Tetsuo Kondo
Porto Academy’14 From the 21st to the 28th of July 2014, Indexnewspaper organized Porto Academy for the second time at Faculty of Architecture of the University of Porto (FAUP). The academy consisted of a weeklong workshop with Antón Garcia-Abril, Diogo Seixas Lopes, Eduardo Castillo, Emilio Marin, Jan De Vylder, José Paulo dos Santos, Kersten Geers, Liviu Vasiu, Nuno Valentim, Patrícia Barbas, Paulo Providência, Romina Grillo, Ryan Kennihan, Tetsuo Kondo and Tudor Vlasceanu. It also included twelve lectures from those architects plus four master classes from Christian Kerez, Jonathan Sergison, Manuel Aires Mateus and Valerio Olgiati.
Workshop Leader Tetsuo Kondo Assistants João Salsa Students Agnieszka Jurczak, Agnieszka Turczyska, Arleta Nowak, Camile Innamorati, Christoph Walter Pirker, Christophe Gourdier, Cucu Dorin Ionut, Dora Todorchevska, Hita Tenreiro Corral, Isabella Marcolini, Iulia Popescu, Joseph Caruana, Keren Relevy, Kornel Lewicki, Mariana Batista, Matea Ban, Matej Todorovski, Matteo Mastri, Matthias Eersels, Michaels Stas, Mimosa Ceratti, Sofia Elizalde, Uwe Brunner
Think about Life. When we think about architecture, it is equal to think about Life, somehow. To eat, to sing, to talk, to meet... Life is full of joys. We tried to feel some of these and to share them with everyone. In the end, we had 23 very different perspectives about Life.
LIFE IS ALL ABOUT RELATIONS Agnieszka Jurczak Arleta Nowak
SMELL OF THE PAST Agnieszka Turczynska
What at the moment I can sum up to the word ‘life’ is people and memories. Smell as one of men’s senses is said to be the strongest one to bring up memories, take back in time. The work presents the relation between those two. The seemingly jumbled letters symbolize certain memory, which until combined with smell (symbolized by the reflective surface) appears to be meaningless. However, when together suddenly form a specific, readable story, moment from the past.
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SMELL Camille Innamorati
BECOMING ARCHITECTURE
BECOMING Christoph WalterARCHITECTURE Pirker Christoph Walter Pirker Life: Becoming in time. Austria
Architecture: Becoming in time. Life = Architecture
Life: Becoming in time. Architecture: Becoming in time.
Architecture as a condition, which can be compared with that of just freezing water yet); it is even unclear, if it is ever about to freeze. A condition, which is stil thin, fragile, breakable. A condition, which leaves open if it ever Architecture as a condition, which can be compared with that of just freezing water (which is not becomes It, anunclear, object;if becoming architecture. frozen yet); itan is even it is ever about to freeze. Martin Buber: “All real life is meeting”, is Abecoming. A condition, which is stil thin, fragile, breakable. condition, which leaves open if it ever becomes an It, object; Inan the life ofbecoming humans,architecture. two conditions exist: each being is either conceived as a thing, image, form, classification, movement, number, law, impression; something that Martin Buber: “All real life is meeting”, is becoming. occupies space; It. In life however, of humans,also two conditions exist: if each being is either conceived a thing, image, form, “Itthe can, come about, I have both will and grace,asthat in considering classifi cation, movement, number, impression; occupies space; the tree I become bound up inlaw, relation to it. something The tree that is now no longer It.It.I have been “It can, however, also come about, if I have both will and grace, that in considering the tree I seized by bound the power of exclusiveness. and Thou”, become up in relation to it. The tree (Buber, is now no“Ilonger It. I have1923). been seized by the power of A exclusiveness. condition, in(Buber, which “Ino knowledge, no material, no opposite is present. Only relation, and Thou”, 1923). A condition, in which no knowledge, no material, no opposite is present. Only relation, Thou. Thou. “All real life is meeting”, is becoming. “All real life is meeting”, is becoming. To make the moment visible, the step towards meeting, the step towards life, the step To make the moment visible, the step towards meeting, the step towards life, the step towards space. towards space. Anything built is object, It. Anything built is object, It. Whichcondition, condition, which meeting, becoming makes space become? How is Which which meeting, whichwhich becoming makes space become? becoming – Thou – constructed? How is becoming – Thou – constructed? It has to be something between heaven and earth. Life = Architecture (which is not frozen
It has to be something between heaven and earth.
