Porto Academy 2013, Anne Holtrop studio

Page 1

Anne Holtrop

Twentyfive Literary Spaces And Their Readings

PORTO ACADEMY 2013 www.portoacademy.info From the 20th to the 27th of July 2013, Indexnewspaper organized ‘Porto Academy’ at Faculty of Architecture of the University of Porto (FAUP). The academy consisted of a weeklong workshop with Anne Holtrop, Camilo Rebelo, Go Hasegawa, João Pedro Serôdio (Serôdio Furtado), Johan Anrys (51N4E), Nuno Brandão Costa, Pascal Flammer, Pier Paolo Tamburelli (Baukuh) , Raphael Zuber and Thomas Raynaud (Building building). It also included ten lectures from those architects plus five master classes from guest architects : Alexandre Alves Costa (Atelier 15), Álvaro Siza, Eduardo Souto de Moura, Marcos Acayaba and Milton Braga (MMBB), exposing thoughts about "Porto and Paulista Schools".

!

Twenty- five literary spaces and their readings. Anne Holtrop Ana Aragão Thanks to Amélia Brandão Costa Rodrigo da Costa Lima Porto Academy 2013

Alvise Stramare Anastasia Lekkou Antoine Watremez Argyris Chronopoulos Canay Kara Christoph Feinweber Chun Hung Dao Doan Minh Delphine Roque Dionysios Koutsioumaris Doerte Boeschemeyer Georgios Fiorentinos Janet Pan Rong Jean Besson Joseph Caruana Katarzyna Malkowska Ketaki Kadam Luca Bosco Miranda Menzies Nikolas Patterson Roland Reemaa Roxane Belot Simon Dean Stephan Lando Yildirim Yazganarikan

A Cubic Circle A sequence of nine, very open cubic spaces, laying on a plane surface. Each cube is defined just by the edges, without any of the six surfaces: this structure is made out of tiny ninety degree folded paper stripes. Each cube is eight tenths of the previous one. These cubes create a closed circular composition, in which a cube’s corner slightly enters across the open surface of the previous bigger one. Alvise Stramare

Unstable There are six similar walls. Their height is about three times their length. Each wall has one slit, like a stripe-shaped opening, where you can cross over the walls, with height about two thirds of the wall. The thickness of the walls is not insignificant. The position of the slit may vary in each wall. The walls are placed one after another in line and in similar distances. The walls are awry and lean dangerously. Some are too close to fall. A rope, like a tripping string, seems to be the only thing holding this unstable construction. Follow the rope to find your way out. Anastasia Lekkou

Sign I cannot escape. With my two hands I can touch the walls. The height of the space allows me to see just a thin ray of the sky. Sometimes, openings allow me to pass from a corridor to another. I run to escape until I see a larger opening. Approaching it, I discover that the succession of the walls describes a perfect circular void. Thus, I stop in this glade to watch the huge sky above me. Antoine Watremez

The Platform A platform of proportions one-to-two elevated from the ground surface supported by pillars. You can touch the surface of the platfrom with your palm, while walking on the ground just beside it. A slender roof of proportions one-to-two covers part of the platform. A ramp, roofless, leading up to the platform. Linear walls, arranged parallel to each other, both bearing and non-bearing, slide between the two planes, the roof and the platform. Theres is only one way to enter the space: under the roof. While walking under it, the walls dictate your direction. The walls resemble sharp blades and never intersect. Each time you change direction, a surprise! Either coming from above or seen on the ground you walk on. You walk straight but also on inclined surface. A spectacle created by the walls and through this spectacle you walk. What you see, or maybe what the walls LET you see is what makes your direction. Light is part of the surprise but also of the spectacle... used carefully, not abundantly, only when needed. Time is stretched in this space, it loses its literal meaning. Time is a luxury in here, you get rid of it as soon as you enter. There is only

one way to exit the covered space and that is: under the platform and off to the ground again. You’re not part of the spectacle anymore. Argyris Chronopoulos

Three. Depiction The roof is a rectangle surface made by irregularly distributed triangles in different sizes. The bigger triangles are carried by cylindrical columns to create interiors. Smaller triangles touch the ground and create exteriors. In the voids between triangles light comes, or there are grass and small pools. It is a pavilion-like public space, which looks like a surface of a boiling water. Canay Kara

