Special Issue July 2016 PT €2.00
Porto Academy’16
Porto Academy is the result of an enormous passion for architecture as a discipline. We admire the figures that dream about it, who build it, who study it and who promote it. We believe that practise as an exercise of the architect’s profession
is central to the future of the discipline and this was also one of the reasons we founded Porto Academy.
For a week, one lives the passion for the discipline of architecture and one enjoys an intellectual freedom.
The building of the Faculty of Architecture of the University of Porto from Álvaro Siza whom we admire, it is an enhancer of this freedom we seek. Not just for its
exceptional condition where it is placed, but also for the spatial quality it offers us. It is an exhaustive program lived with an enormous intensity. It is an experience
that involves conferences, visits, and classes, in addition for most of the participants is an the experience of living in a new city and to get to know people from very heterogeneous contexts that with almost certainly generate productive discussions
and building new friendships. Here we seek to dilute borders and bringing people together.
Porto Academy doesn’t pretend to be an institution, to us Porto Academy is a compliment to the school.
Direction and Edition / Direcção e Edição Amélia Brandão Costa, Rodrigo da Costa Lima Frequency / Periodicidade Quarterly / Quadrimestral Print Run / Tiragem 6.000 Issues / Exemplares Printing / Impressão Naveprinter, R. Particular do Bairro do Centro Nacional de Pensões 14, 4475 São Mamede de Infesta, Portugal Distribution / Distribuição indexshop.info ERC Registration / Inscrição ERC 126108 Legal Deposit / Depósito Legal 338307/11 ISSN 2182-3391 Contacts / Contactos Target Parallel / Indexnewspaper, Apartado 052215, EC Eça de Queirós, 4202-801 Porto, Portugal; +351 914 555 414; i@indexnewspaper.info; www.indexnewspaper.info Owner / Proprietário Target Parallel Lda.
Adalberto Dias
Teaching Assistant Mariana Barreira Students Alicia Francisco Sánchez Aws Omran Gianrico Iuliano Guillermo Gonzalez Cebrian Jan Kozák Martin Klaška Mathias Foulon Wang Jianfeng
Ethnic and religious conflicts, territorial disputes, wars, in almost every continents with greater incidence in the Orient and in Africa, lead to enormous destruction of the cities, heritage, and the persecution of innocent people. To this tragedy, it adds the problem of massive emigration - the dramatic escape of entire populations to other countries, other territories, in search of survival, new conditions of life, work and a dignified life. This gigantic escape and emigration, which takes months and sometimes years, poses enormous problems to countries of transit and also to the host. [Two Birds, Maurits Cornelis Escher, 1938 – modular drawing]
As architects, we are unable to reverse, or resolve the reason for these problems. But we have the ability to help, because it is our role to propose and improve conditions of inhabiting in all circumstances. We do not offer peace, only some tranquillity and security, in order to achieve peace. The response is based on a modular housing system. It will not be a house, but it can not be a tent. It will not be le petit cabanon of le Corbusier, thought for a person but for a standard family of two adults and two children. Surely it will be based on minimum residence. The module must be prepared to answer alone to a family and to be associated to other modules of the same kind and originate a camp, a temporary small city. We must respond to social stability, projecting a place that offers security, accommodation, hygiene, education, etc. [Petit Cabanon, Le Corbusier, 1952 – plan]
Adalberto Dias
Adalberto Dias
Work in progress.
Adalberto Dias
Angelo Bucci spbr
Teaching Assistant Ciro Miguel Students Alaa Alhariri Alcindo Dedavid Alejandro Guerrero Neira Aline Nascimento da Silva André Porto Angelika Bocian Carolina Quintanilha Cecilia Sgammini Giovanna Moccia Hanako Morishina Júlia dos Anjos Marques Laura Castany Sanroma Luisa Lara Resende Manoela Oliveira Mariana Mascarenhas Marina Penso da Silveira Mirella Guida Nathalia Ferreira Renan Rolim Sofia Toffano
Infrastructure for imagination Architecture and Engineering / Álvaro Siza Vieira e Edgar Cardoso The settlement of the Porto Architecture School, by Álvaro Siza Vieira, keeps voids in between buildings as windows towards the Douro river. Over there, the bridge by Edgar Cardoso crosses the valley connecting Porto and Vila Nova de Gaia. The bridge was built fifty years ago. Nowadays 150.000 cars cross it every day. However, that bridge holds an idea that was not fully realized: the link proposed by two lifts in each bank vertically connecting 70 m between lower and upper levels of both cities. The assumption of this vertical connection is the main precedent for this studio. Besides, there is a suggestion from that same bridge, as infrastructure, which evokes quite a delicate issue of scale. It is the Casa Douro, a small building, whose existence is due to the construction of the bridge itself. Both, the enormous bridge and that small building, are closely related regarding scale and meaning. These topics are addressed by drawings made by this group during this intense Porto Academy week.
