식으로하고, 공식적인 교훈에 대한 큰 우려를 함께하지 않았 증가했다. 건물을 자신의 사이트의 기존 조건에 자신을 수용했다. 건물 벽면에 부착된 스스로가 그 벽에 의해 형성 할 수 있도록했다. 두 벽, 넓은 범위로, 건물 자체가 토지의 등고선에 의해 모양을 할 수 있도록했다. 많은 포르투갈의 구릉이나 산악, 그리고 많은 마을에서 건물과 시골의 풍경이 매우 불규칙한 인물 적합성에서 그 결과를 전시하고있다. 그들은 낚시, 조각, 시골에 걸쳐 모자이크 패턴을 만들었습니다. 주요 도시에서도, 거리는 거의 없으며, 정리하는 기하의 마크입니다 사각형에서 찾을 수있습니다. 이것도 여전히 원래의 지형의 기하학 - 인물 구동 곰. 그리고 선험적 기하학적 형태의 아키텍처의 일반적인 부재; 건물로로 만들어진 세계의 읽기 쉬움 antecedent - 그게 유지, 지구의 압연 양식 -하고는 천천히, 또한 증분 및 성장의 패턴이있다 눈에 띄는; 새로운 건물이 낡은 건물을 완전히 파괴하지 않습니다. 그 특유의 an 고고학 효과 가면은 스스로의 역사와 자연의 역사를 양식에 새겨져있다. 그 목적을 만족이 점에서 일부는 수사관 돌렸지. 1950 년대 후반과 1960 년대 초반 때 Siza 연습을 시작, 이러한 특성의 많은 그가 채택 전략에 영향을 미칠 것입니다. 어떻게 이런 모델에서 그의 작품을 diverges 그러나, 강렬한 자의식이 농촌 사회의 관행의 동떨어져 반영됩니다.

또 다른 중요한 역사적 스트랜드가 Siza의 작품으로 스레드 모바일 피사체의 건축 산책로의 개발과 관련된 개념 간의 관계. 건축 산책로의 역사적 진화, 원래 조경술 연결되어, 이젠 더 이상 볼 것이 명상의 단일 지점에서 인간의 주제와 graspable 순서 posited 정적. 그것은 경관 환경의 순서를 통해 끊임없이 변화하는 감각을 자극하는 의미의 국가로 이동했다. Watelet, 프랑스에서 1770s에서 처음으로 그림 같은 정원을 가진 적립, (로빈 미들 턴의 말씀에) 경관은 "필수적인 즐거움 the 끊임없이 변화하는 경험을 통해 하나로서 즐길에서 이동 올라오네 생각합니다."[로빈 미들 턴의 도입에 이르기까지 니콜라 LeCamus 01 Mezieres, 건축하거나 유추 우리 Sensations (산타 모니카, 캘리포니아 : 게티 센터는 예술과 인문학, 1992의 역사에 대한 년), PP와 함께 예술의 천재. 48-49] 정원에있는 피사체의 관심의 초점 거리에 이상적 형상, 또는 그 이상 건축물의 개념적 스키마에 중요한 것처럼 보였 공식 관계의 우려에서, 센세이션의 지속적인 변화 대목에 초점을 옮겼다. 한 사람이 자신의 감각의 감사에 관여 이러한 감각, 상병과 친밀한 사이에, 그리고 건축의 추상적 개념 자율 질서의 동떨어져 구별된다 - 물론 않는 순서대로 18 - 세기 정원 이론가들의 정원에 대한 모색 , 학파의 대상 '을 인식하고있습니다.

피사체 사이의 관계에 대한 태도의 변화와 언어의 질서 감각보다는 개념이 논술의 원래 의미에 대해 토론하는 것보다 : 사물의 계층 구조를하는 경우에 더 큰 가치에있는 산책로의 초점에 의해 예고 개체는 분명히 직접에 배치됩니다 인간의 감각에 호소, 특정 명령의 존재감 인식을 줄 수있습니다 즉각 참조하지 않고 - 이상적 기하학적 스키마, 예를 들어, 유형 또는 무형의 도망자와 끈기 - 더 외계인이 나타납니다는 사실에도 불구하고 그들도 인간의 마음에 의해 체포되었습니다 . 비록 환경은 갈증의 만족도를 향해 "센세이션"기어드로 엄격하게 건조한 기하학, 분명히 더 자연과 자연의 매력으로 자기 분명히 더 자연과 자연의 반응에 관여를 만든 것입니다 조율된 수있습니다. 우리는 점점 더 obdurately 외계인 -와 "다른 인공 보인다"개념적 명령을 무엇이라고 부를 수있는 양식 센세이션의이 흥분하는 마음과 우리의 "자유"의 움직임과 관련된보다 ""자연과 인간의 언어처럼 보이는 것입니다, 배열 언어의 각 reified 인간의 특이 사항을 준수하지 않을 망토처럼.

르 Corbusier 분명히이 방황하는 사람, 그리고 산책로 건축 관심이 그의 작품의 중심 주제가됐다. the 산책길을 대표하는 실제 인물을 그리고이 그림은 이상적인 "주문"구조에 의해 (열 및 석판)에 의해 설립부터 뚜렷한 만들기, 그는 건축의 이상적인 순서와 순서 사이의 분리의 건축 은유 건설할 수 있었다 감각의 학파의 대상이됩니다. 따라서 그의 건축에 계단과 경사로를 통해서만 자신의 건물이 아니라 개인의 실제 움직임을 촉진하지 ergonometric 가구와 마찬가지로 디자인되어있는 결석을 몸, 계단의 트위스트 리본 -에서 제안하는대로 빌라 Savoye 입력, 왼쪽 또는 오른쪽에 입력하면 빌라 스타인 - 피사체의 팬텀은 promenading 나왔다. 같은 Savoye에서 보드장, 제재소 주인에 사실이라면, 그리고 집에서 Currutchet 박사. 혈액 순환은 "무료로 계획의 논리에 따라 이러한 구성 요소"및 아키텍처의 구조와는 구분됩니다. 따라서 "자유 계획"영원한 명령들만 구조 사이의 구별하지 nonstructural infill 반대, 구현하는 것이 아니라 이상적인 공간과 질서와 인간의 통로의 우발적 측면 구별을 제시했다.

우리는 원주 격자 또는 지구력의 보편적 우주의 시간적인 측면을 생각하는 특정 Palladian - 스타인의 구조적 격자의 상징 스타인 아바바 리듬 - percourse 여부 집을 통해 "자유롭게"곡식 전체에서 방황한다. 이 공간은이 살고있을 원주하거나,이를 통해 우리는 현대 쉘 amble 파멸이다. 우리는 따라서 은유 범위가 "무료로 계획"을 허용 :이 계단과 경사로를 확장할 수있습니다 움직임의 패턴이 우리의 반대 화신. 그러나 자유를 "계획"또한 공간의 particularization로 연결되는 엄청난 양의 식별, 아리스토 다른 방, 창문으로 연결의 그 계층의 설립, 그리고 영구 가구의 일종의 개념과 함께 자신의 비유적 측면. 반면 가구와 컨셉 영속하는 Esprit 누보 책장 the 내가 살고있는 지역의 공간을 또렷하게하는 데 사용되는 스타인 다이닝 룸의 벽에 apsidal 가구의 한 조각처럼. 가구 우리가 건물에 무슨 일이 일어날지입니다. 그것은 건축의 순서 preordained하지만 우리 주거 및 이사의 개인적인 행동을하지를 반영한다. "무료로 계획"따라서 모든 자료들을 석방 가구의 일종의 영역을 별개의 시간 아키텍처의 주요 순서에서 나왔다. 그것은 분명히 매우 르 훨씬 Corbusier의 작품의 일부입니다. 그는 이상적인 순서의 반대 지울 대상 아키텍처의 변증가 아키텍처의 매우 와중에 다른 대피소의 부호로 새겨 만든 그.

Siza의 스케치는 개념을 자신의 관계를 반영한다. , 도시와 건축 풍경을 설정 항상 볼 때 그 대상의 인식을 보는 순간의 독특한 암시하는 지점에서 표시됩니다. 이 그림은 아키텍처의 "적절한"질서를 제출하지 않는; 우리가 정점에서 볼 수 없어, 인스턴스, perspectivally 잉태 공간 : 도면을 자주의 목적을 설명, 말, 계획을 건설하려고 시도합니다. 도면은 1988 년 여행 밑그림으로 출판의 수집 [알바 Siza Esquissos 01 Viagem / 여행 밑그림 (포르토, 포르투갈 : 자료 01 Arquitectura, 1988), 일련의 에두아르 Souto Moura 외 편집] 있음, 장면 먹죠거나 이상한에서 볼 캐주얼 앵글 고전 건물 여부, 선호 끊어지지 축 플레이, 또는 일반적인 거리 풍경 바로크의 원칙과 공간을 조정합니다. 한 캐주얼하면서 길을 ambles 또는 방을이나 카페에 앉아 손을 비슷한 방식으로 그 - 카메라 개최 및 유사 수사학의 효과와 함께, 그들은 플레이에서 찍은를 나타냅니다. a 옆의 눈에으로, 사물, 또는 왜곡으로 볼 너무 낮게 떨어지는 전경의 친밀한 근접 거리에 공공 juxtaposed이다 볼수있습니다. 여기에 우리가 비교 Panofsky하여 "객관적인"거리와 세인트 제롬의 골조 사이 Antonello 다 메시나과 장소의 아주 경계에있는 뷰어를 동일한 주제의 Durer의 판화의 친밀감에 의해 만들어진 자신의 연구에 생각할 수도 있겠지만 객실, 전경, 따라서 이번 연구를 통해 자기 자신을 하나의 성 제롬 교차로의 가장자리에 기분만을 서두르고있다. [Erwin Panofsky, 관심 사항 및 기호 양식 (뉴욕 : 지대 책, 1991), 크리스토퍼 미 우드로 번역. pp. 174-175]

Siza의 스케치를 우리의 변화를보기에서 산책 중에 찍은 생각합니다. 각 스케치 emblematically 한 플레이 성공의 시리즈에 대해, 우리의 도시 및 국가의 이동 공간을 통해 우리의 인식의 뜻이 중단 스트림의 약자. 가능성이 사진과 필름과 직접 () 녹음 nonconceptual unmediated와의 연결의 기술 협회에 의해, 거기에 "목격자의 느낌"계정 - 중 하나입니다 거기에있다.

