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AMAG PORTUGUESE ARCHITECTURE TECHNICAL MAGAZINE
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INDEX
AMAG PORTUGUESE ARCHITECTURE TECHNICAL MAGAZINE
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SPECIAL THANKS TO
Founded in 1990. Memberships of the Swiss Society of Engineers and Architects SIA and the Association of Swiss Architects BSA.
and the ETH Zurich. Graduated from ETH Zurich in 1986. Master of Business Administration 1990 at IMD Lausanne. Management consultant at McKinsey & Co. from 1991 to 1994 in Zurich. Quintus Miller, born 1961 in Aarau. Since 1994 permanent collaboration Studied architecture at the ETH Zurich. with Quintus Miller in Basel. 2000-2001 Graduated from ETH Zurich in 1987. Professeur invité at the EPF Lausanne. Design assistant at the EPF Lausanne and 2001-2005 Member of the Urban the ETH Zurich between 1990 and 1994. Planning Commission of the Canton Since 1994 permanent collaboration of Basel-Stadt. 2003-2019 Member with Paola Maranta in Basel. 2000-2001 of the Urban Planning Commission of Professeur invité at the EPF Lausanne. Riehen. 2007-2008 Visiting professor 2004-2008 Member of the Urban Planning at the Accademia di Architettura of the Commission of the City of Lucerne. Università della Svizzera Italiana. 2005-2017 Member of the Monument 2008-2010 Guest lecturer at the ETH Preservation Commission of the City Zurich. Member of the FHNW University of of Zurich and 2011-2021 Member of Applied Sciences Council since 2018. the Monument Council of the Canton of Basel-Stadt. 2005-2010 Member of Jean-Luc von Aarburg, born 1975 in the Commission for Fine Arts of the Liestal. Studied architecture at EPF municipality of Riehen. 2007-2008 Visiting Lausanne, TU Delft and ETH Zurich. professor at the Accademia di Architettura Graduated from ETH Zurich in 2001. of the Università della Svizzera Italiana. Joined Miller & Maranta in 2001, from 2008-2010 Guest lecturer at the ETH 2007 as a member of the management Zurich. From 2009 full professor at team and from 2013 as a partner. the Accademia di Architettura of the 2009-2010 Co-lecturer at ETH Zurich. Università della Svizzera italiana. 2014 Admission to the BSA. Board member of BWA nw since 2020, Paola Maranta, born 1959 in Chur. observer for competitions and tenders in Studied architecture at the EPF Lausanne Northwestern Switzerland.
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Awards for complete works 2018 Heinrich Tessenow - Medal 2013 Prix Meret Oppenheim 1997 Swiss Federal Art Scholarship
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Alcino Delgado Ana Assunção António Amaral Arménio Estima Ávila Sousa Barbara Kern Bettina Haberbeck Schlempp Carmen Estima Filipa Delgado Sousa Gina Folly Hélder Gonçalves Jean-Luc von Aarburg José Manuel Pedreirinho Konrad Profanter Laura Maifreni Laura Torchio Martin Tschanz Matteo Brioni Miguel Carvalho Nils-Holger Haury Paola Maranta Paulo Lima Quintus Miller Ralph Feiner Rita Leite de Castro Ruedi Walti Rui Caldas SIA Sofia Teodósio
CURRENT TITLE AMAG 33 MILLER & MARANTA PUBLICATION DATE 2023 December COLLECTION AMAG MAGAZINE SERIES INTERNATIONAL ARCHITECTURE RUN NUMBER 5000 numbered copies FREQUENCY Quarterly PAPER Arena White Smoth 140 / 350gr TYPEFACE Cordia New DIMENTIONS 240x320mm TYPE OF PRINTING Offset CMYK 4/4 ISBN 978-989-53905-9-5 ISSN I2182-472X ERC REGISTRATION 126 164 LEGAL DEPOSIT 377392/14 PRINTING LusoImpress EDITOR-IN-CHIEF Ana Leal GENERAL MANAGER Filipa Figueiredo Ferreira EDITORIAL TEAM Ana Leal Filipa Figueiredo Ferreira Inês Rompante João Soares TEXTS AND TRANSLATIONS Pages 003 and 005, original texts in PT, translation to EN by Pedro Cardigo. Essays and project description original texts in EN by the authors, translation to PT by Pedro Cardigo.
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Executive Quintus Miller, Paola Maranta and Jean-Luc von Aarburg (Partners) Bettina Haberbeck Schlempp and Nils-Holger Haury (Associates) Associates Karin Bierlich, David Capell, Katrin Gromann, Sven Waelti
VOLTA SCHOOL project: 1996 - 2000 location: Basel, Switzerland client: Baudepartement Basel-Stadt in collaboration with: Conzett Bronzini Gartmann (structure), August + Margrith Künzel (landscape) images: © Ruedi Walti
APARTMENTS AND HAMMAM PATUMBAH PARK project: 2004 - 2013 location: Zürich, Switzerland client: Lis Mijnssen and Frutiger AG in collaboration with: Conzett Bronzini Gartmann (structure, project phase), Jane Bihr-de Salis (landscape) images: © Ruedi Walti
Team Rebecca Aldinger, Philippe Bärtschi, Gabriel Best, Julian Blecher, Sandra Bulheller, Valerie D’Avis, Philippine de Varine-Bohan, Annina Häner, Florian Happes, Beatrice Hatebur, Flavio Higelin, Harris Iliadis, Eliane Krähenbühl, Santiago Madueño, Roman Morschett, Viola Müller, Christiane Netz, Michelle Österreicher, Manon Pfeffinger, Bianca Radu, Andre Tenkamp, Sabrina Urbani, Tobias Vögtli, Halenur Yaman and Jon Zimmerli
BARN VORDER BRÜGLINGEN project: 2018 - 2022 location: Münchenstein, Switzerland client: Christoph Merian Stiftung in collaboration with: ZPF (structure) images: © Ruedi Walti
GLACIER GARDEN project: 2012 - 2022 APARTMENTS SEMPACHERSTRASSE location: Luzern, Switzerland project: 2011 - 2015 client: Stiftung Gletschergarten location: Basel, Switzerland in collaboration with: Conzett Bronzini Gartmann (structure), client: Stiftung SKB 1809 Lombardi (rock engineering), Müller Illien (landscape) in collaboration with: Schnetzer Puskas Ingenieure (structure), images: © Ruedi Walti August + Margrith Künzel (landscape) images: © Ruedi Walti MILLER & MARANTA AAM EXHIBITION APARTMENTS SCHWARZPARK exhibition: 2017 project: 2001 - 2004 OFFICE BUILDING HAMBURGER BAHNHOF location: Mendrísio, Switzerland location: Basel, Switzerland project: 2011 - 2016 images: © Ruedi Walti client: Baudepartement Basel-Stadt in collaboration with: Conzett Bronzini Gartmann (structure), location: Berlin, Germany client: EBP Schweiz AG THOUGHTSCAPE Jane Bihr-deSalis (landscape) in collaboration with: EBP Schweiz AG (structure, HVAC) exhibition: 2018 images: © Ruedi Walti images: © Ruedi Walti location: La biennale di Venezia, Venice, Italy in collaboration with: Fritz Hauser (music), Tweaklab VILLA GARBALD KINDERGARTEN PARADIESSTRASSE (exhibition technology) project: 2001 - 2004 project: 2016 - 2018 main image: © Miller & Maranta location: Castasegna, Switzerland location: Basel, Switzerland film projection images: © Barbara Kern client: Fondazione Garbald in collaboration with: Conzett Bronzini Gartmann (structure), client: Gemeinde Riehen in collaboration with: Fürst Laffranchi (structure), Jane Bihr-de Salis (landscape) Neue Holzbau (wooden structure) images at Miller & Maranta: © Gina