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MARBLE MEMORIES
M a r b Christophe l e M eGourdier mories
Memory, life and architecture are strongly linked. For me memory, in a lot of cases is even stronger that something material. The memory have the power to stimulate your imagination and recompose in your mind a spatiality, a feeling, a smell or a sound that you can share with other people, who are going to try Memory, life and architecture to see by they ownare that isstrongly deeply present inlinked. your mind. For me memory, in a lot of cases is even stronger that something I wanted to express thismaterial. idea using the stoneThe like my memory support of thinking.have I found the power to stimulate your imagination iand in ayour a spatiality, a feeling, a smell or nterestingrecompose to speak about life through material mind that looks compl ete lifeless. a sound that you can Inshare with other people, who are going to try to see by they this way I had tried to give the speech to the stone, and learn about her own that is deeply present in your mind. memories. I had used 6 pieces of marble from the same stone quarry from I wanted to express this idea using stone mytogether support the south of Portugal and analthe yse them face by like face, linked by the of thinking. I found interesting to speak about through that line of theirlife vein. When all the stoneaarematerial linked, I had mark the prilooks nts of the complete lifeless. In this way I had tried tocomposi givetionthe speech stone, on a paper and copy outto the the way of thei r veins on aand other lalearn y-out. about her memories. I had used 6 pieces marble quarry from the south of I have imof plement this methodfrom on the sixthe faces ofsame the stone, stone because I wanted Portugal and analysethat them face the informati ons giby ving byface, the stoneslinked express a tritogether dimensional space.by And the line of their vein. When all the stone are linked, I had mark the prints of the the result was very surprising. The stone’s are creating two different maps,composition on a paper and copy out the wayoneofreltheir on aof other I have ated to theveins natural landscape where they lay-out. come from and one other implement this method on the six faces ofexpressi thengstone, because I wanted the transformati on of this landscape with the explthat oitation the of the informations giving by the stones express a quarry tridimensional space.And the result was very surprising. The where they had been extracted. stone’s are creating two different maps, related to thethe This two maps can be traduced as two one models that can represents spacenatural landscape of where they come fromwhere and onecomeother of this landthe stone from, likeexpressing a mental model donethe after ltransformation istening the scape with the exploitation thepeopl quarry where memories ofof different e coming from the same plthey ace. had been extracted. This two maps can be traduced as two models that can represents the space where the stone come from, like a mental model done after listening the memories of different people coming from the same place.
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water labyrinth inverted typology transparent space freedome space quality different views of space tranquility vs. movement choice water cubes individual space transparency/ intimicy inverted blocks different space choice water bridge fluidity freedome different height/ view movement wind natural materials choice water trail full boxes vs water flow choice of space choice of distance movement vs. static space fear vs. fun choice multiple space/ riverside free theatre playground forest public space/ still place concerts/ plays/ spectacles different ages brought together freedome movement vs. relaxing opposites attract choice
LIFE MEANS CHOICE Cucu Dorin Ionut
LIFE FROM DIFFERENT PERSPECTIVES Dora Todorchevska
LIFE IS AN EVERCHANGING EXPERIENCE DEPENDING ON THE ROAD WE CHOOSE OR HAS BEEN IMPOSED ON US, THROUGHOUT OUR LIFETIME, LIFE HAS DIFFERENT MEANINGS SO RATHER THAN PRESENTING LIFE THROUGH A SINGULAR SPACE IT MIGHT BE BETTER TO SUGGEST ITS A SERIES OF SPACES CREATED TO BE PERCIEVED DIFFERENTLY THIS IS A PROPOSTION OF SUCH SPACES MADE SPECIFICALLY TO MAKE US RETHINK AND TRY TO SEE THINGS FROM OTHER PERSPECTIVES REMIND US OF A VIEW WE ONCE HAD ON LIFE OR INSPIRE US TO CHOOSE A DIFFERENT PATH FROM THE ONE THAT WE’RE ALREDY ON. IT ALSO SERVES AS AN INDICATION THAT NO MATTER WHICH PATH YOU CHOOSE YOU END UP AT THE
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R E F E R E N C E S : TA C I TA D E A N B U B B L E H O U S E 19 9 9 16 m m F I L M F U N D A ç A O S I Z A S TA I R S I N S E R R A LV E S / C A F E T E R I A AT FAU P P O R TO / L I B R A RY O F FAU P AUDITORIUM IN FAUP PORTO
Isabella Marcolini
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D E S E R R A LV E S / P O R TO C I T Y C E N T E R / S è D O P O R TO C AT H E D R A L / à LVA RO P O R TO / F U N DA ç AO D E S E R R A LV E S CO N T E M P O R A RY A R T M US E U M P O R TO /
Iulia Elena Popescu
When I think about life I think about learning, experiencing, discovering. In order to achieve these things one should have the courage to try, to make his own decisions, his own mistakes, and his own path. To illustrate these ideas I’ve imagined a game that has two rules: making squares using just Xs and not being in the same spot as the other players. The game does When I think about life I think about learning, experiencing, discovering. In order to achieve these not have a certain of players nor ahisvery of keeping things one should havenumber the courage to try, to make own precise decisions,way his own mistakes, score. and his own Still, to establish a winner you can try topath. count the number of squares made by each player. Soon you discover that it is almost impossible to do this because at To illustrate a game hassides two rules: making squares using just Xs and the end, allthese youideas can I’ve seeimagined is a pattern onthat both of the paper.