건축 삶의 배경이다 살았다. 르 Corbusier의 예제와 마찬가지로, 그것이 우리 인간의 사용의 흔적을 유지합니다. 경관, 실, 그리고 입담 거리는 인간의 활동으로 가득 차있습니다 - 사람 promenading 이야기, 구입 및 판매하고있다. 다른 장면을 다른 사람의 최근 통과의 실마리를 유지 : rumpled 의류 의자에 앉고, 빨래 건조에 걸려 왼쪽입니다. 활기없는 것들을 그들의 완고한 독립을 유지하지만 의도 - 건너와 인간 활동에 의해 표시. 건물과 풍경을 따라서이 결과는 원격 및 enmeshed 얽힘에 나타납니다.

이 그림은 특유의 감각을 만들 그냥 그려 현장 전에 우리가 맴돕니다. 그들은 스케치의 사이트에서 매우 뱃사공의 실제 존재를 권해드립니다. 리터럴 측면에서 허용 Siza 일부 도면에서 자신의 손과 발이 - 손을 그리기 지금 우리가보고있다 - 드로잉의 프레임에 입력하는 스케치의 행위에 걸렸지.

구조 작업과 삶 사이의 관계의 결과, 그리고 피사체의 reconceptualization으로 센세이션과 산책로의 관념에 따라 생각 - 다음,이를 통해 전의 일부 사업을 검토 할 것 같았소 Siza의 두 분야가없습니다. 비록 작품의 선택된 그룹의 전체 범위 또는 그의 전체 오푸스의 복잡 예증 수 없다면, 그것을 영구 및 중앙 테마에 손대지 않는다.

이유 중 하나는 자국의 천연 언어 Tavora와 그의 동료들은 그들의 개념을 표현하기 위해 함께 할 수 있었는 사실성했다. 그것은 만드는 -하는 반응 지형 조건, 그리고 이전의 말소없이 레이어 아키텍처를 지속적으로 추가시의 축적된 agglomerations의 역사적 상황의 증거를 유지 an 증가 과정으로서 - 그것은 아키텍처 자체의 과정을 드러내는 표현 지고있다. 어쩌면 그것은 그렇게 많이 자연스러움 - 그게 무슨 뜻 수도 증명 했어 - 삶 자체의 형태와 관련하여; 그러나 고고학 자질은 생활의 요구에의 역사적 기록을 제시했다. 이러한 효과는 실제 역사의 흐름에 의존한다. 하지만이를 통해 Siza의 아키텍처 유추, 또는 좀 더 제대로,이 과정의 표현, 생산 방식은 효과가 꽤 원래부터 다른 생산 비록. 표현로서, 그것은 것은 어떤 풍경의 그림보다 더 언급하지 않은 풍경입니다. 매우 자기 -이 사실성의 은유 건설의 의식 또한 특정 합병증이다. - 의식 - 아키텍처에 판독에는 잔소리 셀프 - 고고학 은유 그 또한 그것을 표현하고자 매우 연속성이나 자연 역사적 과정의 손실을 밝혀 나왔다. 연기는 그 움직임에 세트는 아주 기초부터 끊긴입니다.

하나 Siza의 초기 사업의 해변 - Leca 다 Palmeira (1961-66)의 측면 공공 수영장입니다. 그것의 한 부분을 간헐적으로 병렬 콘크리트 벽면의 시리즈와 약간 경사진 지붕 석판을 병렬로 실행되고 - 일부 약간의 각도로 -와 후원은 콘크리트 판자의 얼굴로 향합니다. [...]이 아키텍처는 자사 사이트에 침투해 보정이며, 기존의 바위 웅덩이 형성의 협업과 새로 캐스트 콘크리트 벽을 통해서만 물이 새지 않다. 그 가장자리를 레이어에있는 해변의 영토로 메아리 사이트의 벽 뒤쪽에 평행 그룹 판자의 확장 delaminated 같다. 그리고 콘크리트로 만든 모래입니다. 에도 불구하고, 해변에있는이 아키텍처에 대해 뭔가를 외계인이다. 하드 - -이나 직선, 하나의 작은 예를 들어, 원활하고 기하학적 곡선 - 지형의 명세서와 끝없는 협상에 입력하지 않으면 비행기의 형태는 콘크리트의 분포를 보였다. 이 프로젝트는 지역 또는 바위에 진입, 그 부분을 중지하고 자연의 형성에 의해 규정으로 시작하지만, 이들을 수용하기 위해 왜곡 시도 자체가되지 않습니다. 벽, 플랫폼, 그리고 지붕의 경관과 함께, 퓨즈 모르겠지만, 초안이 낙서의 일종으로 중단 트레이 서리 양식의 일종. 그리고 시간이 지남에 기탁 유물의 역사적 축적 리터럴 대신, 그들은 무언가를 더 이상 제도공의 영토가 불안한 표식에 가깝다을 제공하고있습니다. 이들은 건물의 도면의 엠블럼보다는 더 많은 것 같아.

그 어휘의 품질이었다 그러나 01 Stijl이 그림을 더 간단한 문제 인지도 : 및 공간적 porousness 비행기 걸리고의 구문은 원래 공간적 보편성, 또는 placelessness 뭔가로 불리는되었습니다; 그것은 패턴 언어의에 숨어 이 프로젝트. 몬드리안이나 Mies, 공간적 질서의 벽돌 시골집의 캔버스처럼 gridded - 있기 때문에 그것에 대해 아무것도 유한, 아니 폐쇄 인물이다 - 패턴의 연장의 가능성을 제시 : 몬드리안의 경우, 또는 잠재과 마찬가지로 프레임을 넘어 Mies의 집에서 함께 공간의 연속성에 숨겨진 질서. the Leca 프로젝트에서 확장하는 경향이 더 추상적인 관계에있는 언어를 이해하고 프로젝트를 만들어 그것이 거기에 새로운 계층을하고 사이트의 기존 소재 사이에 특정의 무관심과 함께 수록되어 느낀다. 우리는, 흔적, 대시의 시리즈를 상상할 수 있고 비행기 해변과 함께 콜라주를 넘어 패션에서 확산이 떠오르게합니다. 그리고 여기는 모호한의 한 형태의 핵심 프로젝트에 놓여있습니다. 양식의 특정 장소에 배치하지만, 특히하는 추상적인 무관심에서 힌트. 구문의 다공성 공간적 패러다임 사이트 가시 그것을 통과 할 수있습니다. 명암있는 그대로 폐쇄 공간이나 인물의 유형을 완료에 영향을 미치지는 자율성의 본질이 어디 사이트를 해약하는 경향 것이 상호 작용을하고 지속적인 레이어링으로 적은 수치는 공식적인 독립을 진술이 사실입니다. 여기는 공식 문법을 사방에, 도처에 침투하여 자율적인 사이트입니다.
건축의 공간과 자연 사이트의 공간 사이의 지속적인 연락을 레이어의 고고학 패션에, 동시에 자연의 레이어는 외계인의 침입입니다에서 그들을 바인딩합니다. 그것은 인간의 제형에 제출하지 않고, 그리고 식민이다 그러므로 고고학 또는 사실성 어디 과거 - 즉, 기존의 사이트 또는 자사 표현입니다 - 우리에게 외계인의 유해가 나왔다. 이 명제는 과거의 관계를 인정하지됩니다 자연스러움의 고고학 친밀감을위한 것입니다.
이 프로젝트는 아키텍처, 낙서, 같은 사이트에 그림이 그려진 나왔다. 이런 의미에서, 고고학의 레이어 개념과 디자인은 기존의 소재에 따라 정착의 행동을 함께 할 필요가있다. 하지만 르 Corbusier과 마찬가지로, 우리는 또한이 사이트를 통해 우리 자신의 학파의 통로의 흔적이 조금 상징이 부여됩니다. 원주의과 경사로 계단 그리드의 공간적 관념성의 배경으로 설정된 같다. 여기서 암호는 이제 그들의 이질적인 배경을 실제와 유사한 사이트로있다. 건축의 문법의 conceptuality으로 침투해 바인딩된 및 사이트에 대한 외국인의 잉태, 싸이퍼의 흩뿌려져 흔적으로 바위의 세계가 우리가 만질 수 있지만 바꿀 수없는 우리의 '유령'의 존재 속에 넣어 인자이다.