A ponte e o tĂşnel Cecilia Sgammini Giovanna Moccia Luisa Lara Resende Alaa Alhariri AndrĂŠ Oliveira
La passerella Sofia Toffano Julia Marques Mirella Guida Laura Castany
Angelo Bucci
Passagem acima da Arrábida e Memorial Edgar Cardoso junto à margem do Douro Aline Nascimento Alcindo Dedavid Carolina Quintanilha Mariana Mascarenhas
Promenade na Arrábida Nathalia Ferreira Hanako Morishima Manoela Oliveira
Angelo Bucci
Passagem abaixo da Arrรกbida Angelika Bocian Renan Rolim Marina Penso da Silveira Alejandro Guerrero Neira
Angelo Bucci
Carmody Groarke
Teaching Assistant Rui Filipe Pinto Students Caio Cavalcanti Changki Kim Dora Sagrak Ezequiel Castorina Joe Walker Jonathan Anderson Kseniia Leonovich Mariam Eissa Matteo Silverii
Michael Befeldt Miruna Butu Nahed Nabeh Rand Askar Rasha Askar Roberta Scalia Sara Al Shrabaji Simona Iulia Antohe Stefania Geolgau Victoria Hurth Viktoriya Kosareva Tintoretto – la bottega del pittore
The projects began with examining the reciprocity between art and the architecture that enables its production. By focussing on the work of four modern and contemporary Portuguese artists – Helena Almeida, Nadir Afonso, Rui Chafes and Pedro Cabrita Reis – each student developed a very specific sensitivity for the way in which the processes of thinking, making and curating work could influence the design of elemental ‘rooms’ – the basic ‘building blocks’ of architecture. The students visited a series of early projects by Álvaro Siza and Fernando Tavora in order to closely observe the profound atmospheric qualities of these building and spaces created by their space, light and materials. Instead of experiencing these
buildings through their representations – through drawings and photographs – the visits gave the students an understanding of the architecture that could only be appreciated by being in the physical presence of the architecture itself. In this context of the students’ close observation of the architecture of Porto, and their research into the work of the Portuguese artists each student was invited to make a very large scale physical model (paper, card, wood, polystyrene, perspex) in order to make a single photograph of their artists’ studio. The purpose of the final photograph was intended to encapsulate and imply the subjective qualities of a ‘room’ that is condusive to the production of art and somehow related to its genius-loci through the simple orchestration of space, light and materials.
Studio for Helena Almeida Michael Befeldt
Architectural model 1:20 (work in progress) – paper, card, polystyrene, wood
Carmody Groarke
Studio for Helena Almeida Matteo Silverii
Architectural model 1:20 (work in progress) – paper, card, polystyrene, mirror
Carmody Groarke
Studio for Rui Chafes Victoria Hurt
Architectural model 1:20 (work in progress) – paper, card, polystyrene, grass
Carmody Groarke
Cecilia Puga Teaching Assistant Maria Souto de Moura Students Agnieszka Filipowicz Armando Rigau Daniel Tscholl Elvira Fernandez Giulia Ciuffoletti Ilka Demeny Joana Ferreira Kamar Aljundi Kristyna Uhrova Laia Rafel Letícia Becker Savastano Magnus Garvoll Marco Calderini Marcos Trueba Marta Gayoso Miquel Arias Olzhas Galiyev Paola Elena Maghenzani Ricardo Nunes Tomás Salles
This is an exercise around the material condition of architecture; when we talk about material condition, we mean all those aspects that make up the physical and tangible body of space which humankind inhabits, i.e., material, constructive and structural systems. The workshop proposes the students to understand the matter issue in architecture, as the result of projective operations which have, at their core, the desire to build a certain quality of environment that would define the user’s experience. Therefore we arrive at the project’s material system obliquely, as the result of a search to build a particular atmosphere, a specific sensory, visual, acoustic and cultural experience. We will operate starting from images association games, understanding, on one hand, that all projectual design practice is part of a determined cultural context by the Architectural Institution and on the other hand, there is an associative and open way of knowledge, multiple-entry, non-linear and chaotic from which the projectual exercise is tributary and where the world of visuality and image are a powerful vehicle for communication and learning.