Folly images: © Ruedi Walti images: © Ruedi Walti SPIRGARTEN RESIDENCE BALOISE BUILDING project: 2005 - 2006 project: 2010 - 2020 location: Zürich, Switzerland location: Basel, Switzerland client: Stiftung Spirgarten client: Baloise Group in collaboration with: WGG Schnetzer Puskas (structure), in collaboration with: Basler & Hofmann (structure, project Jane Bihr-de Salis (landscape) phase), August + Margrith Künzel (landscape) images: © Ruedi Walti images: © Ruedi Walti MINERAL BATHS HOTEL WALDHAUS project: 2005 - 2009 project: 1995 - 2021 location: Samedan, Switzerland location: Sils-Maria, Switzerland client: Aqua Spa Resorts client: AG Hotel Waldhaus in collaboration with: Jürg Buchli (structure), Hilpert (tiles) in collaboration with: Beat E. Birchler (structure), images: © Ralph Feiner Conzett Bronzini Gartmann (structure canopy roof) images: © Ruedi Walti OLD HOSPICE ST. GOTTHARD project: 2005 - 2010 APARTMENTS HARDSTRASSE location: Gotthard-Pass, Switzerland project: 2016 - 2022 client: Fondazione Pro San Gottardo in collaboration with: Conzett Bronzini Gartmann (structure) location: Basel, Switzerland client: ECOREAL Schweizerische Immobilien Anlagestiftung images: © Ruedi Walti in collaboration with: August + Margrith Künzel (landscape), Rytz (metal façade) and Thomas Boyle (structure) images: © Ruedi Walti MARKET HALL project: 1996 - 2002 location: Aarau, Switzerland client: Einwohnergemeinde der Stadt Aarau in collaboration with: Conzett Bronzini Gartmann (structure) images: © Ruedi Walti
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INDEX
THOUGHTS FROM THE EDITOR by Ana Leal REGIONS OF PROXIMITY by José Manuel Pedreirinho FOR THOSE WHO DON’T UNDERSTAND by FALA A LOCAL PRACTICE, OR BETWEEN THE SUFFICIENT
003
AND THE INDISPENSABLE by Inês V. Rodrigues ATELIER LOCAL
005 HOUSE IN PARANHOS STUDIO-HOUSE HOUSE IN ANCEDE HOUSE IN CANAS 007 MORTUARY HOUSE IN CAMPO
CONCRETE IMAGINARIES 011 by Andreia Garcia 015 023 033 045 049 053
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ILHÉU ATELIER WALK & TALK PAVILLION GUEST HOUSE IN FURNAS HOUSE IN NORDESTE HOUSE IN PÓPULO INTERVENTION ON ISLET NATURAL RESERVE
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CREDITS
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ABOUT THE AUTHOR
Fala is an architecture practice based in porto, founded in 2013, led by Filipe Magalhães, Ana Luisa Soares, Ahmed Belkhodja, and Lera Samovich
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BY FALA
FOR THOSE WHO DON’T UNDERSTAND
Six projects, three built and three ongoing. Just a few. Enough. Small in scale. Domestic. Familiar. Of simple gestures. What kind of simplicity is it? Projects that appear local, not exotic. Projects that belong. A mixture of old and new elements. Beautifully imprecise. Unpredictable. Kindly irritating. Cheapness and generosity at the same time. Standard elements and materials that are occasionally subverted. Budgets of less than 2 500€/m . An extreme (yet deliberate?) Economy of means. Maybe. Kind of. Minimalist in means, maximalist in intentions. A french vibe. No copies. No impersonation. No tiles that imitate wood. No plastic. No propaganda. Things are often exposed instead of disguised. Granite and cinderblock walls left exposed. A shade of green instead of plain white. Materials from a catalogue subverted by a vivid colour. Moments of red, pink, dark blue, and dark green. Seven buckets of pink paint applied over walls, drainpipes, cornice, and plinth. Pink skirting, pink shutters, pink door and window frames. Colour, blasphemous. Just colour. Conventional colours in drawings. What is left, what is added. What remains and what is removed. Alternating gaps, holes. Seventeen cut-outs in walls and surfaces. Trusting the process. Dealing with municipal idiots. Fighting the good fight. Knowing how to talk with clients. Losing, sometimes. 6 Rooms under precious beams interconnected through a series of occasional, yet precise, voids. A sort of low-cost raumplan. Layers of stone, brick, plaster, old and new. Revealed and2 hidden. Mistakes and found elements. About 43m of exposed mdf and osb panels. Four heavy wooden trunks crossing spaces. Sleeping next to a primitive beam. Avoiding climatization. Wearing an extra piece of clothing if necessary. Letting the walls breath. “Passive construction”. Architecture in a broader
sense. A quarter of circle niche accommodating a small window. All kinds of windows. One window that unfolds into a bench that functions as a skylight for the basement. Elements that collaborate. Some collaborations and nearly no collaborators. An atelier with a window to the street. A street with a window to the atelier. Living and working in the same building. Building that building until today. Building an idea of living. Merging concepts of behaviour and space. Experiencing geometry. Marking a yellow cut-out in the shape of a tilted square celebrating technical connections. A kind of baldessari move over a boring problem. Problems as advantages. Rotating another square, in plan. And another one, this time with a column inside. The column is not rotated. Another column is circular. Downstairs two columns again: another circle and another square, both fat. Witty, right? Three pairs of tilted glass doors enclosing existing windows produce small winter gardens. Three round windows, one big and two small, all frames painted in red. Diagonal walls in plans. A plan that is a diagonal wall. The project is a diagonal. The entrance is also a triangle. The front façade is great. The back façade is dull. Deliberately, it seems. Granite cladding handrail-less steps. A broken drainpipe for the rain, painted in red. Two mirrorclad sliding doors. Thirty-six wooden beams, more or less. Axonometric projections of windows. Axonometric drawings, with colour. Overall perspective. The need to see all the drawings at once. Projects that seem the same, but are not. Spaces that seem from different projects, but are not. Many contradictions. A few hesitant curves in plan. Curved plywood. Sustainability, for real. The right kind in the right amount.
ABOUT THE AUTHOR
Inês Vieira Rodrigues is an architect, an integrated researcher at the Centre for Studies in Architecture and Urbanism (CEAU), and a PhD candidate at the Faculty of Architecture of the University of Porto (FAUP, Portugal). As a grantee of the Portuguese Foundation for Science and Technology (FCT-MCTES), she is working on a study of the territory of the Azores. She has previously worked as an architect in Portugal and France. Her master’s dissertation, titled Rabo de Peixe: Society and Urban Form, was published as a book (Caleidoscópio Editor, 2016). She was awarded the 18th edition of the Fernando Távora Prize (2022).