[...]이 기간은 구문의 01 Stijl 캐릭터의 불완전한 인물의 그룹을 다른 프로젝트에서 연동하는 방법을 제공합니다. 이것은 보아 노바 티 하우스 (1958-63)과 같은 작품의 경우, 코스타 알베스 집 (1964), 산토 알베스 하우스 (1966-69), 그리고 Riberio 호샤 하우스 (1960-62). 각 좀 더 "건축 특정"문자는 프로젝트에 대한 제안이 프로젝트 : 프로젝트, 세라믹 타일의 지붕 투수를 사용하여 좀 더 전통적인 어휘를 채택; 객실과 공간의 개념으로 체적 수치도 더 전통적인 폐쇄가 추천됩니다. 그러나 이러한 수치 축약하는 양식에 명시된 바와 같이 각각의 경우에 : 그들을 열고 "L'있다"조각난 "L' 보아의 다양한 노바, 또는 다른 주택에서,"불평 등한 - 3 -, 또는 사각형 일방적으로 치우친 더 어려워 다른 -로 - 이름 파편뿐만 아니라, 간단한 직선 세그먼트 벽, 아무것도 붙어있다. 개방형 인사는 서로 사이가 후민진과 겹칩니다.

하나의 존중이 깨진 인사의 효과가 있음을 열고 모든 비행기 슬라이딩의 매트릭스에서 다르지 않다. 스페이스 - 여부의 잉태 현대의 보편적인 공간 연속체, 아니면 세계 (사이트) - 흐름이 조각을 통해의 만져서 부분의 실제하지만 개방적인 공간으로. 이 프로젝트는, 검사에 따라, 기존 건축물의 문법의 트로이 목마의 일종의 제안 파편의 연속으로 사라져 버린다고합니다. 공간, 또는 사이트, 그들을 통해서뿐만 아니라 수영장 프로젝트의 벽을 뚫고 않습니다 전달합니다. [...]

수영장 Leca에 대한 프로젝트와 마찬가지로, 집안의 구문 코스타 다공성 공간입니다. 사이트의 분야에 대한 개념의 투명성, 정말 수치는 주택의 주거 공간을 동봉의 와중에서 그 분야의 개념적 존재는, 우리에게 개입 ""사이트에 오픈 스케치로 계층으로 집을 선물 사이트 -하고 따라서 이러한 프로젝트에서 고고학 은유의 지속성.

그 표상 기대 조각 -가되어 더 분명히하고 수영장의 01 Stijl 구문을 현대에 결석이있을 클로저의 기대 - 몇 가지 측면에서, 심지어는 사이트의 개념에서 집 안으로 침입의 특수성을 증폭 설정 큰 바위의 부재.

집 안으로 percourse 다른 특수성을 추가합니다. 세라믹 기와 지붕의 명백한 인습과 경계 수치의 기대가 그 하나는 건물을 통해 좀 더 일반적인 패턴에서 움직일 가능성도 자랍니다. Yet instead of, for instance, passage into a bounded room through a cut in the wall—a threshold, that is—at the front and back doors a person would, as the space described above did, move between the fragmentary figures as if they were a landscape of ruins. Here we begin to see a theme that will develop with more didactic clarity in the succeeding projects, but the notion of how the subject is placed in contrast to the weight of latent conventions of architectural figures begins to emerge. The split between how human movement and perception is orchestrated in contrast to certain conventionally apparent orders of the architecture begin to create an architectural corollary to the sketches we have described.

From the 1970s Siza's work begins to exhibit more explicit uses of type. In projects for housing we see a pattern of siedlungen-like town houses (the SAAL housing at Bouca, 1973-1977; Sao Victor, 1974-1977, both in Oporto; and housing in Caxinas, 1970-1972). In several other projects we begin to see the repeated use of U-shaped courtyard schemes (the Pavilhao da Faculdade de Arquitectura, 1984, the Carlos Siza house, 1976-1978, and the Escola Superior de Educacao in Setubal, 1986-1992).

Certainly, the concept of type is tricky and has changed over time. But let us say, for instance, that the “U” that appears many times in Siza's work is a configuration of form that wakes in us a chain of associations with other like configurations. It tends to be nameable, because it is that very characteristic—that it belongs to a category—that constitutes the being of types. What I have referred to as syntax in the case of the pool does not constitute a nameable configuration. It is more in the nature of a strategy or pattern of form than a nameable entity as a type must be. Thus although Siza was using such syntactical patterns, he was able to avoid a certain aspect of that initial anxiety about preestablished languages. Flexible spatial patterns appear to be more spontaneous and less burdened by history.

Yet because the type has a certain integrity as a conceptual category, it also implies a kind of closed autonomy; its stable and independent conceptual existence is a form of aloofness. And it is here that it becomes susceptible to both the suspicions voiced by Tavora and Siza as well as Pessoa. It is not “style” but it has something of style's formulaicness. It is not language, but like language it seems public rather than intimate; like words, types seem to exist independent of us. Thus types were held in suspicion by Tavora and his colleagues because they suggested the possibility of a reified formalization of architecture. And even though the vernacular may have been susceptible to a typological survey and analysis, what was held to be appealing in the vernacular were its qualities of flux, its qualities of historicity—its layering of past and present—that seemed a palimpsest of its becoming. We should note that like the language we speak, type's impersonality is susceptible to that endless reformulation that allows all learned languages to acquire clandestine and utterly unique qualities added by each speaker. The resonance of a word is created by the unique world of each mind, and diction and grammar are shifting sands that reflect the biologically infinite permutation of speakers and history. But types also never lose their fundamental correlation to the historical things by which they steal away from the actual and specific into a realm of remote concepts and categories.

Types would seem to work against one complex and essential aspect of Siza's archeological metaphor. The manner of layering so far described has suggested a simultaneous intimacy and estrangement between the layers of new project and site. The transparency and conceptual incompletion of the formal language of the project that allowed the “intrusion” of the site's alienness into its midst is not obviously in the nature of the type. This is so because the type tends to be a closed or at least a finite world, which tends to conceptually close out or reorganize in its own manner what lies outside of it. It may rest archeologically on what precedes it, but it excludes those things through its own internal cohesion.

Siza uses a variety of strategies to “attack” this integrity, enabling him to persist in constructing a relationship between site and intervention (as each project should be called in his work) that binds them without naturalizing their relationship. He also deploys certain strategies that metaphorically present the alienness of the type, as an inherited formal construct, in relation to a subject that cannot see itself reflected in that inherited order of architecture.

The Pavilion for the Faculty of Architecture is a U-shaped building, a species of the three-sided courtyard. It is set at one end of an enclosed garden. [...] Perhaps habitual percourses around the edge of the garden drove the logic of a corner entry, now hidden and far from everything else in the garden. The inherited order of the object is treated with the kind of indifference that we might imagine in reinhabiting a ruin, or building the new city around it, as happens in Rome. New windows and doors are cut into an ancient edifice, new street patterns are laid out with no necessary regard for its original order or hierarchy or organization. It is as if the building were a piece of nature to be colonized. I exaggerate to make my point, because clearly each decision of dimension, shape, and location has been considered. But the cumulative rhetorical effect seems to suggest these purposeful contrasts and superimposed counterorders. The building is in many ways, like the pool at Leca, calibrated to its site, yet that calibration feels more like an exploration of how disparate things may be set together, existing simultaneously yet disturbing one another as little as possible. So here now is the found object of the Pavilion; the grass might as well pass right under it. A promenade wends its way around the garden, momentarily leaving hidden this built visitation to the site, and there, in the intimacy of the garden corner, we enter the building. The entry provokes a local eruption in the fabric of the building and an entirely localized figurative event occurs, as if marking the type with an event of human passage, as the stairs, ramps, or other such materials had occurred against the background of the columnar grid in Villa Stein or Villa Savoye. The type then becomes a kind of ideal background for a human promenade, as occurred in Le Corbusier's work against the background of the space idealized by the columnar order.

In the Carlos Siza house, the effect of this artifice of apparently aleatory relationships between different layers of order is more radically visible. This project too is a pinched U. Its central axis is marked by the living room's protruding bay window. Here too entry is made casually from the corner, although in this case one enters into a sort of ambulatory that enfolds the courtyard of the house. In this house the “indifference” of site is more radical. The house sits on a raised base. At a certain point along one edge of the site, the raised plot's perimeter wall folds sharply back into the house, passing through one leg of the U and conceptually cutting off three of the bedrooms from the rest of the house. [...] Vision is inscribed as another uncoordinated order into the fabric of the building. The indifference of one order's logic to that of another suggests the independence of each. The rhetorically aleatory nature of their relationships suggests the foreignness of one to the other—that is, they constitute an archeology of architecture, represented by typological formations or as in Leca, with syntactical strategies, site, and the order of the subject. Each is intimately bound to the other, yet alien.
It is possible to trace these themes through many projects. In the Escola Superior de Educacao in Setubal, the three-sided courtyard opens to an undulating landscape that rolls into its arms. Distinct from the University of Virginia example that ought to come to mind, the project does not so much classically frame a landscape beyond its orderly tranquility as much as prompt this very landscape to wash right into its midst. [...] The oddity of the paths to the building, traversing along the rolling grassy landscape from one side, or through an apparently casual closed patio placed at an angle to the long leg of the building, make this building seem to lay unexpectedly upon the ground. Paths unrelated to the logic of the building bring us to the “wrong” part of the building to initiate our entry into it. And the internal pattern of circulation carries on to similar effect. We wander the building as vagabonds about the ruins of Rome.