Cecilia Puga
Relationship System
Frankenstein: program organization strategies
Cecilia Puga
Material Systems
1.
2.
3.
4. 1. Isotropic 2. Compound 3. Continuous 4. Planar
Cecilia Puga
Christoph Gantenbein Christ & Gantenbein
Teaching Assistant Margarida Quintã Students Aleksandra Walczak Cui Jing Elma Helten Fábio Daniel Patricio Gabriel George Gustav Bergstrom Hyeseong Kim Mathias Westermeier Nils Frohling
Pedro Henriques Raquel Torres Rita Câncio Robert Dobrowolski Robert Schiemann Sara Sampaio Stefano Passamonti Tobias Johannes Haag Valentina Sciacca Yonne-Luca Hack Zuzanna Jedrzejewska
Architecture is in a constant process of transformation. As times are changing, the conditions of buildings are also changing: the behaviour of people, mobility, technological possibilities, economical pressure and opportunities all leave their traces. One very famous example of a building that was changed radically during its life is the Castel Sant’Angelo in Rome, conceived as a tomb for the Emperor Hadrian, and used later as a fortress and as a palace. In our “Porto Archeology” workshop students research the question: how ten chosen buildings in the city of Porto could change in the future? These buildings were all constructed for particular uses which no longer exist and are under the threat of being closed: a fortress, a convent, a cork factory, a cinema, a fish-canning factory or a typical Porto house, a market and so on. The studio proposed the question: what if these buildings are changed to adapt to the new conditions of society? At the beginning of their work each student visited a building, documenting it with sketches, photographs and measurements to draw precise plans, like an archeologist who documents the ruins of an ancient monument. In a second step, the students developed ideas for the future life of these “ancient monuments”, offering a way to keep these buildings alive instead of destroying them or declaring them a dead monument. The aim is to design a piece of architecture that is contemporary and related to history at the same time. The result is a complex and rich architecture that could not be designed by an architect alone, but only by a process in which architects play their specific role amongst others.
previous page: Mausoleum of Hadrian, 1756 Giovanni Battista Piranesi current page: Fish-canning company SICMA, 1935 Zuzanna Jedrzejewska and Stefano Passamonti next page: BolhĂŁo Market, 1914 Gabriel George and Robert Dobrowolski
Christoph Gantenbein
Christoph Gantenbein
1.
1.
2.
3.
4.
4.
5.
8.
Christoph Gantenbein
6.
9.
7.
10.
1. Bolhão Market (1914) 2. Port Cellars 3. Silo-Auto (1964) 4. Typical Porto house 5. Island in São Vitor 6. Cinema Batalha (1947) 7. Ruins of Monchique’s Convent (1533) 8. Rosa Mota Sports Pavilion (1954) 9. Fish-canning company SICMA (1935) 10. Fortress S. João Baptista (1653)
Thanks to: Nuno Valentim, Claire Aucket, Francisco Vieira de Campos, Cristina Guedes, Bernardo Amaral, Luisa Moura, Aitor Varea Oro, Joana Canas Marques, Margarida Neves, Jorge Pesqueira, Carla Barros, Manuel Montenegro, Katharina Lutz, João Pedro Menéres, Vitor Seabra, Pedro Mendes.