BY INÊS VIEIRA RODRIGUES
011
A LOCAL PRACTICE, OR BETWEEN THE SUFFICIENT AND THE INDISPENSABLE
The six projects represented here celebrate the which remained to be overcome: faced with the experimentation and discussion of the ordinary, impossibility of using materials that would respond demonstrating the results of the economies to the most appropriate ecologies, the project had (of means) and ecologies (of circumstances) to give in on some of the construction premises. characteristic of atelier local’s architecture. It was an inevitable deviation from the constraints dictated by the contemporary scenario, marked In each of the purposes to which they dedicate by inflation and labor shortages. Consequently, themselves, their political commitment is fulfilled it is a work that is symptomatic of the mercantile in their endeavor to distinguish what is essential, logics that, for now, seem insurmountable. Here what already exists before they are called upon to is an example of how to try to be coherent. All in intervene. This is the fundamental condition that all, sustainability is measured here by considering governs their practice: conformity to the concrete. the working and environmental conditions in which As such, it confirms the relevance of the name the materials are extracted and produced, the “local” when referring to the studio and the adjective awareness of the origin and type of transport used “local” when reflecting on the way of designing for this purpose. that they favor. To be local is, in some sense, to elegantly decline a marked authorship. To design Even though they are each a problem – once again, in a local guideline is to refuse insensitivity. They local and global, if you will forgive the repetition – the therefore lend themselves to the consequences of three projects underway are drawing on the lessons the dialog of those who take part in a conversation. of the three houses that have been built. Apparently Only a dialogical methodology can conceive of unrealizable budgets remain a constant condition examples like the one observed in the House in (for now), to be orchestrated between program, legal Paranhos, where the neighbor participated in the and material constraints. To a certain extent, the aim rigorous design of the wall; and, on the same wall, of atelier local seems to have been to materialize the unusual mirror, the placement of which was a architectural reveries. In this sense, the houses are mere coincidence of workmanship. The Housea kind of “realizable utopias”, an expression drawn atelier’s garden also pays homage to sharing as it from Yona Friedman’s theory (1975), given that they is cultivated by a farmer who occasionally leaves derive from common dissatisfactions and presuppose some cabbages ready to eat on the smaller outdoor a collective consent. table, near the kitchen. In the architecture of atelier local, as opposed When one starts from the local, the reflection to the Aristotelian dictum, the sum of the parts inevitably moves on to the global, with a particular is greater than the whole: the perception of focus on the supposed externalities of architectural the program and the volume is not enough to production. The last built house, the House in ascertain the sophistication of the components. Ancede, remains as a testimony to the effort that Here, poetic reasons find a material embodiment was thwarted by the context. In essence, it gives that pure arithmetic does not allow. Some will say shape to the problem of demand for the local, that this is not for daydreamers. The perspicacity
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2019 - 2022
HOUSE IN PARANHOS Paranhos - Porto, Portugal
The project in Paranhos concerns the transformation of an ordinary house, that is to say, a house like many others. Whose design is the result of a great economy of gestures. This house is part of the Affordable Housing Neighborhood [Bairro de Casas Económicas] built in Paranhos during the Estado Novo dictatorship, in a (then) peripheral area of the city of Porto. Located on the corner of Rua do Vouga and Rua do Tejo, this house enjoys a privileged position within the neighborhood, as it is exposed to sunlight all day: to the east, south and west. Materializing the ideological perspective that guided the construction of these neighborhoods, the house is also accompanied by a small plot of land, nowadays used as a ecreative garden. With the aim of keeping the house in tune with the forms of contemporary living, the economy of gestures in the existing building was extended into an experiment with new openings and colors. Inside, the demolition of a wall and occasional new openings between existing rooms reorganized the visual relations of the interior, in a kind of modest raumplan. In respect to the rear façade, its composition was complexified with two new (apparently) symmetrical windows. On the right, a porch was transformed into a new winter garden. On the left, the window unfolds into a bench, which in turn acts as a skylight to illuminate and ventilate a basement turned into workspace for a film-maker. In contradiction to the existing openings (both in shape and color), these two new lenses pointed at the garden proved to be important climate control devices,
particularly during the winter. As for the colors, like everything else, they were carefully chosen so that changing almost nothing, everything could be different. Ultimately, the project aims to restore the house to an original state that never existed as such.
De um lado, o alpendre transformouse num novo jardim de inverno. Do outro, a janela desdobra-se num banco, que por sua vez funciona como clarabóia para iluminar uma cave transformada em espaço de trabalho para um cineasta. Em contradição com os vãos existentes (tanto na sua forma como na sua cor), estas duas novas objectivas apontadas sobre o jardim, a sul da casa, revelaramO projecto para Paranhos diz respeito à transformação de uma casa ordinária, ou se importantes dispositivos de controlo climático, particularmente no inverno. seja, de uma casa como muitas outras Quanto às cores, como tudo o resto, e cujo desenho resulta de uma grande foram cuidadosamente escolhidas economia de gestos. Sem particular para que sem quase nada mudar, tudo relevo, esta casa integra o Bairro de pudesse ser diferente. No fim de contas, Casas Económicas de Paranhos, um conjunto de promoção pública construído o projecto propõe restaurar a casa a um durante a ditadura do Estado Novo, numa original que nunca existiu como tal. zona (então) periférica da cidade do Porto. Por se encontrar na esquina entre a Rua do Vouga e Rua do Tejo, a casa beneficia de uma posição privilegiada no bairro, com exposição solar a nascente, a sul e a poente. Materializando a perspectiva ideológica que orientou a construção destes bairros, a casa faz-se ainda acompanhar de uma pequena parcela de terra, hoje utilizada como jardim. Com o objectivo de manter o carácter da casa afinado às formas do habitar contemporâneo, a economia de gestos do edifício existente prolongase num ensaio sobre vãos e sobre cores. No interior, o derrube de uma parede e a pontual abertura de novos vãos reorganizou as relações visuais do interior, numa espécie de raumplan em versão modesta. No alçado tardoz, complexificou-se a composição do alçado com duas novas janelas (à primeira vista) simétricas.
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2020 - 2022
STUDIO-HOUSE Valongo, Portugal
In 1995, Lacaton & Vassal wrote that “we deprive ourselves of extraordinary architecture for the sake of some bourgeois comfort”. Based on this assumption, the refurbishment of this bicentenary house aims to do the opposite. In it, there are neither master bedrooms nor en-suites. There are no extravagant finishes, built-in wardrobes or walk-in closets. The form of its spaces does not follow predetermined functions, as domestic etiquette is not exactly expected to be respected inside this house. The existent building was emptied of the superfluous and only the indispensable was rebuilt: two sculptures, containing the essential infrastructure for its habitability: a kitchen and a bathroom. A mezzanine was added for practical reasons of intimacy. These new volumes were built in pine wood, birch plywood and water-repellent MDF for greater durability. From a plastic point of view, the colors reflect the condition of the materials themselves. The existing wooden structure was replaced only where unavoidable for safety reasons. In the middle of the room, a log is the Alberto Carneiro we could never afford. Everything was kept as much as possible, as “not-making” was considered a methodological premise. Both the existing entrance door and the wooden windows were restored, without any other work being carried out on the main façade. The roof and south façade were both insulated for energy efficiency. For the same reason, new wooden frames were produced for the rear façade: red lacquered for protection and evocation, including shutters for
intimacy and light regulation. On the north façade, new interior frames were added, creating micro winter gardens that conserve the warmth in and the street noise out. The choices we made (and those we didn’t) allowed us to achieve a budget of 2 less than 500 euros/m . Em 1995, Lacaton & Vassal escreveram: hoje em dia “privamo-nos de uma arquitectura extraordinária, em nome de um pouco de conforto burguês”. Partindo dessa suposição, a reabilitação desta casa bicentenária visa o seu contrário. Não existem quartos principais nem suites. Não há acabamentos extravagantes, roupeiros embutidos ou walk-in closets. A forma dos espaços não segue funções pré-determinadas, pois não se espera que a etiqueta doméstica seja propriamente respeitada no seu interior. A pré-existência foi esvaziada do supérfluo e reconstruiu-se apenas o indispensável: duas esculturas, contendo infraestruturas indispensáveis para a sua habitabilidade: cozinha e quarto de banho. Foi acrescentado um mezanino, por questões práticas de intimidade. Estes novos volumes foram construídos em madeira de pinho, contraplacado de bétula e MDF hidrófugo, para maior durabilidade. Do ponto de vista plástico, as cores reflectem a condição dos próprios materiais. A estrutura de madeira foi substituída apenas onde inevitável por questões de segurança. No meio da sala, um tronco é o Alberto Carneiro que nunca poderemos pagar.
Manteve-se tudo quanto possível, assumindo “não-fazer” como premissa metodológica. Tanto a porta de entrada existente como as janelas em madeira foram restauradas, sem que outras intervenções fossem realizadas na fachada principal. O telhado e a fachada sul foram isolados, por questões de eficiência energética. Pela mesma razão, foram produzidos novos caixilhos em madeira para o alçado tardoz: lacados a vermelho por protecção e evocação, incluindo portadas para intimidade e regulação da luz. Na fachada norte, foram acrescentados novos caixilhos interiores, criando pequenos jardins de inverno que conservam o calor da casa e afastam o ruído da rua. As escolhas que fizemos (e as que não-fizemos) permitiram-nos alcançar um orçamento 2 inferior a 500 euros/m .