Our trace and mark appear upon the body of Siza's buildings in other ways. Physiognomic figures in facade patterns lend a strangely human aspect of gesture to the body of many of Siza's buildings. In the totemic boxes of the Faculty of Architecture studio buildings (1986-1993), different “characters” are detectable, one with close-set eyes, one glancing west, and one, a Cyclops, looking ahead. The skylights of the eastern-most studio seem like a creature from John Hejduk's architectural bestiary. Yet all these gestures are not so surprising; they, like the optical cut in the Carlos Siza house, inscribe within the body of the architecture the roving subject's perceptual experiences. These windows through which we see represent that act of seeing in a rhetorical gesture. Behind, a ramp rises along the face of the classroom and lecture hall building, and the gliding glance that peers out during the ramp's ascent is cut from the building's face—the slope of the roof suggests the ramp inside but is steeper, making the cut of the ribbon window, which follows the angle of the ramp, more palpable as a gash in the facade—that is, the cut is not “explained” in relation to the building's sloped profile.
It bears noting that the gateway pairing at the west-end entrance to the Faculty's campus is contradicted by the change in section that runs along the axis that they establish. Entrance is made through a flared vestibule stuck into the face of this sectional change, or up a flight of crossing stairs and into the bottom of the ramp's figure. The markings of path about the building and the anthropomorphisms play similar roles, leaving a trail of marks on the building, suggesting an order of movement and perception overlaid onto the more stable order of forms. The project is set on a steeply inclined bank of the Douro River; the split in section is in fact related to a mosaiclike pattern of platforms into which the embankment is cut. Thus its disruptive role is, again, the superposition of the nonconforming patterns of site and architectural configuration.

One project summarizes particularly well the themes I have tried to highlight in Siza's work. The competition entry for the Monument to the Victims of the Gestapo is somewhat anomalous in a body of work that on no other occasion contains an explicit component of the past's classical vocabulary. Here, eccentrically located in the middle of a large round bowl of landscape, stands an inhabitable doric column. Inside, a spiral staircase nearly fills its shaft and runs up to its capital. The site plan shows the column at the intersection of important axes—one running down the center of the street, another running nearly perpendicular to and from the center of an adjacent building's monumental facade (this latter axis is slightly displaced by the corner of an interceding building). Where the two axes cross stands the column. Yet the column's location, in spite of this apparent logic derived from the larger order of the site, and following baroque notions of monumental urban arrangement, still stands strangely within the immediate surroundings of the monument. [...]

The buildings analyzed in plan all belong to one or another of two principal site geometries. However, I imagine that the effect of moving through the building is to distance one from the city through a certain disorientation, and to allow for a passage into the bowl-shaped park in which the column stands—stranded. Here this explicit emblem and trophy of a past architecture stands removed from its own “natural” context—once a component within the syntax and body of a classical building and from its possible normative relationship to the city, established by the classically conceived urban axes, and perceptually undone by the bermed bowl in which it stands isolated—in a garden. Under such conditions it is not unlike those nineteenth-century follies that were merely occasions within the more important order established by the narrative-like sequences of experiences in picturesque garden promenades: in those cases the dominant experience of the folly was not the reconstitution of the historical universe from which the folly came, but a more general and emotive nostalgia for a lost world. Follies, like collections in general, signify not the presence of the collected object so much as the absence of the world from which a relic has been saved. What then is the connection between this project and the purpose to which it is dedicated—a memorial to the victims of the Gestapo? The column appears in the city like some found object of a world lost, its withheld relationship to the larger city only making more poignant the absent world of ordered relationships of which it is an emblem.

The following is possible: The column can be viewed as a relic of a classical past—possibly of that classical humanist past whose vision assumed an organic continuity between man and the world, where man remained linked to the world around him by virtue of the analogy he saw between himself and the forms of the world. His own subjectivity was not rootless among the world's autonomous objects and events, but shared in their order and could thus reform it. He imagined that the image he held of his own developing rationality could infuse the world, and if this rationality produced a humane order, then the world would be humane. Humanism could tame the obdurate alienness of the world by seeing “the human subject… incorporated into the dance of forms filled by the world” and should not be betrayed by this world. The human disaster perpetrated by the Third Reich, driven by an image of history that negated the importance of the individual subject, divides us from such classical humanist hope. The column, once homologous to man and a great emblem of the humanist reciprocity between world and subject, is now only a nostalgic artifact to be collected but incapable of integration within the city that survived the disaster.
It is also possible that the column is full of more frightening associations derived from its historical association with power, and more particularly with the neoclassical affectations of the Third Reich. In this case, we would stumble upon this symbolic structure collected from the wreckage, defanged in its museological park. Both readings (if not many more) are possible, even in one person. As they oscillate, what remains constant is the remoteness of history, its irrecoverability. When the past is conceived of, it is called history, and at that moment under the glass jar of a name it is as remote as is the world from which the items in a collection have been drawn.

The column is a ruin collected from a lost epoch. The pieces of architecture by which we are brought to it, guided in their layout by the geometry of the surrounding urban site, still gather as if merely part of a series of abutted fragments. By passing through them, we happen upon this lone column. The column, sited by an elaboration of the existing site's order, remains unjoined and alien in the city's midst. Such might be a parable of the memory of those victims within present-day Berlin.

Siza's architecture emerged from an epoch that sought to recover from the betrayals of language and the misuse of history. The sense of language's remoteness, the uncertainty of our own relationship to inherited forms and even to the historical soil on which we build, is codified in an architecture that joins subject, land, and language, without suggesting that there is anything natural about such a grouping.

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Tags: Expo , Pavilion , Portugal , Projects , Works

포르투갈 1998년 공동관

Posted on 24 June 2009 by Alvaro


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pavilhaoportugal The Portuguese National Pavilion is a prestigious landmark building designed by Alvaro Siza to host Expo 98 - the world's largest trade fair. Siza's shell-like design also served to introduce the 'ocean & world heritage' theme of the event and to represent the culture of the host country.

Appointed for the concept and scheme design, Arup provided: structural, mechanical, electrical, and geotechnical engineering; fire safety and lighting design; and specialist acoustic advice.

파빌리온 2 개의 전시 영역, 하나의 주택을 주요 전시회로 구성되어 두 번째 국가가 표시를위한 대형 야외 공간을 제공하고있습니다. 파빌리온의 가장 상징적인 기능을하지만, 이는 퇴역식 광장 캐노피 만들어 놓고 얇은 곡선 구체적인 항해이다.

Cables supporting the canopy require enormous tension, provided by a series of 14m high fin-like walls which form porticos on either side of the plaza.

As Lisbon is an area of high sismic activity, the canopy and the building are completely separate, each with its own structural support system.

At the time of construction, the National Pavilion was Lisbon's largest urban regeneration project since rebuilding the city in the aftermath of an earthquake and tidal wave which ravaged the city in 1775.

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Tags: Awards

Posted on 23 June 2009 by Alvaro

sizaqueenaward_261x196

Alvaro Siza Vieira Awards, Prizes and Recognitions.

  • 1988 - Gold Medal Superior Counsil of Arquitecture by the Colégio de Arquitectos de Madrid
  • 1988 - Mies van der Rohe Award for European Architecture -  Mies van der Rohe Foundation
  • 1992 - Pritzker Award - Hyatt Foundation, Chicago
  • 1993 - National Architectural Award - Portugal 1993
  • 1996 - Secil Award
  • 1998 - Alvar Aalto Medal
  • 1998 - The Prince of Wales Prize from Harvard University
  • 2000 - Secil Award
  • 2001 - Wolf Prize in Arts
  • 2005 - Urbanism Special Grand Prize of France
  • 2006 - Secil Award
  • 2008 - Royal Gold Medal for Architecture - Royal Institute of British Architects
  • 2009 - RIBA - Royal Gold Medal 2009
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    Tags: 2006 , Anyang , Pavilion , Projects , Works

    2006년 안양 관

    Posted on 22 June 2009 by Alvaro


    final1 A Pavilion in Korea

    February 2005: the invitation, sudden and urgent. A small city of 300,000 inhabitants had launched a project for a cultural complex right in front of a natural park, wedged in amongst beautiful mountains. 다기능 파빌리온 보완,하지만 중앙 요소로 필요했습니다. Álvaro Siza's name was mentioned and the invitation was answered, in person, in Porto.

    March 2005: This was an urgent matter and I immediately went to the site, to look around, take note, and bring back the necessary bases for an architect's work, as the theme was sober: a multifunctional space, a small, possibly multifunctional office, perhaps for the police, and toilets for those who walk the park's paths as well as for those who remain around the square or go to the local restaurants. Jun, a Korean architect who studied abroad, interned in Porto, and who is now based in Seoul has been a friend of mine for 20 years, and was waiting for me upon arrival. Our friendship and profession would establish the necessary connection. Arriving at the site, the urgency is present, the urgency of the urgency is present, because that is the way the country is, like its people and lifestyle. There is time to decide, but after decision comes the urgency. There is great euphoria at APAP 2005 - Anyang Public Art Project 2005. Many artists and a few architects have already confirmed it. There is some concern. Can so many guests of so many nationalities comprehend the urgency? Calmly, we gather elements, take photographs, solicit detailed plans, search for documentation, search for architectural precedents, most of it destroyed in the wars, for current architecture of merit….our friends help and point things out.