Graça Correia Correia / Ragazzi
Teaching Assistants David Ottosson Joana Tomaz Students Adele Pinna Alexandra Burecu Alice Sanllustro Anna Kowalik Annamaria Santarcangelo Asia Barnocchi Brad Wetherall Catarina Branco Frantiska Podzimkova Hákon Sveinbjornsson Katarina Hubeny Mariana de Paola Mariantonietta Pepe Susana Ribeiro Teodora Stefanova Thomas Abela
Graça Correia proposed the students to design a House, at a site nearby the Faculty of Architecture, in order for them to explore the relationship with the site, with a unique topography and disturbing view, characteristic from Porto. The development of the project requires a reflexion on how shape can relate to the city, as it happens in Porto, the “House” relates to the hill, she wants to see (or not see) the territory she is given. The section of the project reveals itself essential to understand this relation, and it aims to be a final drawing representative of the core “idea” behind the design. For architects a House is a laboratory were one can study solutions that later can be applied in other bigger projects, perfecting them in a way, that in time, can be answers possible to replicate in universal problems in any work. A House represents a way of attachment with a place, it’s built on a site and itself will became a site. “The idea is at the site, even more than in each one’s mind” (A. SIZA) is repeated in FAUP since many years – “for those who know how to look” – some add. And in fact, transforming an idea, an attitude towards a site, into a House, whatever the scale, transforming the idea into a built work, it’s all architecture is about. Therefore to built a House is an adventure, that requires patience, guts and enthusiasm. Talking about Houses, Gonçalo M. Tavares proposes two stories – “Window”, in O Senhor Calvino and “Spoon” by Samuel Beckett – that tell us how architecture can influence our perception of the world, the challenge is to use these thoughts when designing a House as a Site from a Site as a House.
Graรงa Correia
Graรงa Correia
Graรงa Correia
Jun Igarashi
Teaching Assistant Madalena Vidigal Students Ana Rita Gomes Anna Anousaki Cristina Marcos Murgadas Elena Miralles Fabio Gsell Gabriella Galea Giovanni Caminati Jonรกs Gรณmez Juliana Bartachini Gomes Justyna Poplawska Ketevan Vachnadze Leo Bettini Margaux Schirra Maria Teresa Albano Megi Khimshiashvili Miguel Vinagre Pedro Oliveira Pierre Ribeiro Sanjana Ravindran Silvana de Bari
Architecture is the work which serves human beings in pleasure, joy and comfort. During this workshop, the participants from all over the world are asked to walk around Porto and seek for comfortable, delightful, or pleasant spaces to be. Meanwhile we are aiming to find the ideal splace of Porto city. Searching architectural ideas to make this charming city even more enchanting.
Jun Igarashi
We refer to space as a psychological element that has the ability to adapt specifically to the individual needs of the user. Every illustrated fragment of space matches one or more subjective sensations of comfort.
Through the sequence and variety of these comfort zones, the abstract concept of the engawa is created as a coexistence of specific space.
One space evoking unexpected sensations and uses.
And for you what is a comfortable place?
Jun Igarashi
Jun Igarashi
Martino Tattara Dogma
Teaching Assistant João Salsa Students Alexandra Dumitras Alexandra Totoianu Alexandre Pavlidis Beata Hemer Deša Jelavić Enrique Melús Barenys Francesca Mazza Hisham El-Hitami Irene García Aparicio Javier Villalobos Lavinia Antichi Leon Husnjak Leonard Palm Lukas Mühle Marcelo Rovira Torres Sara Bitossi Shehrie Islamaj Tara Moore Timothy Mettam Zerina Dzubur
Ideas of domestic space are normally associated to traditional family living and the understanding of the home as a safe refuge from the realm of work. Any apartment and house is built around few unquestionable tenets: the master bedrooms for parents living, the smaller bedrooms for children and the living room as a place of rest and leisure. And yet, this architecture of domestic space is more and more challenged by the way in which we inhabit and use living spaces. The kitchen often becomes a workshop, the living room a meeting room, our sleeping room an office. The distinction between living and working is more and more blurred by the way today work is; and yet architecture’s understanding of domestic space is still based on the same old ideas. Additionally, social transformations associated to recent changes to the conditions of work represent an additional urgent question for architects. It becomes more and more important to imagine new forms of living together – where individual family
living is one option among other forms of social cohabitation and sharing. In order to challenge traditional ideas of domestic space, the workshop focused on a specific typology that exists in Porto – the ‘Ilha’. The Ilha is an old form of worker’s housing in the city, a compact and dense typology that resists in many parts of the city centre. During the first days of the workshop, a selection of Ilha have been visited, portrayed, and their plan drawn. Following to this initial work, some of these Ilha have been transformed imagining how the original type could be twisted in order to become a new form of collective housing for contemporary workers. Each of the proposals is based on few guiding rules: the house being a place for both living and working, maintaining and reinforcing the linear space of the collective courtyard of the original Ilha, maximizing the collective/shared dimension and minimizing the private living space, being an affordable living space.