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01. Steps and stair railing in birch veneered plywood 02. Kitchen: Wood worktop, doors, sides and back in birch veneer plywood 03. Water-repellent MDF 04. Props in solid pine wood 05. Beams in laminated pine wood
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01. Microcement 02. Water-repellent MDF 03. Thermal and acoustic insulation (rock wool) 04. Mirror 05. Maritime plywood (birch) 06. SANITANA Circle 40 pedestal washbasin 07. Pink marble top 08. Cupboard: sliding doors in water-repellent MDF
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2018 - 2023
HOUSE IN ANCEDE Ancede - Baião, Portugal
There was a stone ruin and the prospect of building a 300 m2 extension. After a series of wildfires, the plot became part of an ecological reserve and this was no longer possible. The ruin was too small, but a mismatch between material and legal realities made it possible to extend its footprint from 35 to 60m2. Just enough for the missing infrastructure. We proposed to rebuild the ruin offsetting two walls for that extra space. In the spirit of ecology, roof, slabs and window frames ought to be made from wood and the exterior walls insulated with cork. The long time of architecture forced this project to undergo a pandemic, an obstruction of the Suez Canal and several wars. Combined with the current shortage of skilled construction labour in Portugal, its original design became impossible, forcing one to redesign it according to the technical limitations of a local contractor. Form stayed; construction became the cheapest possible: a concrete structure, ordinary concrete blocks, water-resistant MDF, all coated with a thin layer of paint or varnish. Produced to remain hidden, these were used “as found” and “as is”, in the spirit of the Smithsons or Sakamoto. Aluminum frames were chosen from a catalogue, only to be subverted by a vivid color. All the original stones of the house were reused to build soil retaining walls. Drawings in this publication reflect not so much the architects’ design, but what was somewhat “designed” by others under their guidance. This inverts meaning, unveiling the compositional sense of an otherwise ordinary construction.
Richness of space results from its economy, translating the maximization of minimal gesture. Truth be told, when facing macroscopic socio-political issues such as economy and ecology, architecture can do little more than contribute to the most generous definition of this minimum. Existia uma ruína de pedra e a perspectiva de construir uma extensão de 300 m2. Após uma série de incêndios florestais, o terreno integrou uma reserva ecológica nacional e isso deixou de ser possível. A ruína era demasiado pequena, mas um desfasamento entre realidade material e jurídica permitiu2ampliar a implantação de 35 para 60m . O suficiente para conter as infraestruturas em falta. Propôs-se a reconstrução, deslocando duas paredes para obter o espaço suplementar. No espírito ecológico pressuposto, o telhado, as lajes e os caixilhos deveriam ser produzidos em madeira e as paredes exteriores isoladas com cortiça. O tempo longo da arquitectura fez o projecto atravessar uma pandemia, uma obstrução do Suez e várias guerras. Aliando-se à escassez de mão de obra qualificada em Portugal, o desenho original tornou-se impossível e foi reformulado conforme as condições de um empreiteiro local. A forma manteve-se, mas a construção tornou-se a possível: uma estrutura em betão, bloco térmico e MDF hidrófugo, revestidos com uma camada de tinta ou verniz. Produzidos para ficar escondidos, os materiais foram utilizados “como encontrados” e “como são”, ao espírito dos Smithsons ou de Sakamoto. Os caixilhos
de alumínio foram escolhidos de um catálogo, subvertidos apenas por uma cor vívida. Todas as pedras da ruína foram reutilizadas em novos muros de suporte. Os desenhos apresentados reflectem não tanto o projeto original, mas o que de certa forma foi “desenhado” por outros, sob orientação dos arquitectos. Isto inverte o seu significado, desvelando o sentido compositivo de uma construção, de outro modo, ordinária. A riqueza espacial resulta da sua economia, traduzida numa maximização do gesto mínimo. Perante questões sócio-políticas macroscópicas como a economia e a ecologia, a arquitectura pouco mais pode fazer do que contribuir para uma definição mais generosa desse mínimo.
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01. Painted thermal concrete block wall 02. Etics insulation system 03. Weber-type waterproofing mortar finish 04. Marseille tile roof covering
05. Reinforced concrete l-shaped crowning beam 06. Rainwater guttering in red lacquered pvc (ral 3000) 07. Marseille tile roof covering 08. Under-tile waterproofing blanket type thermal blanket
09. Osb panels 10. Ceiling covering in exposed cork (20mm thick) 11. Solid pine wood roof beams 12. Master beam in laminated pine wood
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2022 - underconstruction
HOUSE IN CANAS
Canas de Senhorim - Nelas, Portugal
This house was designed in parallel with a more complex project, which consists in the refurbishment and transformation of an old agricultural complex (with around 2.5 hectares) into a rural tourism unit.
choice of red no longer refers to the original color, but rather to the color “as found”, which happen to be a color we particularly appreciate. The whole project was an exercise on ambiguity.
The main gesture of this first intervention is to establish relationships with the rest of the property. The proposal takes the methodological side of the minimal gesture, making use of the stone and wood structure of the existing house and an adjoining building. The controlled deconstruction of a stone wall allows two new generous openings to be opened onto the landscape. A new lightweight metal structure redraws the boundaries of the entrance courtyard, around which the different spaces of a single-storey house now gravitate.
Esta casa foi projectada à margem e em paralelo de um projecto mais complexo, que consiste na reabilitação e transformação de um antigo conjunto agrícola (com cerca de 2.5 hectares) em unidade de turismo rural.
Inside the main house, a cut-out in the existing wooden structure transforms the second floor into a mezzanine that extends the social space of the house around a double-height ceiling. The bedrooms occupy the ruin of the old annex building, which will be completed with a new wooden roof structure. Its walls will be filled in and reinforced with a new concrete wall, on which the old fenestration will be printed in bas-relief. Two new windows provide light and ventilation to the room, reinterpreting the design of the old sash windows. As far as color is concerned, the choice of red refers to a careful but unusual reading of the preexistence. Although the wooden shutters and framings of the house were originally green, they were “painted” red by the wear and tear of time. Therefore, the
O principal gesto desta primeira intervenção consiste em construir relações com o resto da propriedade. A intervenção proposta toma o partido do gesto mínimo, aproveitando a estrutura em pedra e madeira da casa e de um edifício anexo. A desconstrução controlada de uma empena permite abrir dois novos vãos generosos sobre a paisagem. Uma nova estrutura metálica ligeira redesenha os limites do pátio de entrada, ao redor do qual gravitam agora os diferentes espaços de uma casa térrea. No interior da casa principal, um recorte na estrutura em madeira existente, transforma o segundo piso num mezanino que prolonga o espaço social da casa em torno de um pé-direito duplo. Os quartos ocupam a ruína do antigo edifício anexo, que será completado com uma nova estrutura de telhado em madeira. As suas paredes serão colmatadas e reforçadas com uma nova parede em betão armado, sobre o qual será impressa a antiga fenestração em baixo-releve. Duas novas janelas permitem iluminar e ventilar o quarto, reinterpretando através do seu
desenho as esquadrias das antigas janelas em guilhotina. No que diz respeito à cor, a escolha do vermelho refere-se a uma leitura tão cuidada quanto inusitada da préexistência. Pois embora as portadas da casa fossem originalmente verdes, estas foram sendo “pintadas” de vermelho pelo desgaste do tempo. Assim sendo, a escolha da cor vermelha faz referência já não à cor original, mas antes à cor das portadas e caixilharias tal como foram encontradas, e com uma cor que nos agrada particularmente. Todo o projecto foi um exercício de ambiguidades.