    The site is an open space, shorn from the mountain, a square to be created. There are already compromises, perhaps they can be coordinated, even eliminated, we shall see. Back in Porto and the West. I try to transmit the experience, way of life, flavours and foundations of the work. Siza receives, perceives, questions and interprets like no other. From the first work session, a few timid, interpretive blueprints are made. The second session, supported by a model of the site, is more approximate, form becomes form, content in search of a programme. Other sessions follow, primarily on Saturdays and Sundays. The atmosphere is excellent. Models are built, scale is increased, the blueprints require alterations of the plans, models and 3Ds. It is necessary to return to Korea and present the project to the client.

    July 2005: upon arrival, we are informed that the presentation is at 4:00pm. At four o'clock the meeting begins: the mayor, necessary council members, directors and as well as technicians, local architects and guests. Brief presentation of Álvaro Siza's work, presentation of the proposal, some translation, intelligent questions, necessity of increasing the number of toilets, nothing that prevents the formal approval of the proposal, carrying out the necessary, requested alterations. Expression of thanks for the quality of the work, but also the urgent press for time. It is time to start construction, it's urgent, and the snow…Seven o'clock, confirmation dinner to express satisfaction with the project, its acceptance and official approval. Back home, the process, though identical, is another, as we have proceeded to the execution phase. Adaptations to small alterations in the project, to the forms, and the form to the project. The designs acquire scale, rigour, but always follow the blueprint and the blueprint follows the rigour of execution. Construction starts and the designs continue. The Net permits the exchange of information, but also allows you to see the work progress despite the distance. Despite the urgency, the pleasure at seeing the work advance forward, unrestrained by bureaucracy, provides pleasure, because ours is a different reality.

    November 2005: back again for the opening of the park and to visit the construction site. An entire, rough volume of grey almost white concrete intuits the light. An exquisite execution born of urgency. The site was made for the volume and the volume rises from the site. Of the remainder of the square, little could be saved, we are left with our half. The Parque , fair of the vanities, is pleasing…; displeasing, the capacity of implementation amazes me. Very little is ok, much is of a temporary nature, even disposable. What is good will remain, time will not be merciful. Infrastructures, M & E services, finishings, materials, preparations for the next phase are discussed. In Porto, the final design is being followed up with our support almost in real time.

    July 2006: back again, a great surprise, despite the exchange of photos. Entering the finished space is sublime, as is the light. Not at all static, when we move, the space sings, as Siza would say. It is introverted when required, extroverted in its perspectives, in its passages, in the volumetry of the form and materials. The client and the city respectfully ask and the pavilion takes the name of Anyang - Álvaro Siza Hall. Already in use, the inauguration is just around the corner.

    Carlos Castanheira, architect.

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    Tags: 2005 , Gallery , Projects , Serpentine

    2005년 Serpentine 갤러리

    Posted on 21 June 2009 by Alvaro


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    22102018_2bac00842c In comparison, the replacement for the MVRDV pavilion is simplicity itself.

    A cafe by day and a venue for talks and events at night, it is little more than a grid made from short planks of timber, folded down at the edges to form the walls. Panes of polycarbonate fill in the squares of the grid until it meets the ground on extended “legs”. Anyone with a basic knowledge of woodwork will be able to see immediately how it's been put together: with mortise and tenon joints. A bolt secures each joint and there's your pavilion. So while MVRDV set themselves a mountain to climb, this looks like it could have been assembled from a flat-pack - given a thousand years' worth of Sunday afternoons.

    “A pavilion is usually an isolated building, but with this site we felt we should maintain a relationship with the gallery and the trees, and these things were the start of the idea,” explains Siza. “In front of the house there are two hedges forming half an ellipse. That gave us the suggestion to make a curved surface to complete the ellipse. And as the trees outside were in a position that avoided making a rectangle, we decided to make the four faces curved. The curves are not symmetrical because of the position of these trees, so they adapted to these accidents. Also the roof began suffering accidents. It's like a vault but it comes down approaching the gallery, like a compliment. Architecture is often developed through such accidents and difficulties. In the end that gives character to the buildings.”

    A quick poll of passers-by on the exterior of the pavilion before it had opened produced mixed reactions: many likened it to a dinosaur or an armadillo; some couldn't wait to get inside; others found it hostile, unremarkable, or even ugly. A group of workmen nearby said they preferred it before they put the polycarbonate panels on it, others that it would look better with plants growing over it.

    After more than 50 years in the business, Siza is no stranger to such reactions. Although he is revered by fellow professionals, and won the prestigious Pritzker prize in 1992, he has never been a high-stakes architectural superstar like Norman Foster or Frank Gehry. Rather than turning out flamboyant structures, his buildings can look unremarkable at first glance. But Siza's mastery lies in subtler qualities such as context, spatial relationships and use of light. He's generally a less-is-more modernist who favours clean, straight lines, whitewashed walls and almost-blank geometric volumes, but his buildings are usually too sensitive to their users and their surroundings to veer into uptight minimalism.

    One of his most celebrated works, for example, is a public swimming pool built in the late 1960s at Leça da Palmeira. It consists of little more than concrete planes and platforms defining a group of tidal pools, but with minimal intervention they create a space that relates to both the natural rock formations and the concrete seawalls of the decidedly un-picturesque Altantic coastline.

    From a similar school of thought, the younger Eduardo Souto de Moura worked in Siza's office during the 1970s before branching off on his own. At least one of his projects is arguably more famous in Britain than any of Siza's: the Braga Stadium, which hosted football matches during Euro 2004 - it was the one with a sheer granite rock face at one end of the pitch. The two architects have collaborated before, on Portugal's flagship pavilion at Expo 98 in Lisbon, but that was formal and monumental, in marked contrast to the casual, playful building at the Serpentine.

    “We worked at the same table, sometimes both writing in different corners of the same piece of paper,” says Siza. “It's a work of friendship and amusement. It's like a holiday, because one of the attractions of this work is that there is no bureaucracy, no need to know about regulations. It was very free.”

    The influence of Arup's Cecil Balmond is there to see in the broken up geometry of the structure, and the fact that the whole thing stands up. On closer inspection, the timber grid appears to be warped out of shape and the lines of the timber elements are staggered zig-zags, as if it the building had been shaken by an earthquake. Despite the basic construction methods, the pavilion is the result of serious computing power and precision engineering. Every piece of wood and every pane of polycarbonate is different.

    Had they been allowed inside the pavilion, the sceptics of Kensington Gardens might have been won over by Siza and Souto de Moura's artistry. In contrast to the exterior, the space inside is unexpectedly grand and yet almost ecclesiastically tranquil. The semi-opaque panels give the ceiling a luminous glow, and the leaves of the surrounding trees are silhouetted on the walls. A solar-powered light in the centre of each roof panel turns on automatically at dusk, but because each panel is differently orientated, the lights come on one by one. And as with Siza's other works, the pavilion is acutely sensitive to its surroundings. The walls appear to bow outwards in deference to the surrounding trees, and openings at the corners neatly frame young trees and views across the park. The decision to leave the bottom metre or so of the structure open means that visitors sitting at the cafe tables (designed by Siza, of course) will be able to see out across the park.

    Siza has yet to visit the site, though. Souto de Moura came and took notes and photos from which they worked out the design. But Siza is not offended that people have likened his structure a giant armadillo. “Actually, I think it is my fault,” he says. “In the beginning when describing it, I said it was like an animal with its feet in the ground. It wasn't in our minds to make it look like an animal, but in the end we are always confronted with nature and with natural forms. Forms are not only defined by complex mathematics and proportions, we can look around and we have trees and dogs and people. It's like an alphabet of proportions and relations that we use. I think that's one of the tasks of the architect: to make things look simple and natural which in fact are complex.”

    By Fernando Guerra

    Designed in Portugal, engineered in England, fabricated in Germany using innovative Finnish technology, built, with lashings of Anglo-Saxon enterprise, in London and all done in six months without a penny of subsidy: if Tony Blair wants a symbol of the New Europe to mark his presidency of the European Union, he had better claim this year's Serpentine Pavilion in Kensington Gardens as his own.

    If all had gone well, this year would have seen the Serpentine Gallery swallowed up by the radical Dutch practice MVRDV's mountain. But that proved one leap too far. Cost and, one suspects, such practical issues as fire escapes, intervened, so although technically still a work “in progress”, it was shelved.

    Instead, Julia Peyton-Jones, the Serpentine's director, turned last December to the magisterial 72-year-old Portuguese architect Alvaro Siza and his long-term collaborator Eduardo Souto de Moura to come up with this year's pavilion.

    Siza is one of the grand old men of European architecture, best known for crisp white buildings such as the Museu Serralves in Porto, the church of Sta Maria at Marco de Canavezes, and the wonderful Portuguese Pavilion at the Lisbon Expo of 1998, with its hanging concrete “veil”.

    Souto de Moura, who is 53, worked for Siza for five years before setting up on his own, but they still share the same building and occasionally collaborate on projects such as the Lisbon Pavilion.

    And there is a third figure to throw into the mix - the engineer Cecil Balmond, deputy chairman of Arup, who worked with Siza and Souto de Moura on the Portuguese Pavilion and has been the éminence grise behind all the Serpentine Pavilions, making sure that these small but complex buildings can actually stand up.