Introverted House With Two Walls One. Perimeter Wall Build a continuous wall describing a square. Side length of square is one quarter length of full paper sheet. Height is side length of square. Add an entrance choosing from one of the projects presented during this weeks lectures. Height of door is three quarter wall height of perimeter. Two. Separation Wall Cut a stripe. Length is full length of paper sheet. Height is height perimeter wall plus one twentieth height perimeter wall. Cut openings into the stripe for five doors. One quarter height separation wall < door height < three quarter height separation wall. Width is up to you. The silhouette of the doors describes a half circle. Fit the separation wall into the perimeter wall. Bending not folding. Make sure it is possible to access all generated spaces. Three. Roof Build three roofs cutting squares. Side length is side length perimeter wall plus one tenth side length perimeter wall. The first square has five circular or elliptical holes (sky lights). The second square has eleven circular or elliptical holes (sky

lights). The third square has seventeen circular or elliptical holes (sky lights). Always place the roof centrally on the seperation wall. Make sure the overlap of the roof is equal on each side. The edges of the roof are to be parallel to the perimeter wall. Only one roof will be in use. Test all three roofs individually. Rotating and flipping is allowed. Ask the people next to you which option they like most. Don’t give any descriptions or explanations to the person you are asking. The roof which gets three confirmations first will be used. Four. Floor Cut a square with the same dimensions as the contour lines as the perimeter wall. Cut holes into the sheet which indicate greenery, grass, water areas‌ the outlines of the holes can neither follow the separation walls nor the projections of the sky lights. Can we have porches or loggias? Five. Fire place Design a chimney with an open fire place which penetrates the roof. It cannot be attached to the perimeter wall. Christoph Feinweber

Near Is Far It is not a very high space. When entering this space, you can already see the exit through five big windows. But you have to get there by a winding, twisting road which is coverd by a flat roof. This road doesn’t always have the same width. In the beginning, the width is two times larger than the size of entry, and it becomes more and more wide, but at the end when you arrive at the exit, it can be just passed by one person. Don’t be afraid of getting lost in this space, just follow the light coming from above, which is through the square holes with different sizes. See you later! Chun Hung

This is a high space, none of the wall are parallel to each other. You enter by a crack on the wall. The wall are slightly curved, the corner doesn’t exist in this space. A lot of thin opening and a lightwell illuminate the room. There is a lot of slope and split level to reach the top. Dao Doan Minh

Two Or Three Soft Walls Three walls are creating this narrow space. I can see the outside thanks to the empty spaces which separate each wall. My hand touch the walls, they are soft, and are falling on the ground - as piece of clothes. It’s difficult to see the ceiling, far from the ground. It seems that two of the three walls are linked by a roof. Or maybe these two walls are one wall. Delphine Roque

A Matter Of Perspective Two rectangular black planes with proportions one-to-three create a one-person-height space. They are kept in distance by a black wall with no openings positioned lengthwise. Two more black walls and one white wall between them help create a room. It seems to have similar proportions to the planes. At one of the black walls there is a full-height opening. You enter from the opening and start walking towards the window at the other end. White colour is prevailing. The roof has narrow slits perpendicular to the walking track. Notice the rhythm of the light. The room is a dead end so you turn around. It now looks shorter. Where is all that white? You walk towards the exit. The rhythm is still the same. Dionysios Koutsioumaris

Balvaro Imagine the entry pavilion of the school. Build it including two personal transformations. Don’t visit it until you are done with the task. Doerte Boeschemeyer

Brightness / Contrast The space consists of two elliptical rooms, reminding you of a distorted S. A bunch of slim, transparent, circular columns, penetrating the first space at different angles from bottom to top, slightly let the light come in. Making your way up through the slope, observing the great height of the room, you notice a bright slit on the curved wall that leads you straight to the other leg. The atmosphere is different, the space is luminous and its scale is closer to the human one. Through two big openings on the wall you are finally able to take a look at the exterior and the place, which you’ve just left behind. There’s only one way in and one way out, each one in one of the ellipses. Georgios Fiorentinos

Swimming Wall I run my hand though the wall. It feels like my hand is swimming and floating on the waves. Up and down. In and out. I could glimpse out through the thin openings. I look down, there are strips of lines covering my feet and the ground. They are the patterns created by the shadow of this wall. As I move forward, the pattern gradually disappeared, and I found myself wrap around by wall where I can only see the sky. Here I feel safe and I can rest. Janet Pan Rong