1. Campo 24 de Agosto, 185 A
2. Campo 24 Agosto,178
3. Av. Fernão de Magalhães, 21
4. Trv. Fernão de Magalhães, 175
5. Trv. Fernão de Magalhães, 141
6. Trv. Campo 24 de Agosto, 126
7. Rua de S. Victor, 182
8. Rua de S. Victor, 90
9. Rua de S. Victor, 68
10. Rua de S. Victor, 49
11. Rua de S. Victor, 83
12. Rua de S. Victor, 109
13. Rua Passeio das Fontainhas, 31
14. Rua da Corticeira, 25
Martino Tattara
1
2
3
4
5
6
7
0
8
9
10
11
12
13
20 m
14
Martino Tattara
GSEducationalVersion
Group A The covered common central space is an extension of each unit, where all activities can be carried out.
Group B This proposal for the transformation of a two floors Ilha is an adaptive, flexible place of production, living and regeneration increasing the living density and providing a higher privacy, a bigger public shared space and a increased amount of light and air.
Group C A conglomerate of cells and gardens offers the possibility for a renegotiation between the individual and the collective.
Group D By introducing a ceramic-working-cooperative, new forms of living and working emerge; cell-like private space, semi-private shared space and semi-public workshop areas form a complex interdependent relation affecting both the professional and social aspects of the life of the inhabitants.
Group E A spatial hierarchy defined by a linear gradient of layers, from the collective to the individual, prioritising production over domesticity.
Group F A cell that constructs an evolving organism.
Group G Tackling the relationship between the private and community spaces, this Ilha is based on the division of the available space into equal rooms, some being collective living rooms or open patios, other being individual space of living. Martino Tattara
Nuno Graça Moura
Teaching Assistant Adalberto Silva Dias Students Adela Geli Anticó Ana-Maria Simionescu Artur Rodrigues Azza Al Hinai Elisa Betti Filip Musálek Filip Zlámal Francesco Colli Hyuk Sung Ivona Simunovic Jan Anduaga Linda Bousková Paula Lamban Belenguer
Rethinking the viaduct area at Fontainhas An international architectural workshop for students is mainly an oportuniity to think about architecture together with people from other cultures. In this case, at FAUP, we wanted to take the chance to think about a problem of this city, Porto. We did not want to work on a generic and abstract exercise. Therefore we have chosen a specific site. We believe its compreension will provide students with knowledge about the history and development of this city and will lead to possible solutions. The site is located close to the old city centre. It clearly shows an open problem that has to do with the destruction of an important part of Porto (Fontainhas, Guindais, Batalha) and its substitution, back in the 60’s, by another urban logic, that separated relevant parts of the city. This intervention was based on the will to articulate the old bridge with other parts of the city. Its most relevant remaining element is a viaduct. By now it is functionally obsolete due to the transformations that occured in the last decades. The bridge doesn’t have car traffic anymore and another bridge has been built nearby. The eventual dismatelliing of the exhisting bus terminal is a question that is beeing discussed, due to these transformations aswell. For us the most important issue is to think about the transformation of cities: the necessity to destroy some of its parts while overlapping other logics even if breaking the connections to the existing city (something that in certain cases is inevitable) vs. the will to transform “naturally”, i.e. regarding new interventions as continuities of the existing city.