Project co-authored with Catarina Costa, Francisco Ascensão & José Luís Tavares Projecto realizado em co-autoria com Catarina Costa, Francisco Ascensão & José Luís Tavares
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2022 - underconstruction
MORTUARY
Valongo, Portugal
To design a mortuary agency is an unusual exercise. It’s neither about a sacred nor a profane space, but about designing the space between. Despite the role it plays in an emotionally charged cultural and ritual process -evoking particularly intense architectural images- the request was quite generic: an office, a garage and a warehouse. For those who organize the logistics of this ritual, death is an everyday matter. For those who are forced to resort to their services, death is an extra-ordinary situation. Architecture must address both.
All the gestures aim at building a geometry for dignity. Depending on one’s point of view, this will be an extraordinarily ordinary or an extraordinarily ordinary building.
Pensar uma funerária é um exercício inusitado. Não se trata de um espaço sagrado nem de um espaço profano, mas de desenhar o espaço-entre. Apesar do papel que este desempenha num processo cultural e ritual carregado de emoções -convocando imagens arquitectónicas particularmente intensasIn practice, it is about legalizing and a encomenda é genérica: escritório, transforming a garage that currently garagem e armazém. Para quem organiza occupies a “central” location in Valongo: a logística desse ritual, a morte é matéria next to the church, the mortuary chapel and do dia-a-dia. Para quem se vê forçado a the cemetery. The project builds upon this recorrer aos seus serviços, a morte é uma pre-existence, with a tripartite and markedly situação extra-ordinária. A arquitectura horizontal floor. In order to respect the deve responder a ambas. minimum ceiling height required by law, the roof was tilted. “Heritage” requirements Na prática, trata-se de legalizar e forced us to fill in the blank partition wall, transformar um edifício de garagens, que legitimizing a useless and disproportionate ocupa actualmente um lugar “central” rooflight over the garage, which allows it em Valongo: junto à igreja, à capela to be transformed into an unplanned body mortuária e ao cemitério. O projecto preparation room. assenta sobre essa pré-existência, com um piso tripartido e marcadamente The parabolic geometry gives the office horizontal. Para que fosse possível a more cosy layout. A second volume, respeitar o pé-direito mínimo legal, square in plan, houses the sanitary inclinou-se a cobertura. Exigências do facilities. Together, they define an “património” obrigam-nos a colmatar a unexpectedly sculptural background for empena do vizinho, legitimando um inútil the warehouse, without jeopardizing the e desproporcionado lanternim sobre economy of the construction. Against the a garagem, que permite transformá-la desire for “modernity” on the part of the numa sala de preparação do corpo, não city technicians, the sloping roof and the prevista. figure of the lantern will be clad in slate, the only raw material extracted and processed A geometria parabólica confere locally. A circular window will hopefully ao escritório uma disposição mais become a new landmark in the city. acolhedora. Um segundo volume, de planta quadrada, acolhe as instalações
sanitárias. Em conjunto, estes definem um fundo inesperadamente escultórico para o armazém, sem que isso ponha em causa a economia do projecto. Contra o almejo de “modernidade” dos técnicos camarários, a cobertura inclinada e a figura do lanternim serão revestidos com ardósia, única matéria-prima extraída e processada localmente. Uma janela circular tornar-se-á, expectavelmente, um novo marco na cidade. Todo o gesto vai no sentido de construir uma geometria da dignidade. Dependendo do ponto de vista, este virá a ser um edifício extraordinariamente ordinário ou ordinariamente extraordinário.
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ABOUT THE AUTHOR
Andreia Garcia is a PhD architect, curator, professor and researcher. Her interests focus on the contemporary practice of architecture in an era marked by significant technological advances and a growing ecological crisis. She has lectured at the School of Architecture at the University of Minho and at the Architectural Association. Currently, she is a professor and vice-president of the Faculty of Engineering at the University of Beira Interior. She is also the founder of the Architectural Affairs studio, the Galeria de Arquitectura and director of the art(e) facts Biennale. Most recently, she is the head curator of the Portuguese Oficial Representation at the 18th International Architecture Exhibition – La Biennale di Venezia 2023.
BY ANDREIA GARCIA
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CONCRETE IMAGINARIES
Today we are paradoxically insufficiently mobilised by eloquence in representation as a way of modelling concerns that relate architecture to the complexity of a set of solutions that highlight environmental environmental systems, and we speak in an artificial modulation as it is, as it should be, recovering lost and unethical way of aesthetics, of decorative natural elements. gestures designed to appeal to a privileged niche, The Ilhéu architecture invites us to broaden our which we classify as a capable comprehension, when it interests us. All this makes us into merchants awareness of construction, without fetishising novelty and the exceptional, reminding us to find ourselves for the interests of the industry, albeit with erudite in this place of rational and emotional responsibility and convincing speeches validated by the system of stardom. All this reduces architecture to its mere for the Earth. Refusing devices that disturb, or paint human relationship and creates narratives that images that infiltrate merely to appear, to shout, to highlight non-existence. Any one of their gestures reduce its humanist dimension. becomes timeless. They have nothing common or trendy about them. As if in the centre, they brought The architecture of Ilhéu refreshes the notion of humility and offers a very easy approach to the story that they themselves drew, transforming understanding the mission of architecture. It creates what should have been there before. No acceleration or opportunism. An architecture of long-term duration, a relationship between humans and the Earth in whose scale can be represented in an environment an ideological construction, without imposing itself without scale, or which takes the form of miniatures on the place, mediating its occupation. It uses an aesthetic that is conceived by logic, which does not from the Earth, whose grandeur is recognisable in its concern for the senses. try to design abstract spaces, disconnected from the relationships in which they are inserted. Rather, One day Ilhéu’s architecture will tell the natural story it presents a discourse based on the atmosphere, the land and the ocean that surrounds them, without of their archipelago, regardless of which one they may inhabit. exploiting them as resources, without assuming to be a predator of the parasitic temptation of nature, which architecture often intensifies, and without being I know them from their cabinets of curiosities and other wonders that they don’t display to the public, numbed by the urgency of the moment. but which have a planetary scale. They are authors of It is within the external aesthetic that the larger issues intelligent perspectives that allow them to rationalise symbols for understanding artefacts that observe of their projects are revealed, this ubiquity of those what is finite and channel the wonder of creating an who care for the Earth in the middle of the sea, this sensitivity that intertwines reason with imagination. It experience from the intimate world of nature. It’s no is in this commitment that they create the answers to coincidence that stone is present in all their projects. They are geostories that return them to the land and their commissions. bring us back the land. That externality which is not There are no contradictory interests in the Ilhéu merely aesthetic, but which allows us to begin to see discourse. They consistently use their tools and their the planet.
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2020 - 2022
WALK & TALK PAVILLION Ponta Delgada - Azores, Portugal
EPHEMERAL ARCHITECTURE The pavilion is the result of a competition to design a temporary structure in São João Square, in Ponta Delgada, for the Walk&Talk festival. As a temporary home for an arts festival, the pavilion is, in itself, a performance. The first moment is the collective act of its construction that takes place for two weeks in the square. The emergence and growing presence of the pavilion alter the image of the public space and anticipate the festival. The second moment refers to the life of the pavilion during the ten days of the festival. Throughout the different events of the festival, the image and atmosphere of the pavilion change, depending on the appropriation of the structure. The pavilion consists of two volumes, one housing the stage and technical areas, and the other intended for the bar and canteen. The void between them is filled by the public. The proposal emphasizes the use of local materials and simple assembly and disassembly techniques. The repetition of a framework of beams and pillars in cryptomeria wood creates the spaces. Volcanic stones are placed on the roof celebrating the construction processes of the popular architecture of the Azores, that traditionally places stones on the roofs to prevent damage from the weather. Similar but larger stones are carefully selected and arranged on the ground to serve as benches or other informal uses.
Semi-transparent net curtains pay homage to the island’s fishing culture and enhance the flexibility of the pavilion’s spaces, partially dressing or undressing it. Their permeability creates shadows and organic changes to the space and atmosphere, contrasting with the rigidity of the structure and exploring dialogues with public space. After the end of the festival, the last moment of the pavilion’s life occurs: the structure is dismantled to give rise to other ephemeralities. ARQUITECTURA EFÉMERA O pavilhão resulta de um concurso para conceber uma estrutura temporária no largo de São João, em Ponta Delgada, para o festival Walk&Talk. Como casa temporária de um festival de artes, o pavilhão é, ele próprio, uma performance.