Meander Space Five walls are standing next to each other as one long, solid block. Some walls are thicker than others. Several rectangular holes are extruded in each wall; size and position vary. You can step in or out the space from any opening on the four sides and circulate freely in the meander of holes. Jean Besson

In-Between I walk between land and sea, on a narrow path that leads me to a one-storey curved faรงade. I make my way into the interior space through an opening in one of the vertical stone slabs. I enter a silent oval-shaped interior space, ten-metres long at the widest part, and two-storeys high at the highest segment. Although dim inside, long and narrow vertical windows of different shades colour the interior wall surfaces, besides the wooden floor and ceiling. At the other end of the entrance there is a small spiral staircase that leads vertically up through a dark, tight-fitting space that trails high to an opening in the sky above me. I pass through the opening onto an open-air gallery where I stand between the building and the sky. Joseph Caruana

Imagine a photo of the bubbles. They are flying freely all over. Some are further, some are closer. Some join with each other, some are separated. Lie the image on the table. Extrude the sides, you find the external walls. Extrude the circles of the bubbles, you find the dividers of the space. Look from the top, do you like it? Katarzyna Malkowska

Sprawling Into The Ground It’s midnight and the moon is shining bright. I see three free-standing columns from far. They seem to be juxtaposed since not all are of same height. One of them, the tallest, is almost threestoreys high and resembles a head peeping from over the high wall. I realize this high wall is a thin curved wall encircling one of the three columns and continuing further, sweeping, sprawling and winding playfully all over the vast circular green garden. I feel the wall is trying to hug the other two columns and some trees on its way to the final destination where it disappears into the ground. If only this wall was straight it would have been my slide. On its way the wall jumps over the half-cut cylinder (sleeping on the grass) goes further and comes back again to jump over. I run to the semicircular straight wall of this half-cut cylinder to find a square opening with darkness inside. Tempted, I run up the ramp to reach it. My height barely fits in this square opening and I go in, this time… down the ramp only to find myself on a floor with human-scaled chess board pattern. I look up to realize it’s all due to the moon light

from the openings in the curved ceiling. I look around to realize my only way out is from the big square opening and walk back to the ramp‌ Ketaki Kadam

Hundred-fifty Meters Corridor Plus Impluvium Patio Our space is defined by two regular volumes. The first one is a corridor of hundred-fifty meters deep with five meters wide and ten meters high. The entrance is exactly in one of the two tops of the path. There is a skylight in the middle of the path, against the wall on the right side, keeping the entrance behind. The second one is a volume with a square ground of twenty meters side, with five meters high, with a square impluvium patio in the middle, measuring five meters on each side. This last one, rotated by forty-five degrees, crosses the corridor in the opposite side of the entrance. One of the vertices of the square volume coincides with the middle of the short side that it intersects. Walking through the corridor, from the entrance to the other side, you can see that the left middle part of the top in front of you is completely transparent and the right one is opaque. So, on the right side of the path, before the wall intersects the top in ninety degrees, there is the entrance to the square volume. That’s all. Luca Bosco

Cone In The Desert The structure is sited on a flat expanse of land – a desert. Its form is composed of two main parts – one part subtraction from the site, and one part addition to the site. The subtraction, or excavation, is a simple geometric shape, which appears to be stamped into the earth – leaving behind only a memory of its form. The resulting space created is approximately four times the height of a human – it’s a large area, open to the sky… this is the first space encountered upon visiting and is accessed by stairs. The addition is a hollow, cone-shaped volume, with a flat top. The base circumference is slightly larger than the perimeter of the subtraction, so you could slide this addition over to cover the subtraction entirely. The addition is, however, positioned so that its base perimeter overlaps only slightly with the subtraction and rests mostly on the ground plane. This creates an intermediary space of shelter, or shade, from within the subtraction and a primary space of shelter on the ground level. There is one large opening to allow light to pierce the cone and enter the sheltered space, and there is one door on the ground level. The final aspect of this

structure is the flat top of the cone, which can be accessed by climbing the exterior. The view from here – over the structure and out to the desert – is breathtaking. Miranda Menzies

Two Pools For Tavora Upon an uneven site. Three rectangles are arranged on the horizontal plane, their edges touching at only two points. The largest rectangle is excavated to a depth of twelve-hundred millimeters and lined with natural stone. The smallest is four-hundred millimeters at its shallowest, six-hundred millimeters at its deepest, and it too is lined with natural stone. The volume of the third space is the sum of the other two. Its form is described by thick concrete walls and is open to the sky. It features an entry, an exit and windows to please. The three forms are fringed by a path of cut stone cobbles at a width of eighthundred millimeters. Nikolas Patterson

