flux I
D
E
A
INDEX 1 3 5 7 9 13
statement | philosophy idea as change | growth idea as change | technique idea in form | materials idea in form | morphology idea as movement | floating fragments
F
L
U
X
idea in form to find a form to an idea, and to act as a designer, one needs to accept a contradiction, a fruitful one. we allow the idea to be materialized and proven with an image and we also allow its fluid nature to evolve and change without a stop, never defining it as an ideal or a truth. idea born and spread from the pathways of the neural system just like vine growing from fertile soil
to translate the immaterial to material, one has to accept a certainty eventhough the questioning endlessly continues. ‘‘Some of my thoughts are like images of things, and it is to these alone that the name idea properly belongs’’ Meditations, Rene Descartes
In the following pages, the idea of movement and change in time, starts a journey to find it’s material form as a Port Wine museum. The leaking movement of space, defining permeability The people, river and wine, defining movement and change in time. fragmentation, just as the duration made of singular instants.
1
2
F
L
U
X
I D E A A S change G
R
O
W
T
H Soils in the Duoro region are generally shallow and very rocky, with clay-schist spread over the schistous rock. An immense amount of stone must be cleared before planting a new vineyard. Upriver on Douro River, the schist is interrupted by large bands of granite.
1756-1761
the map shows the original Duoro port wine demarcation zone from 1756 and the growth of that region east to where it is today.
3
How port wine bottles changed in shape throughout the years. This shows the example of form taking shape to meet function and use.
4
F
L
U
X
I D E A A S CHANGE T
E
C
Murtórios
thin, flat, irregular terraces 1-3 rows per terrace dry stone walls
Patamares
3.5 meters wide allows formed by bulldozers 2 rows per terrace no walls steeply inclined banks (taludes)
5
H
N
I
Q
U
E
Socalcos
Murtórios Historic uneven terraces built 100 to 250 years old. Some very old walls called Pilheiros date back further to 400 years. Vines were traditionally planted in holes and and trained over arbours, also providing shade for workers.
Socalcos Socalcos are high stone walls built before phylloxera, a microscopic mouse introduce with American vines that wiped out native vines. Ramps on each terrace allowed access for mules which aided in soil cultivation.
rows planted across slope 1-2 rows per terrace sloping stone walls
Vinha ao Alto
rows planted up slopes against contours spaced 1.1 x 2 meters no walls 30 degress maximum gradient
Patamares
Vinha ao Alto
Patamares are common since the latter 19th century. These terraces are prone to erosion without supporting walls in place.
Vertical planting is the newest technique found in the Duoro region. This technique reduces erosion and allows for tractors to pass between the rows.
6
F
L
U
X
I D E A I N F O R M M A T E R I A L S O F T H E L A N D
‘‘...two, tree, four materials in different dosage, which then have a beautiful reaction, which we can call architectural atmosphere, maybe... And I believe that the water loves the stone, and the stone loves the water, the love affair already exists and the light makes it visible.’’ Peter Zumhtor from the Interview with VernissageTV
SCHIST
Schistous soil creates thick grape skins with low yields but a high concentration of flavor, color, acidify and tannins. The taste is intense and aromatic.
materials to enhance the concept
VILA REAL GRANITE Granite forms from cooled quartz and magma. These soils drain water and nutrients quickly and these limiting factors minimize vine vigor, but allow the vines to slowly ripen, which can improve flavor.
BRASS / COPPER the golden river
POLYCARBONATE translucent | space as a fluid
OAK local oak of pipas and balseiros
The heat from granite also helps grapes reach maximum ripening. This results in layered aromas and flavors with “mineral” notes.
GREY MONTEMURO GRANITE
7
8
F
L
U
X
I D E A I N F O R M M
O
R
P
H
O
L
O
G
Y
section 4
a museum that refuses to be a closed box which stands still on the ground but aims to become a landscape section 5
0
0
5
8
16
8
16
24
24
32 m
32m
a whole and its fragments the museum is a carved and continuous space that reveals itself as fragmented objects on the street level the landscape of fragments offer moments of visual connection with the museum that is under
public flow the in-betweens of fragments are spaces of interaction and movement, allowing access to the river
the museum becomes the facade of the river
floading public space during high tide the river leaks in the site by steps and a gentle slope
a possible connection from the lower street to the museum
street level is left to the public, and fragments of the museum create an interacting landscape
9
10
F
L
U
X
I D E A I N F O R M M
O
R
P
H
O
L
O
G
Y
experimenting with levels/volumes and light the need of light in the museum affects the landscape of street level
a window to the river
11
12
F
L
U
I D E A A S MOVEMENT
X
people wine
F L O A T I N G F R A G M E N T what if a fragment of the museum detaches and moves upwards the river to offer temporary action to the city of Porto?
1
by the bridges | vertical people, knitting the two urban shore together
5
city vineyards by the river | horizontal the histroical path of the wine from the vineyards to the city
1
2
3
4
5
the floating fragment’s selected areas to attach
floating fragments some parts of the museum detaches and starts to move upwards the river
a sketch on the floating fragment
a temporary space the floating structures attach themselves to neighborhoods of both shores, providing events that change each time
13
14
FLUX I
D
E
A
Advanced Architectural Design Studio | Port Wine Museum, Porto / Portugal | Camilo Rebelo & Kiana Jalali & Paola Hagei Higac Group 6 | Negin Fazelbakhshesh Ghoochan - Sinem Gucuyeter - Laura Christen Mc Grath Basile Kazim Kaan Ozgubar - Salmaalsadat Sajadijahromi - Maria Luz Saldutti Politecnico di Milano