O vazio entre os dois é preenchido pelo público. A proposta privilegia o uso de materiais endógenos e técnicas simples de montagem e desmontagem, e é através da repetição de um esquema de pórticos de vigas e pilares em madeira de criptoméria que se criam os espaços. Na cobertura, colocam-se pedras vulcânicas em celebração dos processos construtivos da arquitectura popular dos Açores, tradicionalmente assentes nas telhas para evitar danos provocados pelas intempéries. Pedras semelhantes, de maiores dimensões, são cuidadosamente seleccionadas e dispostas no chão para servirem de bancos ou outras apropriações informais.
As cortinas em rede semitransparentes prestam tributo à cultura piscatória da ilha e potenciam a flexibilidade de usos dos espaços do pavilhão, vestindo-o ou despindo-o parcialmente. O primeiro momento é o acto colectivo da A sua permeabilidade cria sombras e alterações orgânicas ao espaço e ao sua construção, durante duas semanas, ambiente, contrastando com a rigidez no largo. O surgimento e a crescente presença do pavilhão alteram a imagem do da estrutura e explorando diálogos com o espaço público. espaço público, antecipando o festival. O segundo momento refere-se à vida do pavilhão nos dez dias do festival. Ao longo dos diferentes acontecimentos do festival, a imagem e a atmosfera do pavilhão vão variando, de acordo com a apropriação da estrutura. O pavilhão são dois volumes, um que alberga o palco e as áreas técnicas que o servem e, o outro, destinado ao bar e cantina.
Após o final do festival, dá-se o último momento da vida do pavilhão: a estrutura é desmontada para dar corpo a outras efemeridades.
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01. Corrugated sheet in natural zinc, 1120x2500mm (5% slope) 02. Substructure for screwing the cryptomeria cover, 40x50x22950mm 03. Inclined cryptomeria transverse beam, cut 75x150x8850mm, subdivided into two pieces and assembled alternately from portico to portico 04. Black basalt stone 05. Double cryptomeria pilar with stapling piece, cut 75x150x3610mm 06. Horizontal cryptomeria transverse beam, cut 75x150x8245mm, subdivided
into two pieces and assembled alternately from portico to portico 07. Cryptomeria longitudinal beam, cut 75x150x22345, subdivided into seven pieces 08. Double pillar union staple-like to be applied to all double pillars except those inside the boxes 09. Scaffolding net curtains in blue, 2000x3000mm 10. Incandescent lamp hanging from the transverse rafter
11. Closed volume for bar, pantry, storage, and control room 12. Cladding in cryptomeria, cut 110x15x1500mm, nailed to the substructure of closed volumes, finished in black glaze 13. Cryptomeria slatted floor, 150mm wide, nailed to the floor structure 14. Black under-tile covering for closing volumes 15. Cryptomeria wedge between all large double beams 16. Cylindrical led lightning, 1250mm wide
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2021 - under construction
HOUSE IN PÓPULO
Ponta Delgada - Azores, Portugal
SUGGESTIONS ON INTIMACY In a place where the sea is omnipresent, the soil is a large rocky outcrop of an old vineyard, and the vegetation is dense with trees of different scales, the house in Pópulo echoes Maria’s notions of family and intimacy. The house is the expression of the will to create a clear volumetry that formally separates it into two, one social side and another more private, yet in dialogue and in visual intersection. The two arms of the house form an L that embraces, together with the trees, an outdoor space. From the desire to embrace this outdoor space that is invaded by rocky outcrops emerges the place of contemplation of the surroundings, around which the house develops. The L-shaped form, also informed by the urban geometry of the plot, aligns one of its arms with the entrance of the plot, and the formal simplicity extends the program in an unfolding of spaces that translates the gradation of family intimacy. The journey through the house, qualified by the visual alignments of the courtyard, begins at the entrance with the living space, the dining space, and the kitchen, until inflecting towards the sequence of bedrooms —the last stronghold of intimacy. The corridor that runs through the house on the exterior allows for the filtering of privacy, atmosphere, and the relationship between spaces with movable wooden shutters. The opposite façade, however, closes itself to the neighbour and guards the more enclosed rooms, in a lower
ceiling height and a more reserved relationship with the exterior. Materials, such as the exterior coating, a manual mixture of lime and local black sand, are based on what’s found on the surroundings, the basalt hues, the wood, the environment and the climate. The narrative of the house in Pópulo weighs the sensory perception between interior and exterior while establishing the idea of the house as a journey through the nuances of intimacy. SUGESTÕES DE INTIMIDADE Num lugar onde o mar é omnipresente, o solo é um afloramento rochoso de uma antiga vinha, e a vegetação é densa em árvores de diferentes escalas, a casa no Pópulo ecoa as noções de família e intimidade da Maria. A casa é a expressão da vontade de criar uma volumetria clara que a separa formalmente em dois, um lado social e outro mais privado, porém, em diálogo e em cruzamento visual. Os dois braços da casa formam um L que abraçam, em conjunto com as árvores, um espaço exterior. Da vontade de abraçar esse espaço exterior que se deixa invadir pelos afloramentos rochosos, surge o lugar de contemplação da envolvente, à volta do qual se desenvolve a casa. A forma em L, informada, ainda, pela geometria urbana do lote, alinha um dos braços com a entrada do lote, e a simplicidade formal estende o programa numa sucessão de espaços que traduz a gradação da intimidade familiar.
O percurso pela casa, qualificado pelos enfiamentos visuais do pátio, inicia-se na entrada, com o espaço de estar, o espaço de refeição e a cozinha, até inflectir para a sequência de quartos – o último reduto da intimidade. O corredor que percorre a casa pelo exterior permite filtrar a privacidade, a atmosfera e a relação entre os espaços com portadas móveis em madeira. A fachada oposta, porém, fecha-se perante o vizinho e guarda as divisões mais encerradas, num pé-direito mais baixo e numa relação mais reservada com o exterior. Os materiais, como o revestimento exterior, uma mistura manual de cal e areia preta local, vão buscar relação à envolvente, aos tons do basalto, à madeira, ao ambiente e ao clima. A narrativa da casa do Pópulo pondera a percepção sensorial entre interior e exterior, enquanto estabelece a ideia da casa enquanto percurso pelas nuances da intimidade.