    The brief is simple: a pavilion that can be used by the cramped Serpentine Gallery as a café for the summer by day and a place for parties and events by night. But the aim is much more ambitious: to create an instant architectural exhibition as substantial and satisfying as any show within the Serpentine. Architecture is notoriously difficult to turn into an exhibition, so why not call in architects who have never built in London to design a temporary building instead?

    The last pavilion, the ageing Niemeyer's small but monumental structure, was a built retrospective, a summation of key ideas from a career that has lasted more than 70 years. Those expecting something similar from Siza are in for a surprise.

    Instead of a highly sophisticated exploration of the ideals of classic white modernism like the Museu Serralves, this year's pavilion is unprecedented in his work, a billowing lattice-like timber structure, filled in with polycarbonate panels, that resembles nothing so much as a “tortoise”, the instant defence that Roman legionaries created by locking their shields together.

    When I met Siza and Souto de Moura at the pavilion, fresh from the airport, it became clear that what had driven the design was the site, particularly the two handsome oak trees that sail over the pavilion, which Siza described as like a sculpture, and which form an anchor for the building.

    The parameters were simple: the two trees, the bulk of the Serpentine Gallery and the lawn in-between, which is embraced by curving paths. From this came the idea of a rectangular structure pushed out of shape by the trees - the timber supports almost seem to shy away from the branches - with the wall towards the Serpentine Gallery curving to respect the shape of the lawn.

    The first discussion with Cecil Balmond brought up the question of whether the structure should have a refined, almost “high-tech” feel (like all the preceding pavilions) or be something more vernacular. Despite their long-term interest in clean white lines, both Siza and Souto de Moura have always had a fascination with local materials such as timber, masonry and ceramic tiles, so they chose to take the vernacular route. (Siza explained that the result was partly inspired by English half-timbered structures, but with a strongly Japanese touch.)

    The structure is entirely constructed out of an innovative, strong laminated timber, Laminated Veneer Lumber, made by Finnforest in Finland, cut from great sheets into small planks outside Munich, stained to match the oak trees and bring out the grain and put together like a giant flatpack in London.

    Choosing the cladding was the other key decision. Should this be fabric or a fixed cladding? Siza wanted it to be light but solid, so he chose translucent polycarbonate panels, carefully arranged so that when you stand up your eye is caught by the structure, but when you sit down you can look through the open trellis to the park.

    Each of the panels in the roof is penetrated by a ventilation cowl holding a battery-operated, solar-powered light, which illuminates the interior by night and gives it an ethereal glow from outside - all with the added benefit that there is no need for any cabling to spoil the lines.

    The result is a chunky, engaging building that is definitely more challenging than any of the other pavilions so far. Instead of the spatial pyrotechnics of Hadid and Libeskind, the thrilling geometry of Ito or the satisfying inevitability of Niemeyer, Siza and Souto de Moura's pavilion takes time to reveal its qualities. But sit under the restless grid, at chairs and tables designed by Siza, watching the life of the park go by and the subtleties of the building slowly reveal themselves.

    Architecture, particularly temporary architecture, should not necessarily be an instant wow. Sometimes it should require us to delve deeper, to think a little harder, and that is what Siza and Souto de Moura make us do.

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    Tags: Porto , Projects , Serralves , Works

    1997년 Serralves 현대 미술관의

    Posted on 20 June 2009 by Alvaro


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    serralves3 Rua D.João de Castro 210
    포르투
    포르투갈

    Alvaro Siza 1997

    The new Museum of Contemporary Art is in the Quinta de Serralves, a property comprising a large house surrounded by gardens, woods and meadows, commissioned in the 1930s to serve as a private residence and later used as an exhibition space. The museum develops a new nucleus on the grounds of an existing orchard and vegetable garden, which have now been transplanted to another area of the property, and absorbs most of the functions previously performed by the main house. The site at the edge of the garden and near an existing boundary wall was chosen due to the proximity of the main avenue, ensuring easy public access, and the absence of large trees, which otherwise would have had to be destroyed.

    A roughly north-south longitudinal axis serves as the framework for the project. Two asymmetrical wings branch off to the south from the main body of the museum, creating a courtyard between them, while another courtyard is formed at the northern end between the L-shaped volume of the auditorium and the public entrance atrium.

    The volume of the main building is divided between exhibition spaces, offices and storage, an art library and a restaurant with adjoining terrace. The auditorium and bookstore have independent entrances and may be used when the museum itself is closed. The exhibition area is composed of several rooms, connected by a large U-shaped gallery - it occupies most of the entrance level, extending to the lower floor in one of the wings. The large doors that separate the different exhibition spaces and partition walls can be used to create different routes or organize separate exhibitions simultaneously. These spaces are ventilated through horizontal openings in the false walls, while natural light is brought in through a series of skylights above suspended ceilings.

    As in most of Siza's buildings, the furniture and fittings were also designed by the architect, including lighting fixtures, handrails, doorknobs, and signage. Materials include hardwood floors and painted walls in gesso with marble skirting in the exhibition halls, and marble floors in the foyers and wet spaces. Exterior walls are covered with stone or stucco. These abstract and mute white walls with occasional openings, which frame unexpected views of the garden, create a minimal intrusion into the landscape, while the granite-clad base follows the variations of the ground along a slope descending by several meters from north to south.

    A landscaping project is currently being completed which creates a variety of new gardens in the immediate vicinity of the museum that blend into the existing park zone and help to graft the new construction to its natural surroundings.

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    Tags: Projects , Tea House , Works

    보아 1963년 노바 티 하우스

    Posted on 19 June 2009 by Alvaro



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    1391_normal Rua Boa Nova - Matosinhos
    4450-705 MATOSINHOS

    Leça da Palmeira
    포르투갈

    Alvaro Siza 1963

    The Boa Nova Tea House was designed following a competition held in 1956 by the city council and won by Portuguese architect Fernando Tavora. After choosing a site on the cliffs of the Matosinhos seashore, Tavora turned the project over to his collaborator, Alvaro Siza. One of Siza's first built projects, it is significant that the restaurant is not far from the town of Matosinhos where the architect grew up, and set in a landscape that he was intimately familiar with. It was still possible in Portugal of the 1960s to make architecture by working in close contact with the site, and this work, much like the Leça Swimming Pools of 1966, is about 'building the landscape' of this marginal zone on the Atlantic - through a careful analysis of the weather and tides, existing plant life and rock formations, and the relationship to the avenue and city behind.

    Removed from the main road by some 300 meters, the building is accessed from a nearby parking lot through a system of platforms and stairs, eventually leading to an entry sheltered by a very low roof and massive boulders characteristic to the site. This architectural promenade, a sinuous path clad in white stone and lined by painted concrete walls, presents several dramatic perspectives of the landscape as it alternatively hides and reveals the sea and the horizon line.

    The restaurant's west-facing dining room and tea room are set just above the rocks, and joined by a double-height atrium and stair, with the entrance being on a higher level. The kitchen, storage and employee areas are half-sunken in the back of the building, marked only by a narrow window and a mast-like chimney clad in colored tiles. Forming a butterfly in plan, the two primary spaces open gently around the sea cove, their exterior walls following the natural topography of the site. The tea room has large windows above an exposed concrete base, while the dining room is fully glassed, leading to an outdoor plateau. In both rooms, the window frames can slide down beneath the floor, leaving the long projecting roof eaves in continuum with the ceiling. This creates an amazing effect in the summer, when it is possible to walk out from the dining room directly to the sea, as the building seems to disappear.

    As in other early works of the architect, a diversity of materials come into play: white-plastered masonry walls, exposed concrete pillars on the west-facing facade, and an abundant use of the red African 'Afizelia' wood in the cladding of the walls, ceilings, frames and furniture. On the outside the facing of the projecting eaves is made with long wood boards trimmed with copper flashing. The roof is a concrete slab covered by Roman red terracotta tiles and by a wood suspended ceiling.

    Legend has it that a few years ago, during a heavy storm, the sea came crashing through both rooms of the tea house, taking with it furniture and destroying most of the interior. The Boa Nova was fully restored in 1991, with all of its original characteristics being preserved.

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    Tags: 2005 , Armanda Passos , Projects , Works

    2005년 Armanda Passos 하우스

    Posted on 18 June 2009 by Alvaro



    The Armanda Passos House
    Álvaro Siza

    0073437-381_425x425 The Interiorized House

    Amidst horizontal and vertical planes conditioned by the contours of the terrain, memories of Zen gardens and fire signs, the Armanda Passos house has gently risen - the most recent project by Álvaro Siza in Porto.

    Designed to be lived in at all hours of the day, when light seeks out shade, and shade opens itself to the light, the house-atelier, commissioned by painter Armanda Passos from the most international name in Portuguese architecture, allows the complicity naturally created by the architect with his work to transpire at each step. This is the second dwelling designed by Siza in Porto. The first was built in the 1960's on the Avenida dos Combatentes. Between project and construction, via the city council approval process, three years passed (2002-2005). The project included the demolition of the existing house and the construction of three volumes, interlinked and joined in a way that defines two patio-gardens, interspersed by existing trees. There is even a wide garden between the border wall of the avenue's pavement and the front of the building. Additional trees were planted. It is claimed that they establish a bridge between East and West. In an interview with Arquitectura & Construção, Álvaro Siza discusses the completed project:

    The Armanda Passos house was built for a friend…
    Now she is, at the time we did not have such a close friendship. Afterwards we did, because the building of a home is a great story.