not being in the same spot as the other players. The game does not have a certain number of players nor a very precise way of keeping score. Still, to establish a winner you can try to count the number Every time youbyplay game, discover that, as in life, you’veto made differentat of squares made eachthis player. Soonyou you discover that it is almost impossible do this because decisions, you’ve something your own, something the created end, all you can see is of a pattern on both sides of theunique paper. and you have
been part of an interesting experience.
Every time you play this game, you discover that, as in life, you’ve made different decisions, you’ve created something of your own, something unique and you have been part of an interesting experience.
Iulia Popescu
Idea One Box per Emotion Exterior, the Box Interior, the Boxes
3. Interior, The Boxes
The Box of the Boxes Architecture can be seen as a collage of different forms and colours coming together in one composition. Such a viewpoint can be applied in how we perceive our collective lives of different emotions. The following explains how this can be.
1. One Box Per Emotion
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collective lives of different emotions. The following explains how this can be.
THE BOX OF THE BOXES Joseph Caruana
1. One Box Per Emotion
Architecture can be seen as a collage of different forms and colours coming together in one composition. Such a viewpoint can be applied in how we perceive our collective lives of different emotions. The following explains how this can be.
2. Exterior, The Box
SAFE SPACE Keren Relevy
Many times we find ourselves in situations where we are not really ourselves. Sometimes we feel the need to disguise ourselves, feeling insecure in a new environment, and some days it is merely the weather that brings us down. So what is the ultimate safe place? Where I come from, the term "Safe Space" is recently associated with a siren rushing you to find a shelter that may save your life. But the ultimate Safe Space is not just a space in which your life is spared. It must also possess qualities of a universal space in which every person is free to be their natural calm self...
A PHYSICAL SAFE SPACE
Island
Cave
Tree
Fortress
Tower
Shelter
Defensive Wall
Bunker
A MENTAL SAFE SPACE
A sense of hope.
Solitude
A distraction
Serenity
Camouflage, invisibility
Embracing
A physical distraction
Company Companion
A soft, warm space
A different state of consciousness
Turn off the thoughts.
A hope for a better future.
Gives a purpose, serene.
A space that answers your every need
A different type of reality, existence.
ARCHITECTURE LIFE MOVEMENT Kornel Lewicki
Life is Movement. Movement is Life. Life isArchitecture Movement. is Life. Movement is Life. Life is Architecture. Architecture is Life. Movement is Architecture. Life is Architecture. Architecture is Movement.
Movement is Architecture. Architecture is Movement.
Rome - Sant’Ivo alla Sapienza Installation
Rome - Sant’Ivo alla Sapienza Installation Showing movement in architecture
Pilars with shadows of different hours
Showing movementExpress in architecture movement and Pilars with shadows of different hours Design the space. Express movement and Design the space.