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01. Lime mortar with local black sand 02. Zinc parapet flashing 03. 50x50x3mm stainless steel angle 04. Roof membrane in plastic coated pvc 05. Thermic insulation of 60mm thickness 07. Roof membrane in plastic coated uv resistant pvc 08. Thermic insulation with 8mm thickness 09. Vapour control membrane 10. Filling in lightweight concrete to form a 1.5% Slope
11. Thermic insulation 12. Interior plasterboard ceiling 13. Trowelled plaster 14. Cement brick masonry of 100mm 15. Air chamber of 50mm 16. Thermic insulation 17. Cement brick masonry of 200mm 18. Batten framework for laying wooden flooring 19. Thermic insulation
20. Solid pine wood flooring 21. Concrete slab 22. Phyton screen 23. Floor slab lost formwork 24. Thermic insulation 25. Waterproofing screen 26. Air chamber between floor slab and existing land 27. Pumice stone cleaning gravel 28. Tout venant on well-compacted natural terrain
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2022
GUEST HOUSE IN FURNAS Furnas - Azores, Portugal
REFLECTIONS OF REPETITION Resulting from a competition for a small hotel unit in Furnas, the proposal is an isolated and horizontal volume that crosses the landscape that is marked by the verticality of the mountains of Furnas valley. The guest house extends over a platform, in a sequence of fourteen parallel porticos. The space, enclosed in glass panels, is surrounded by a corridor that, on one side, serves as the backbone interconnecting spaces and distributing the program, and on the other side, is the extension of the rooms and common areas into balconies. The volume of endless order accommodates spaces in a linear and rational arrangement, a stack of the same rhythms with minimal exceptions. At the center is the reception area, with four rooms on each side, and at the ends, the common areas, the dining room, and the living room. The necessary technical areas have been buried, becoming invisible. The façade reflects the functional sequence of framed and multiplied views from the rooms. It is defined by the longitudinal overlap of rhythmic rows of the structure, accentuated by pillars that bring vertical tension to the horizontal volume. The structure is obsessively repeated while engaging with visible infrastructures and ducts that actively participate in the composition of the façades. Iron, wood, and glass are the predominant materials, and the color of the metal structure, as in traditional architecture of the island, is a response
to its grey and misty environment. The reddish tone of the structure, as it alters the perception of the ambiance, reflects the light changes throughout the day, and contrasts and intensifies the impact of the lush green surroundings. The proposal seeks an emotional and resonant building but may be nothing more than a rational architectural response, a metallic machine in the landscape that reflects the satisfaction of repetition. REFLEXOS DA REPETIÇÃO Resultado de um concurso de ideias para uma pequena unidade hoteleira nas Furnas, a proposta é um volume isolado e horizontal que atravessa a paisagem, marcada pela verticalidade das montanhas do vale das Furnas. A casa de hóspedes estende-se sobre uma plataforma, numa sequência de catorze pórticos dispostos em paralelo. O espaço, encerrado em painéis de vidro, envolve-se por um corredor que, de um lado, é a espinha dorsal que interliga os espaços e serve de distribuição ao programa e, do outro, é a extensão dos quartos e dos espaços comuns em varandas. O volume de ordem infinita recebe os espaços num arranjo linear e racional, uma sobreposição dos mesmos ritmos com mínimas excepções. Ao centro está a área de recepção, de cada lado surgem quatro quartos e, nos extremos, as áreas comuns, a sala de refeições e a sala de estar.
As áreas técnicas necessárias foram enterradas, tornando-se invisíveis. A fachada reflecte a sequência funcional das vistas emolduradas e multiplicadas dos quartos. Define-se pela sobreposição longitudinal das filas rítmicas da estrutura, acentuadas pelos pilares que trazem tensão vertical ao volume horizontal. A estrutura é repetida obsessivamente enquanto dialoga com as infra-estruturas e condutas aparentes, que participam na composição dos alçados. O ferro, a madeira e o vidro são os materiais predominantes, e a cor da estrutura metálica, tal como enraizada na arquitectura popular micaelense, é uma resposta ao clima cinzento e nebuloso da ilha. O tom avermelhado da estrutura, que altera a percepção do ambiente enquanto reflecte as mudanças de luz ao longo do dia, contrasta e intensifica o impacto do verde exuberante da envolvente. A proposta, que procura um edifício emocional e ressonante, pode não ser mais do que uma resposta arquitectónica racional, uma máquina metálica na paisagem que reflecte a satisfação da repetição.
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2020 - under construction
HOUSE IN NORDESTE
Lomba da Fazenda - Azores, Portugal
FRAGMENTS OF THE LANDSCAPE
other, the more extensive and distant landscape from south. The house in Nordeste is about different ways of perceiving the surrounding landscape. It reflects on issues such as the interconnection of spaces, the framing of views, and privacy (im)possibilities. It explores the relationship of sharp materials such as bare concrete and cool steel with the misty atmosphere and the vibrant greens of the landscape.
On a plot in the northeast of São Miguel Island originally intended for cattle grazing and characterized by clusters of densely packed trees extending along a gentle slope, emerges the commission for a detached rural weekend house. The vast and scattered landscape does not suggest a framing, an obvious direction, or a clear alignment; instead, it presents the gentle challenge of a landscape marked by a bucolic exceptionalism that becomes almost trivial due to its repetition FRAGMENTOS DA PAISAGEM in every direction. Num terreno no nordeste da ilha de The house is proposed on the edge of São Miguel, originalmente pensado the forest, in the clearing that follows para pastagem de gado, marcado pela the dense pattern of vegetation. The presença de aglomerados de árvores volumetry is simple, as the sculptures de grande densidade que se estendem of Donald Judd, a volume resting in the ao longo de uma suave encosta, surge landscape. a encomenda de uma casa isolada de fim de semana. O terreno, vasto e The interior organization, with regular disperso, não indica um enquadramento, geometry, concentrates the communal uma direcção óbvia, ou um alinhamento spaces at the center, dining and living evidente; em vez disso, a doce areas, with a conical fireplace that dificuldade de uma paisagem marcada crosses and defines the living space, por uma excepcionalidade bucólica que and two bedrooms at opposite ends. se torna quase banal, pela sua repetição Two cryptomeria boxes conceal two em qualquer direcção. bathrooms, the kitchen, and a cabinet for the living room, and mark the transition to A implantação da casa propõe-se no the bedrooms. limite da zona de floresta, na clareira que sucede ao denso padrão de vegetação. A Each space has openings to the exterior volumetria é simples, como as esculturas in different directions, giving rise to four de Donald Judd, um volume pousado na distinct views, fragments of the same paisagem. landscape. Each bedroom frames a closer and more domesticated view of A organização interior, de geometria the surroundings. The living room regular, concentra os espaços comuns explores, on one side, the relationship ao centro, de refeição e de estar, com with the ascending topography and the uma lareira cónica que atravessa e define density of trees, and captures on the o espaço, e dois quartos em extremos
opostos. Dois caixotes em criptoméria escondem duas casas de banho, a cozinha e um armário de apoio à sala, e demarcam a transição para os quartos. Cada espaço tem aberturas para o exterior em direcções diferentes, dando origem a quatro vistas distintas, fragmentos da mesma paisagem. Cada quarto enquadra uma vista mais próxima e domesticada da envolvente. A sala explora, de um lado, a relação com a topografia ascendente e a densidade das árvores, e capta, a sul, a paisagem mais extensa e longínqua. A casa do Nordeste é sobre diferentes formas de entender a paisagem que a envolve. Reflecte sobre questões como a inter-relação dos espaços, o enquadramento de vistas e (im) possibilidades de privacidade. Explora a relação dos materiais frios como o betão à vista e o alumínio escovado, com o ambiente nebuloso e os verdes vibrantes da paisagem.