    How did you face the challenge?
    She is sensitive person with a great attachment to the house and I created, in a special way, not only comfort but also the whole aspect of association with the garden, intimacy, quality of light, etc. It is very pleasing for an architect to have a client that has these requirements in terms of quality.

    What about the project?

    The project assigned to me includes a residential part with a multifunctional living room that can be projected/extended from a stage that can be raised to varying elevations. The residence and the multifunctional living room are interconnected by a transitional space: an atrium. After that there is an atelier with Northern exposure.

    The roof of the atelier has two gradients like in old factories and warehouses, which give it a special light….

    바로 그거야. The so-called shade? It has a high, northern light.

    In the interior, you experimented a lot with different volumes…

    The ground area is small and I wanted to take as much advantage of the garden as possible in order to avoid creating an isolated mass. As there were three functionally well-defined parts to the project, two of which were connected and one which could function independently, I used this to organise the patios. There is a patio between the multifunctional living room and the residence to the west; there is another next to the driveway; and there is a space in front of the multifunctional living room, between it and a transitional wall that stands between the street and the front of the house. So there are three quite differentiated spaces.

    The house is slightly lower than its neighbours. Was this intentional?
    All of the neighbouring houses have two floors. In this one, the part most visible from the street is only one storey, though it is taller than average. It is intentional because it was possible to connect the three volumes and thus create patios on all three sides. The two-storey volume and the taller volume, because of the shades, are in the back. The fact that there is an open space in front and on the two sides allowed for the planting of trees and the creation of a certain intimacy in the exterior areas of the lot. As the neighbouring houses are two-storey, if this one were as well, it would feel narrow. In this way, a sensation of generous, roomy interior space is possible.

    At the same time, the house contains elements characteristic of the 1950's -such as the brises-soleil- as well as presenting an eastern spirit. There's an understanding here between East and West…
    There is no doubt that in traditional Japanese architecture -as beautiful as it is- there is this concern. An articulation exists that organizes well-defined exterior spaces -the patios- and allows for quite significant communication that at the same time is intimate with the interior. The famous Zen gardens of Osaka are articulate constructions that connect and depart from the geometric spaces where they create marvellous garden compositions. In this case, the way in which the garden is laid out is not related to the Zen gardens, but a feeling of intimacy exists. As the house does not contain too much glass, it benefits from the communication between the interior and exterior in the large windows that frame these exterior spaces.

    The brises-soleil repel the light and cast a shadow on the ground like an architectural memory. The gutters also mark the limits of the brises-soleil on the ground.
    The brises-soleil are there to provide protection from the sun and the heat and also create a transition between the interior and exterior.

    At a certain point, the volumes almost touch at certain angles…
    예. The bodies of the atelier together with the veranda and the residence's brise-soleil almost touch. They are three well-defined structures, but are intended to form a whole. Hence the proximity of elements of one structure with another to establish transitional spaces and unify the ensemble.

    There are details that are almost indicative of elements. One recalls an outline of the veranda that functions like an arrow pointing out a tree or a detail of the wall. Thus, the architecture itself follows a path…
    It follows the treatment of the garden. The areas where the trees and bushes are planted are based on providing solar protection. For example, the west-facing multifunctional living room window has a brise-soleil. First of all, because the brise-soleil protects the window from the south when the sun is high in the sky. When the sun is low, it doesn't help so much. Other systems have to be used, like the brise-soleil. When the sun sets, even the neighbouring house provides significant protection. Where the sun could enter diagonally and create discomfort during the summer, an evergreen tree was planted. Next to the window sash of the large window on the western side of the multifunctional living room, there is a deciduous tree because in the winter the house is more comfortable with direct sunlight. During the warm season the house is shaded.

    Is it a four-season home?
    Yes, it is. These are elementary things that both spontaneous and erudite architecture have always used in the mutual relationship between nature and man-made construction.

    At the top of the stairs, the light that enters through the skylight signals the steps as if showing the way. It is a repeating gesture…

    I don't really like violent light and curtains are necessary, but I also like it when a house can stand completely open, when there are transparencies. Controlling light is not only done through curtains, but also through brises-soleil which break the intensity of the light and the location and orientation of the windows themselves, the end goal being thermal comfort. Metering light intensity was something that old houses did, particularly those in the south, of Arab tradition. Patios with very intense light, porticos that create a transition to the interior, then more broken light and even shady areas -they are necessary for comfort.

    Your houses have this tradition…
    I don't recall having designed an entirely glass house. Not only because of comfort and to not have to resort to mechanical means, but because I think a house needs to contain different environments. Some are more relaxing and serene, others are more extroverted. A house is made up of these variations. It is apparently simple because many things take place inside a home.

    In the interior of the atelier, the light from the shades almost give one a sense of looking through the windows of a cathedral with a rising light….
    The intention was not to create a religious environment, but, as the house belongs to a painter, special care is needed with the light in order to create good conditions for painting as well as maintenance. Not too long ago, Armanda Passos contacted me, because, although the shades face north, in the summer there is an hour when the sun enters. Not only can it be bothersome, it can damage the paintings, and therefore we are going to install outdoor blinds so that during these few days, the rays are blocked.

    The atelier's windows give the illusion that they can be pulled down. Almost opening the entire sky…
    That doesn't happen in this case. The windows run all the way to the floor, but they have panes that open. The larger parts are sliding doors and in certain cases move as one piece. There is no crossbar. It is an entire piece of glass that runs inside the wall.

    In general, the window and door planes are well defined. Some open broadly, others narrowly. As if you were playing with the volumes in a harmonic game…
    It's a game that requires great effort [laughs], but there is a dimension of pleasure in this effort because the possibility of working for someone who asks for and demands quality is not frequent -whether it is a public or private work.

    Everything has been geared toward the client…
    Yes, she was extremely demanding with regards to the quality of the construction -which is very good. It's not enough for the architect to demand quality in construction. The person paying for the building who demands quality has a different impact. Often, who's paying is not so interested in quality. This demand for quality is considered to be the whim of an annoying architect.

    Do the lateral walls that separate the house from its neighbours have different heights for security?
    예. The walls were utilised. On one of the sides the wall was raised and the neighbours did not raise any problems. The other side was not even touched.

    What materials were used for the house?

    It's traditional from a materials point of view. The walls and outer shell are reinforced concrete. In my experience, it is very difficult to mix materials. Any minor error during installation can lead to the appearance of cracks. All of the houses I've done in reinforced concrete are in excellent shape. Even the one I did in the 1960's is concrete and it has never had any problems with cracks, moisture, etc. The supporting wall is in reinforced concrete that is duplicated outside with a wall in stuccoed brick. Between the two is a ventilation space containing thermal isolation material. This means the wall is 45cm thick, including inner and outer stucco. The advantages are the isolation. On the exterior, besides the stucco, there is a granite groove to guard against ground moisture. Most of the periphery contains a coarse gravel band with a drain underneath, precisely so moisture does not affect the stucco.

    And with regard to the wood used?
    All the wood is painted, the interior and exterior frames, except for the flooring, which is of restored old Scots pine, and the stairs. In areas with water, marble was installed. The kitchen was especially designed for the house, although today it is in production at the factory that built it. Countertops are in marble. The rest is lacquered wood.

    Are the window frames made of wood?
    예. The outer part has an aluminium panel that holds the glass in place and also protects the paint. It's Iroko wood, treated so that it can handle the paint.

    What are the roofing materials?
    Earth and vegetation. It is a flat roof in waterproofed concrete and immediately on top is a 40cm layer of soil for the grass.

    And the roof of the atelier?
    It's covered with zinc.

    The shades provide a very large movement to the entire roof…
    Yes, they increase slightly from front to back so that it gently conforms with the street. The house almost goes unnoticed. The recessed part contains two floors. The atelier has higher ceilings because Armanda builds large canvases and really needs the space and breathing room. All of this takes place in the back, cut off by the trees. So, it's not an exhibitionistic house. It's more interiorized.

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    Tags: 2008 , Ibere , Projects , Works

    2008년 Ibere Camargo 재단

    Posted on 16 June 2009 by Alvaro


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    New Iberê Camargo Foundation headquarters open its doors

    4 The new building of the Iberê Camargo Foundation is sited in a narrow plot, nearby the Guaíba River. The museum is mainly defined by its vertical volume where the exhibition rooms are located, from which are raised suspended, undulating arms in white concrete - somewhat resonant of the iconic concrete reveries of Lina Bo Bardi. This is the first project by Portuguese architect Álvaro Siza built in Brazilian territory and was honoured by the Venice Architecture Biennale with the Golden Lion award in 2002.

    A large exhibit of work by the painter Iberê Camargo, displayed in the building's nine art galleries, marks Porto Alegre's inauguration of the first project by Portuguese architect Álvaro Siza in Brazil

    The Portuguese architect Álvaro Siza returned to Porto Alegre on the beginning of this year for one of his final visits to his first building designed in Brazil, which will house more than half a century's output of paintings, drawings, gouaches and prints by Iberê Camargo, who is considered to be one of Brazil's most important artists of the 20th century.