What is Life? WHAT LIFE?a path that you take without destination, you never Life is a IS journey, Mariana Batista What is it. Life? know when or where is the end of I thought about railways, because simbolically, like Life itself, they Life is a journey, path thattwo yourealities, take without you never establishe a linkabetween Pastdestination, (the beginning of life know when or where is the (the end final of it.stage of life, the end). and childhood) and Future I thought aboutabout railways, because like Life itself, they f This challenge thinking aboutsimbolically, life from Tetsuo Kondo studio, establishe a link between two realities, Past (the beginning of made me realize that Life is a transitory passage from this world.life and childhood) and Future (the final stage of life, the end). f across'.The This challenge thinking about life 'go from Tetsuo Kondo studio, Transition: Latinabout transitio(n-), from transire process or a period from Life one is state or condition to another made of mechanging realize that a transitory passage from this world. Transition: Latin transitio(n-), from transire 'go across'.The process or a period of changing from oneConcept state or condition Photo´s to another
Concept Photo´s
Mariana Batista . Tetsuo Kondo Studio . Porto Academy . 2014
Concept and description of the Architectural Project The concept of the project is the transition of the path between the architectural object and the landscape. This trasition is made through two long objects, 30 meters of length and 0.5 meters of width, that simulate the railways. The railways begin in the interior of the architectural object and after 30 meters, they disapear in the landscape, because I don´t want to imply the end of the path. In these two objects, people can walk, admire the sky, the land and the movement between two realities, which are the material and inmaterial.
Mariana Batista . Tetsuo Kondo Studio . Porto Academy . 2014
Border
Matea Ban
Matej Todorovski
SEQUENCE THIS SATIRICAL COLLAGE EXPRESSES T
EVERYDAY LIFE, THE PROBLEMS WE DEAL WITH, PEO COLOURFUL SEQUENCE IS SUPPOSED TO BE A JOKE O
THE TIME WE LIVE IN,THE THINGS THAT SURROUND US IN OPLE’S IDOLS.RIDICULOUS, FUNNY AND STRANGE. THIS OUT OF THE 21ST CENTURY. MATEJ TODOROVSKI , 2014
LIFE IS ARCHITECTURE ARCHITECTURE IS EXPERIENCE LIFE IS EXPERIENCE Matteo Mastri Labyrinth as the metaphor of life Pillars and voids A roof with holes of different dimensions Labyrinth as the metaphor of life Pillars and voids A roof with holes of different dimension
REFUGE OF THOUGHT Matthias Eersels
A personal refuge where you can be alone with your thoughts and reflect on the aspects of life. The play between light, water reflection and texture give the space a sacred feeling which creates an inner peace for the visitor
REFLECTIVE THOUGHTS MichaĂŤl Stas descending from the world we live in, leaving the light into the dark, loss of orientation where one comes from, blinded by the light of a new atmosphere, isolated, a vacuum between air and earth, between what is common for al beings, without reflection of oneself, confronted with your thoughts, REFLECTION of life, of your thoughts, of earth and air, ...
FRAGMENTS Mimosa Ceratti
When I read I am someone else. I am a cat I am an old man I am an innocent kid I am a vicious criminal I am a pure being I am all I can ever be and not myself anymore. There are special moments in which words can penetrate you and allow you to see life through someone else’s mind’s eye. In these special moments, we gain something ourselves. These fragments are significative moments that gifted me something. By collecting and hand writing them I share not only the power of these, but also a part of me. The fluctuations of my emotional state can be read through the movement of the line, the fragile appearance and paper blurs them together in one entity and the choice tells more about me than my own words could ever do. of earth and air, ...
FRAGMENTS - MIMOSA CERATTI
Sofia Elizalde
I believe in cycles. We are some tiny part of this perfectly balanced universe, in which there’s no begining or end.
Uwe Brunner
“It is fun to be alive. It‘s a hell of a lot better than being dead“ (Joe Strummer)
WAKE UP Hita Tenreiro Corral
sequence of the passageway
sometimes you may feel like you have been living your life as a spectator. hidden in your daily life r your work. this can make you feel lost, incomplete or, even more, not yourself. until the very moment you feel the tangibility of life: the rain down your face, the smell of the sea, a connection with other human beings and even other living things. life itself has the necessity of being asserted by the tangibility
the aim is to make a passageway from that foggy feeling of not being part of your own life to an awakening. In a sensorial transition between an urban environment and a public and natural place. In a dramatic language, playing with strong changes of light, the lenght between walls. In the middle of this passage there’s the most dramatic place: a room with no light and fogg between glasses, with proyected images.
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