Although the site we have chosen shows a specific problem, it raises the above mentioned general question, which we believe is highly relevant nowadays all around the world. We are fully aware that this is a very challenging and complex task and that the workshop time is short. Therefore the main goal of this exercise is to develop no more than a fast sketch, or a first idea for a possible strategy for this area. There is no defined program. Students are absolutely free to think about what they believe better will give an adequate answer to this problem. The minimum working elements are a plan and a section. Students are free to choose other elements they believe can make the proposal clearly comprehensible. Nevertheless we highly encourage students to use handdrawing as the main working tool, for we believe CAD may be an excessively rigid for such an early sketch phase. The students will be organized in groups of max. four. Relevant historical information of the city and of this specific area will be given to each one, i.e. old plans, photos, drawings. At the end the sketched proposals will be resumed in a booklet . Meanwhile we will walk around the city trying to discover its forms and atmospheres. Porto, July 20th, 2016
Aerial photo 1930’s [source CMP]
Aerial Photo 2016 [source Google Maps]
Nuno Graça Moura
Porto, July 24th, 2016 After only three days of hard work four intervention “families” begin to be visible:
Group A Adela Geli Anticó | Paula Belenguer
Main Principles: – Dismantle the viaduct and rebuild parts of the old existing urban elements, turning the whole area into an urban public park. – Define the limits of this park, the relation with the existing buildings and streets to the north, and the connections to the whole area to the south. – Create a group of platforms and paths that connect these areas to the river. – Rebuild Passeio das Fontainhas, a relevant east-west connection overlooking the river. – Redefine the Actor Dias Square. – Redefine the façade street parallel to the medieval city wall. – The car Parking will be remove and built in the actual area of the bus terminal, nearby (bus terminal will be displaced).
Group B Artur Rodrigues | Azza Al Hinai | Elisa Betti
Main Principles: – Creating fragmented volumes to redevelop an used space and create a more gradual transition toward the existing viaduct. – Changing the viaduct to a 2 lane road in order to slow down the cars. – Rebuilding the old Passeio Fontainhas and placing a volume infont of the viaduct in order to redefine the old Actor Dias square. – Creating an “horta urbana” accessible from the newly developed Passeio Fontainhas on the lower gardens by the Douro river. – Building an underground car park to the north of the viaduct. – Providing shops and restaurants beneath the viaduct facing the old city wall and the river. – Using the path and the old city wall as a terrace for the shops and restaurants, overlooking the river.
Nuno Graça Moura
Group C Francesco Colli | Hyuk Sung | Jan Anduaga | Ivona Simunovic
Main Principles: – Keeping the structure as it is. It’s a new part of the city. Give it a new life. – Transform the viaduct into an urban park that would revive this area. – New urban spaces underneath and around the viaduct. – Redifining the Actor Dias Square. – Slowing the traffic down but remaining east-west connection with rebuilding of Passeio das Fontainhas. – Creating a group of platforms on the slope to connect these areas to the river.
Group D Ana-Maria Simionescu | Filip Musálek | Filip Zlámal | Linda Bousková
Main Principles: – Respect the natural growing of the city layer by layer. – Renew and complete new blocks and streets – Transform the viaduct into a public space with commercial use. – Redefine square by adding new buildings and connecting it with the promenade of Passeio das Fontainhas. Nuno Graça Moura
Piet Eckert E2A
Teaching Assistant Rita Leite Students Arya Arabshahi Benjamin Sjöberg Burak Kalkan David Wasel Elena Guidetti Etienne Gilly Giulia Gorgo Grégory dos Santos Hazar Çamtepe
Ivan Franic Katarzyna Zaczek Love Di Marco Magdalena Cwik Meriem Khaldoun Mila Jovic Nicole Wurzenberger Petra Simões Szymon Olber Taavi Henttonen Wojciech Hryszkiewicz
Combining Singularities The studio investigates formal and spatial generative specificities of Oporto and engages such discoveries in an interpreted form of architecture. A discovered specificity encounters the normative expression of form; it becomes an ingredient to inform a standard, a building typology, a generic condition. Ingredient and standard generate a hybrid relation. They casually relate to each other and are more than the sum of its parts. Mix, assembly, arrangement and composition of the known and the discovered obtain a new singularity, in which the parts are recognizable, but no longer restorable. We develop an architectural body that results from a concept of duality. The work reflects the relation and the conditions how former individual singularities become indispensable components.