    The architect was in the state capital to concern himself in the final details of the project, such as the development and production of the building's furnishings, which he has also designed. The Portuguese architect is meticulous about every detail of the building, believing that harmony is fundamental in a work. “Although each detail is important, the governing feature is the totality. Equilibrium is the underlying quality for architecture,” he says.

    The new Iberê Camargo Foundation headquarters opens in the end of may and is intended to preserve the collection of more than four thousand works by the master of Brazilian expressionism and to be a major center for discussion, research and exhibition of modern and contemporary art, placing Porto Alegre and Brazil on the route of the world's major centers of culture.

    In 2002, The project won the biggest international architecture prize - The Golden Lion Award - at the 2003 Venice Architecture Biennial. The maquette toured to the main state capitals in Brazil, together with a touring exhibition of Iberê's work in 2003 -2004. It has also been to the Milan Triennale at the Museum of Fine Art in Bordeaux, and is included in a touring exhibition of Álvaro Siza's work which is traveling the world.

    Construction budget of the new headquarters for the Iberê Camargo Foundation, whose president is Jorge Gerdau Johannpeter, is 30 million reais. Building started in July 2003 on a 8,250-m2 site facing the Guaíba (Av. Padre Cacique 2,000 donated by the city council and sponsored by Grupo Gerdau, Petrobras, RGE, Vonpar, Itaú, De Lage Landen and Instituto Camargo Correa. RGE, Grupo Gerdau, Petrobras, Camargo Correa, De Lage Landen and Vonpar. Building is following a precise schedule, which concludes with the opening of the headquarters, forecast for November 2007, and a major exhibition of the painter, who is recognized as one of the major Brazilian artists of the 20th century.

    The building will put Porto Alegre on the map of important centers of modern and contemporary art in the country. It has nine exhibition rooms, spread across the three upper floors. The main access level will house the reception, café, cloakrooms, cultural shop and a massive atrium which will provide views of the upper floors and will also be used for exhibitions.

    The basement area contains all the building infrastructure, including parking for 100 vehicles, a 125-seater auditorium with cinema facilities, Iberê's print studio and rooms for courses and workshops. It will also contain a reference, research and information center for the huge collection of 4,000 of the artist's works, with a specialized library, database, video library and reading room, intended for national and international researchers and publishing work.

    The basement also contains the utilities area and the technical reserve, used for housing the air-conditioning system and the sewer treatment network. Access to the car park is through an underpass beneath Avenida Padre Cacique, connecting both sides of the road to facilitate visitor entry and exit. All the entrances to the new Iberê Camargo Foundation headquarters also meet the requirements of people with special needs. Ramps and elevators have been designed to offer ease of access from garage level upwards.

    Innovative technology and ecological trails

    The building for the new Iberê Camargo Foundation headquarters is an international landmark in architecture and engineering solutions. One of the design's innovative features is its reinforced-concrete construction throughout, without the use of bricks or sealing elements, forming curved outlines like a great sculpture to feature the form and movement of the ramps built on all floors. It is the only building in the country to be built entirely from white concrete, which dispenses with painting and finishing and also brings it a feeling of lightness. All the power and service ducts are inside the walls, insulated with fiberglass, allowing the installation of permanent or temporary dimmable sockets and lighting anywhere in the rooms.

    Indoor temperature and humidity are managed by an intelligent monitoring control to ensure protection of the collection. The air-conditioning system will produce ice at night, when electricity costs are lower, for cooling the space during the day, reducing operational costs.

    The design devotes special attention to the environment. A sewage treatment station will treat all the solid and liquid waste on site. The treated water from this process will be used for irrigating the surrounding green space. In partnership with the Gaia Foundation, special care is being given to the 16,000-m2 native forest behind the building. A 200-meter path has been defined in the forest to allow visitors to link art with nature.

    Álvaro Siza, an international reference

    Álvaro Siza is one of the most important contemporary architects in the world, with work in several different countries. His designs include the Museu Serralves in Oporto, and the Centro Galego de Arte Contemporánea, in Santiago de Compostela. The new Iberê Camargo Foundation Headquarters will be his first project in Brazil. Siza was chosen after consultation which considered the innovative nature of the architectural plan and the international standing of its architect.

    The architect is a member of the American Academy of Arts and Science and Honorary Fellow of Royal Institute of British Architects, the Academie d´Architecture de France and the European Academy of Sciences and Arts. He won the Pritzker Award, from the Hyatt Foundation in Chicago, considered the Nobel of the arts, in 1992, for his oeuvre. Siza has played an active role in the most important architectural works in the world, including the Barcelona Olympiad and Expo 98 in Lisbon. He was part of the team that restored the Chiado, the old part of Lisbon attacked by fire.

    More about the project

    The project won the biggest international architecture prize - The Golden Lion Award - at the 2003 Venice Architecture Biennial. The maquette toured to the main state capitals in Brazil, together with a touring exhibition of Iberê's work in 2003 -2004. It has also been to the Milan Triennale at the Museum of Fine Art in Bordeaux, and is included in a touring exhibition of Álvaro Siza's work which is traveling the world.

    30,000 cubic meters of earth were excavated and donated to the Municipal Highway Works Department (SMOV) to be used for paving the city's poorer settlements.

    Excavation was carried out without using explosives. In partnership with the a Universidade Federal do Rio Grande do Sul (UFRGS), a splitting plan was found in which the rocks were broken down, allowing them to be removed with pneumatic equipment. This enabled the builder, Camargo Corrêa to complete the predicted 12-month process of earth removal four months early.

    There has been considerable concern with the surroundings since the start, and the Iberê Camargo Foundation has therefore proposed to correct the distorted bend in the Avenida Padre Cacique to increase road safety near the site.

    Construction is generating 100 direct and 200 indirect jobs.

    The project has been visited by more than 3000 architecture and engineering students from the whole country.

    The building saves 30% to 40% more energy than conventional buildings.

    Chronology:

    1995 - Creation of the Iberê Camargo Foundation

    1996 - SIte for building the new Foundation headquarters donated by the Rio Grande do Sul government

    1998/June - Selection of the architect

    2000/May - First site visit by the architect, Álvaro Siza

    2001/November - Approval of viability study by Porto Alegre City Council

    2002/June - Laying the Foundation Stone

    2002/September - Design wins the Golden Lion Award at the Venice Architecture Biennial

    2003/July- Building commences

    - Sponsorship signed with Camargo Corrêa

    2003/December - Sponsorship signed with Petrobras

    2004/February - Sponsorship signed with Vonpar

    2004/March - Sponsorship signed with RGE

    2004/December - Conclusion of Phase 1 - Underground Area

    2005/Outubro - Conclusion of Phase 2 - Concrete Structure

    2 half of 2007 - Conclusion of Phase 3  and inauguration - Finishing, thermal insulation, electrical, plumbing and complementary installations, decoration and furnishing

    1 half of 2008 - Finishing and furnishing

    Construction phases:

    Phase 1 (basement): Infrastructure: car park, auditorium, print studio, rooms for courses and workshops, documentation and research center, utilities area and technical reserve.

    Phase 2: nine exhibition rooms, atrium, reception, café, cloakroom, cultural shop

    Phase 3 (final): Finishing, thermal insulation electrical, plumbing and complementary installations, decoration and furnishing

    Inauguration:  End of may 2008

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    Tags: Office , Porto , Works

    1998년 Álvaro Siza 비에 라의 건축 사무소

    Posted on 15 June 2009 by Alvaro


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    aleixo2 Architectural Office
    Rua do Aleixo 53, 2º
    포르투
    포르투갈

    Alvaro Siza Vieira 1998

    The office of Alvaro Siza is located in a five-story building overlooking the Douro River in Porto, between the historical center and the Atlantic ocean. In the 19th century this was a small fishing village on the outskirts of the city, and in many ways the place still retains its character, with boats moored in the harbor, fish being sold on the streets, and a ferry crossing the river every few minutes to the neighboring village of Afurada.

    In plan, the building is a U-shape, opening to the south. It occupies the center of the lot and maintains the setbacks required by local building codes. The first floor, which was initially intended for commercial purposes, is partially underground and covers almost the entire site. It receives light and ventilation from Rua do Aleixo and via two patios which are at the same level as the interior spaces. The service facilities and the stairs, which provide access to all levels and a roof terrace, are located on the northern side of the building.

    Siza shares the Aleixo office building with several other architects, who also contributed to its design. The basement floor has been partially given over to the archive, while the terrace was intended to house a cafe. Each floor, with space for 25 or 30 people, is occupied by either one or two offices, and apparently the somewhat random configuration of window openings is a result of each of the architect's needs. The1.30 x 1.80m pivoting windows, sheltered on the eastern facade by horizontal concrete awnings, provide carefully framed views of the surrounding landscape - the steep hillside to the east, the river Douro and the old city center beyond. The soft light produced in the interior, the constant presence of water, and the building's dominant position in the neighborhood, which helps to cut out the noise of people and traffic below, create a peaceful working atmosphere in the office.

    The building structure is in reinforced concrete, its outer walls covered with polystyrene foam insulation and treated with an application of ash-colored stucco. The materials in the interior include white stucco, wood furniture and window frames, linoleum flooring, and marble floors and tile in the wet areas and stairwell.

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    RSS Siza 뉴스

    • 도서 : 알바 Siza, 미용의 기능 - wallpaper.com 2009년 6월 24일
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