Your Bedroom You Did Not Know I don’t know your bedroom, but you know. I know you have a bed in your bedroom and you are standing in front of it. Just as you were ready to lie down. You know the size of the bed. Maybe it is made out of wood. Is it just a matress? I don’t know but you know. Around the bed you have a bedroom. There are holes in the bedroom walls or ceiling that are the windows. This is where the light comes in when morning arrives. This is where you can see outside. You know the view. If you do not have a window in your bedroom then you have a rather dark bedroom. I am sure you know it better than I do. You turn around and now the bed is behind you. You see something you did not know yet. I knew so I will tell you. Your bedroom walls do not end where they used to. They just continue. The bedroom is extruded more than ten times the length it was as you used to know it. This empty space is interrupted by four large beams. One is the height of yourself and the second even higher. Two lower ones cross parallelly the space from the height of your hips. They all pervade the space vertically and horizontally under slight angles. They seem to be

a part of an enormous structure that continues outside the bedroom walls but you do not see them from your windows. This empty space with beams crossing it does not have a wall in the end but a small balcony with a metal balustrade. From there you have a view to the Norwegian fjords. I don’t know how it looks like now but maybe you do. Roland Reemaa

An Open Maze It is just a very long wall. A wall whose height is always changing. He draws on the ground a tortuous and complex line. The kind of line that people lost in the city could draw on a map. The wall contains a series of doors of different size, whose place and meeting are unpredictable. Roxane Belot

“How now! a rat?� Gertrude overlooks Hamlet from three times his height, standing in a balcony inset on the side of a tapered tower. At its square base, at the bottom of the narrow steps leading down to the door, lies the body of Polonius. The Ghost beckons from the slanted top of the tower. Hamlet speaks to it, but Gertrude cannot see. Simon Dean

Labyrith With Curved Walls The space is limited by an outer, extremely thin circular wall and five thin, inner curved walls as thin as the outer one. All walls are vertical and have the same height. In plan each of the inner walls has at least two bendings and intersects with other inner walls at least twice generating sequences of never ending spaces different in size and shape. Where the walls intersect are angular door openings, (two thirds of the wall height) which connect the four spaces generated by the intersection and allow the visitor to flow through them. All doors connect four spaces and each space has at least two. One of the inner walls intersects in one point the outer circlular one generating the entrance to the labyrinth. The other four inner walls are just touching the outer one with both extremities (therefore not creating openings). The ground is flat, the roof is absent. Stephan Lando

I’m standing on the middle of a wide stair. I see thick walls on both sides, on them there are many rectangular openings in various sizes. The one on my right is one of the four walls of a big square garden. The wall on my left is one of the four walls that is covering the stairs I’m standing. One can climb the stairs go through one of the rectangular openings and reach to the garden. Yildirim Yazganarikan

Katarzyna Malkowska (Alvise Stramare)

Janet Pan Rong (Anastasia Lekkou)

Luca Bosco (Antoine Watremez)

Stephan Lando (Argyris Chronopoulos)

Roland Reemaa (Canay Kara)

Yildirim Yazganarikan (Christoph Feinweber)

Roxane Belot (Chun Hung)

Simon Dean (Dao Doan Minh)

Nikolas Patterson (Delphine Roque)

Jean Besson (Dionysios Koutsioumaris)

Antoine Watremez (Doerte Boeschemeyer)

Miranda Menzies (Georgios Fiorentinos)

Anastasia Lekkou ( Janet Pan Rong)

Dionysios Koutsioumaris ( Jean Besson)

Ketaki Kadam ( Joseph Caruana)

Alvise Stramare (Katarzyna Malkowska)

Joseph Caruana (Ketaki Kadam)

Doerte Boeschemeyer (Luca Bosco)

Georgios Fiorentinos (Miranda Menzies)

Delphine Roque (Nikolas Patterson)

Canay Kara (Roland Reemaa)

Chun Hung (Roxane Belot)

Dao Doan Minh (Simon Dean)

Argyris Chronopoulos (Stephan Lando)

Christoph Feinweber (Yildirim Yazganarikan)

Porto Academy’13 by indexnewspaper

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.