Expectation wall The expectation wall separates the now from the future, the ancient possibility from an aspiration to come. Its unexpected visibility indicates the urban topography, the terraced and stepped progression of space. The project rediscovers the throughout applied material of concrete canvas and solidifies it into an architecture of the partition.
Pause and memory The medieval old town of Oporto is a Unesco World Heritage. The spatial complexity and the imminent contact of property produce an incredible dense set of obligations. Many redundant and abandoned houses result from this condition of complexity. The project claims an added value by introducing bracing and infill. The new perforation gives access to a pocket garden: A moment of pause and memory.
Cascade The dimensions of space are indicative for a degree of public realm. The long and narrow cascades transgress the deep body of the city. Though publicly accessible they appear as an intimate, “interior� outdoor space. The project develops a cascadian space of interrelations and connections.
Piet Eckert
Deep space The land of Oporto is structured with deep parcels. The horizontal development of space has fundamentally different obligations than the vertically stacked. The depth of space encounters a diverse and complementary program and accomplishes the vertically repeated spaces. In consequence, two different typologies of space meet and unify and therefore form the idea of the typical.
Crown The typology of the Oporto townhouse includes a rich inventory of different roof expressions. The added, the completed, the refined and juxtaposed ending of the house dominates the appearances of its silhouette and indicates the history of its adaptions. The project elaborates a dependency of the normal and the crown. The ending of the building is no longer individual but makes a collective and shared space for the inhabitants of the house available.
Interlocked paradise In Oporto, walls define the territorial edge. Placement and offset of walls allow access to the steep topography. Wall and plateau accomplish the topographic organization of space. They correlate with the idea of place and street. Interlocked paradise is a project that differentiates the adaptiveness of the edge condition, the capacity to react and responds to a complex locality in order to introduce a moment of freedom.
Piet Eckert
Garage In town, garage accesses have their own logic and their own expression. A slope connects the urban street level with a lower court. The project is an incision into masses and makes the split of the urban level available. The result is a spatial in-between that acts as an inducement for the program of the street.
Podium On a slope, the access for a house requires a specific architectural expression, a solution how horizontal meets the “transitarian� slope. In this project, the architecture of a front-end, of a porch defines the specific architectural agenda, our attention that give access to a normal house.
Tentacle The mapping of houses no longer in use offers a possibility for a subtle connection among those spaces. The inherently cellular conditions of space expands and connects towards an own formless expression of a house.
Social formality In the medieval town, the access to an individual house is defined by a three-dimensional pattern overlapping and crossing of other properties. In fact it is a complex easement, as an expression of rights and duties, allowing access to such a spatial depth. The proposed project learns from such a possibility of access and introduces such a socially induced formality into a plan. Piet Eckert
Tatiana Bilbao
Teaching Assistants Alessia Schoor Gisela Lameira Sara Brysch Students AndrĂŠ Costa [4] Cody Blevins [16] Daniel Monteiro [1] Eiad Al Sayadi [14] Fatma Alay [17] Giorgia Serafini [3] Hanna Fokken [10]
Itziar Echebarrieta [6] LĂŠa Spadiliero [12] Marina Rakic [8] Marina Zivaljevic [19] Martino Stelzer [2] Mounir Sabeh Affaki [18] Patricia Sobreira [11] Pedro Santos [15] Raul Fontes [13] Sara Davin Omar [5] Silvia Ponte [7] Sophia Garner [5] Yiyi Liang [9]
1.
2.
Cities in the future will need to rethink verticality. The horizontal expansion model of living in large cities has started to fail, the extensive need for infrastructure, transport, services and else obviates the necessity of verticality, and regretfully, the vertical models being proposed nowadays do not enhance the quality of life. In this exercise, we started by identifying existing programs and typologies within the city of Porto to imagine how they could be relevant in a vertical realm. This starting point allows us to imagine a dense vertical structure that is able to promote the very important richness of the urban fabric enhancing social diversity and community life. The students worked individually at first and then, combining ideas, they create a shared expression of the city.
3.
4.
6.
5.
Tatiana Bilbao
7.
9.
11.
8.
10.
12.
Tatiana Bilbao
14.
15.
13.
17.
Tatiana Bilbao
18.
19.
16.
R