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01. Chamfer in the concrete with a 15x15mm bevel 02. 50x50x3mm stainless steel angle 03. Zinc parapet flashing 04. Roof membrane in plastic coated pvc 05. Thermic insulation of 60mm thickness 06. Covering with rounded pebbles as gravel 07. Roof membrane in plastic coated uv resistant pvc 08. Thermic insulation with 8mm thickness 09. Vapour control membrane 10. Filling in lightweight concrete to form a 1.5% Slope
11. Thermic insulation 12. Interior plasterboard ceiling 13. Sliding double glazed window 14. Filling in lightweight concrete 15. Reinforced screed 16. Lightened concrete slabs of 50mm 17. Cast iron floor drain 18. Smoothed screed finish 19. Thermic insulation boards of 60mm thickness 20. Bituminous membrane
21. Concrete slab 22. Phyton screen 23. Floor slab lost formwork 24. Thermic insulation 25. Waterproofing screen 26. Air chamber between floor slab and existing land 27. Pumice stone cleaning gravel 28. Tout venant on well-compacted natural terrain
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2023 - under construction
INTERVENTION ON ISLET NATURAL RESERVE Ilhéu de Vila Franca do Campo - Azores, Portugal
CONVERSATIONS WITH ROCKS The islet of Vila Franca do Campo, a natural reserve resulting from a volcanic eruption off the coast of São Miguel island, asserts itself as a solitary rock in the open sea. However, during the summer, it is invaded by two hundred visitors per day. The admirable landscape of the islet is depreciated by the existence of an old construction, a remnant of its past use, which, despite its mismatched scale, inappropriate domestic language, and poor conditions, is regarded as an integral and unquestionable part of the place. It is in this context that the proposal for the intervention on the islet emerges with three opportunities: removing unnecessary elements, seeking to naturalize the territory; adding subtle gestures, such as small elements, handrails, and steps, which aim to domesticate the scale of the rock and improve the summer experience; and converting the existing building into a more integrated volumetry capable of responding to the current program. Some dissonant elements (shades, slabs, water reservoirs) are removed, but efforts are made to integrate the same needs into the proposal, such as a shaded area at the entrance of the building or a flat space on the roof for appropriation. The vertical element containing the water reservoir brings a delicate (un)balance with the horizontal abstraction of the volumetry. The placement of the existing building is maintained on a point where the topography stabilizes before gradually dropping down to the sea, but there is an effort towards integration, towards greater
continuity of scales, colors, and materials. The in situ concrete seeks to enter into dialogue with the rocks, incorporating local inert materials that provide pigment and texture, in the pursuit for imperfection and a more serene conversation between rock and building. The new volume aims to be an integral part of the islet, as if were sculpted from stone, hidden, standing by. CONVERSAS COM ROCHAS O ilhéu de Vila Franca do Campo, uma reserva natural produto de uma erupção vulcânica ao largo da ilha de São Miguel, afirma-se como um rochedo solitário em alto mar. No entanto, durante o verão, é invadido por duzentos visitantes por dia. A admirável paisagem do ilhéu é depreciada pela existência de uma construção antiga, vestígio de um uso passado, que, apesar da escala desajustada, da linguagem doméstica desadequada, e das fracas condições que apresenta, se assume como parte integrante e inquestionável do lugar. É neste sentido que surge a proposta de intervenção no ilhéu, com três oportunidades: remover elementos desnecessários, procurando naturalizar o território; acrescentar gestos subtis, como pequenos elementos, corrimões e degraus, que procuram domesticar a escala da rocha e melhorar a experiência balnear; e reconverter o edifício existente numa volumetria mais integrada e capaz de responder ao programa do uso actual. Retiram-se alguns elementos dissonantes (palas, lajetas, depósitos
de água), mas procura-se integrar as mesmas necessidades na proposta, como um lugar de sombra, à entrada do edifício, ou um espaço plano na cobertura para apropriação. O elemento vertical que contém o depósito de água traz um delicado (des)equilíbrio com a abstracção horizontal da volumetria. A implantação do edifício existente é mantida, num momento em que a topografia estabiliza, antes de cair gradualmente até ao mar, mas há o esforço pela integração, por uma maior continuidade de escalas, cores e materiais. O betão in situ procura entrar em diálogo com as rochas, integrando inertes locais que atribuem pigmento e textura, na busca pela imperfeição e por uma conversa mais serena entre rocha e edifício. O novo volume quer ser parte integrante do ilhéu como se fosse esculpido na pedra, escondido, aguardando.
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ATELIER LOCAL
ILHÉU ATELIER
HOUSE IN PARANHOS project: 2019 - 2020 construction: 2020 - 2022 location: Paranhos - Porto, Portugal architecture: atelier local collaborators: João Paupério, Maria João Rebelo, Francisco Craveiro, Bernardo Alves and Marta Sousa gross built area: 185 m2 images: © Luca Bosco
WALK & TALK PAVILLION project: 2020 - 2022 location: Ponta Delgada - Azores, Portugal architecture: Rita Sampaio and Afonso Botelho Santos production: Luís Brum, José Amorim, Mafalda Luz Fernandes and Mariana Medeiros construction: Carpinteiro João Costa com Horário Raposo, Maurino Sardinha, João Duarte, Válter Taveira, Fábio Taveira and Frederico Garcia collaborators: Joana Anacleto gross built area: 110m2 images: © Mariana Lopes
STUDIO-HOUSE project: 2020 construction: 2020 - 2022 location: Valongo, Portugal architecture: atelier local collaborators: João Paupério and Maria João Rebelo engineering: Américo Neves gross built area: 155 m2 images: © Francisco Ascensão Luca Bosco HOUSE IN ANCEDE project: 2018 - 2022 construction: 2022 - 2023 location: Ancede - Baião, Portugal architecture: atelier local collaborators: João Paupério, Maria João Rebelo and Francisco Craveiro engineering: FACE gross built area: 135 m2 images: © Francisco Ascensão HOUSE IN CANAS project:2022 - 2024 construction: 2024 - UNDER CONSTRUCTION location: Canas de Senhorim - Nelas, Portugal architecture: atelier local + Ana Catarina Costa, Francisco Ascensão and José Luís Tavares collaborators: Ana Catarina Costa, Francisco Ascensão, João Paupério, José Luís Tavares and Maria João Rebelo gross built area: 148 m2 images: © Francisco Ascensão MORTUARY project: 2022 - 2023 construction: 2024 - UNDER CONSTRUCTION location: Valongo, Portugal architecture: atelier local collaborators: João Paupério and Maria João Rebelo engineering: Márcio Pimenta gross built area: 84 m2 images: © Francisco Ascensão HOUSE IN CAMPO project: 2023 construction: 2024 - UNDER CONSTRUCTION location: Campo - Valongo, Portugal architecture: atelier local collaborators: João Paupério and Maria João Rebelo engineering: Márcio Pimenta gross built area: 195 m2 images: © Francisco Ascensão
HOUSE IN PÓPULO project: 2021 – UNDER CONSTRUCTION location: Ponta Delgada - Azores, Portugal architecture: Rita Sampaio and Afonso Botelho Santos collaborators: Joana Anacleto and Martina Honcárová gross built area: 235m2 images: © Rendergram GUEST HOUSE IN FURNAS project: 2022 - UNDER CONSTRUCTION location: Furnas - Azores, Portugal architecture: Rita Sampaio and Afonso Botelho Santos gross built area: 550m2 images: © Rendergram HOUSE IN NORDESTE project: 2020 - UNDER CONSTRUCTION location: Lomba da Fazenda - Azores, Portugal architecture: Rita Sampaio and Afonso Botelho Santos collaborators: Martina Honcárová gross built area: 110m2 images: © Rendergram INTERVENTION ON ISLET NATURAL RESERVE project: 2023 - UNDER CONSTRUCTION location: Ilhéu de Vila Franca do Campo - Azores, Portugal architecture: Rita Sampaio and Afonso Botelho Santos gross built area: 125m2 images: © Rendergram
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PORTUGAL PVP 24,90€ PRICE WILL VARY PER COUNTRY
ATELIER LOCAL
ATELIER LOCAL
ILHÉU ATELIER
As a professional practice, this local studio (2019) was founded by Maria Rebelo (1991) and João Paupério (1992), in Valongo. Both graduated from the University of Porto (FAUP) and previously worked at the BAUKUNST office in Brussels. In addition, Maria Rebelo did her professional internship with Atelier da Bouça (Filipa Guerreiro and Tiago Correia, architects) and João Paupério is a doctoral researcher at CEAU-FAUP.
Ilhéu is an architecture studio manifesting from the isolated, scattered and unique environment of the Azores archipelago.
Currently, the architect Francisco Craveiro (1993), graduated from FAUP, with previous experience at the amid.cero9 studio in Madrid, is also working at the atelier. As an event, a local atelier is the result of all the people who take part in each project. Combined with writing, the practice of this local atelier has centred on the spheres of home and housing.
The studio was founded in 2019 by Rita Sampaio after working in London with RFF, and by Afonso Botelho Santos after working with Eduardo Souto de Moura. It seeks responses to insular conditions through the serial experimentation of spatial and formal possibilities that either celebrate or challenge the narratives of its context. The practice fluctuates between local opportunities and overseas references, anchored in the longing to attain a relevant and contemporary architecture. In 2020 the studio wins the competition for the W&T Pavilion and in 2023 becomes part of the 18th Portuguese representation at La Biennale di Venezia with an investigation and provocation for Sete Cidades.
