Learning From Siza by tom mc

Learning From Siza Comparing Alvaro Sizaâ&#x20AC;&#x2122;s Matosinhos Coastal Works

T McAviney | a dissertation in partial fulfilment of the degree of M.Arch at Cardiff University

Abstract Through the in depth analysis of Portuguese Socio‐Political, Economic and Architectural History, this dissertation graphically illustrates Alvaro Siza’s early life, from his birth in 1933 until the age of forty in 1973. Following this historical grounding, a descriptive and illustrative account of a visit to Porto allows for reflection on how Siza’s physical environment has shaped him as an architect. After identifying key individuals in the Modern Architectural movement, the dissertation describes and illustrates each influence upon Siza. This leads to the study of Kenneth Frampton and his essay ‘Towards a Critical Regionalism: Six points for an Architecture of Resistance’ from which part of the case study analysis was derived. The Two case studies highlighted below were comparatively analyzed under the following headings Factual, Experiential and Analytical. Boa Nova Tea House, Matosinhos,

Ocean Swimming pools, Leça de Palmeira, Matosinhos

(1956–63) (1959–66)

The dissertation concludes by evaluating the various avenues of investigation and reflects upon the approach of ‘Critical Regionalism’ and its affiliation to the two Case study buildings by Alvaro Siza.

Learning From Siza – Comparing Alvaro Siza’s Matosinhos Coastal Works

Table of Contents

1 Introduction

1.1Statement of Aim

1.2 Structure of the Dissertation

1.3 Methodology 1.4 Introduction - Alvaro Siza

2 A History of Twentieth Century Portugal

5 5 6 7

2.1 Introduction

2.2 Historical Analysis

2.2.1 Illustrative Timeline (fig 2.0)

2.2.2 World Politics – 1950 (fig 2.1)

2.3 Interpretive Analysis

2.3.1 Porto Introduction

2.3.3 Reflections of Siza and Porto (fig 2.2)

2.3.2 Siza Describing Porto

12 12

2.3.5 Siza describing Matosinhos

2.3.4 Matosinhos Introduction 2.3.6 Personal Journey Matosinhos (fig 2.3)

3.1 Intro

3.2 Modernism in Portugal

3.2.1 Fernando Tavora

3.2.2 Carlos Ramos

3.3 Modernism in Europe and North America

3.3.1 Frank Lloyd Wright 1867 - 1959

3 Architectural Influence 1900 – 1966

3.3.2 Alvar Aalto 1898 – 1976

18 20

3.3.3 Ludwig Mies Van der Rohe 1886 – 1969

3.4.1 Oscar Niemeyer 1907 -

4.1 Introduction

4.2 Towards a Critical Regionalism…

4.2.1 Global vs Local

4.2.3 Towards Contextualism

3.4 South American Architecture

4 Towards a Critical Regionalism

4.2.2 Post War Modernism 4.2.4 The Resistance of the Place-Form

4.2.5 Design Criteria 4.2.6 Sensorial Approach to Design 4.3 Analytical Framework

26 27 28 28 28 29 30

5 Case Study 1 – Boa Nova Tea House – Matosinhos

5.1

Factual

5.2

Experiential

5.3

Analytical

5.3.1 Predetermined Components

5.3.3 Building the site

5.3.2 Universal Approach

5.3.4 Local Light

5.3.5 Ventilation 5.3.6 Tectonic

5.3.7 Critical Regionalism

33 33 33 36 37 37 38

6 Case Study 2 - Ocean Swimming Pool â&#x20AC;&#x201C; Leca de Palmeira

6.1

Factual

6.2

Experiential

6.3

Analytical

6.3.1 Predetermined Components

6.3.3 Building the site

6.3.2 Universal Approach

6.3.4 Local Light

6.3.5 Ventilation 6.3.6 Tectonic

6.3.7 Critical Regionalism

7 Conclusion 8 List of Illustrations 9 List of References

49 51 52 52 53 54 57 58

Learning From Siza – Comparing Alvaro Siza’s Matosinhos Coastal Works Chapter 1- Introduction 1.1

Statement of Aim

The aim of this dissertation can be split into two main objectives: To develop an intimate knowledge of the life and influences of the Portuguese architect Alvaro Siza Viera from his birth in 1933 until the age of 40 in 1973. To develop a deep understanding through, research, comparative analysis, and personal observation, two of Alvaro Siza Viera’s key works during this period. 1.2

Structure of the Dissertation

Chapter 1 (Introduction) into the background and achievements of Alvaro Siza, my interest in the subject, reasons for undertaking this investigation as well as the projected outcome. Chapter 2 (A History of Twentieth Century Portugal) presents an illustrated analysis of the Social, Political and Historical events of the 20th Century in Portugal in order to present a body of understanding upon which the dissertation may be grounded. This is followed by a descriptive and illustrated account of a personal study tour to Porto. A graphical record of Porto and Matosinhos reflects on how the physical environment may have shaped Alvaro Siza as an architect. Chapter 3 (Architectural Influence – 1900 – 1966) A comparative analysis of Influential architects of the Century, explaining their position and notable works before illustrating examples of how this influence was manifested in Siza’s designs. The chapter was Split into three categories: Modernism in Portugal, Modernism in Europe and North America and Modernism in South America. Chapter 4 (Towards a Critical Regionalism) describes how the research and analysis led to the essay ‘Towards a Critical Regionalism: Six points for an Architecture of Resistance’ by Kenneth Frampton. This essay provides the starting point for generating a framework for exploring the work of Alvaro Siza further. After discussing the six chapters of Frampton’s essay I created a list of themes, which I hoped would provide an alternative analytical angle for conducting a thorough investigation of the case studies.

Chapter 5 & 6 The two (Case studies) chosen were the: Boa Nova Tea House, Matosinhos, Porto (1956–63) and the Ocean Swimming pools, Leça de Palmeira, Porto (1959–73) The analysis of both case studies consisted of the following three parts: Production – a factual researched account detailing the buildings design and construction. Interpretation – A personal representation of the building based on personal experience illustrated with personal sketches and photographs. Analytical – A further investigation of the case study using a critical framework derived from a study of Kenneth Framptons essay ‘Towards a Critical Regionalism: Six points for an Architecture of Resistance’ Chapter 7 (Conclusion) provides a Summary Statement of my argument and the interpretations, which I have drawn, based on the research undertaken. Speculation is also provided upon the perceived value of this investigation 1.3 Methodology The dissertation begins with an Introduction to the Architect Alvaro Siza as well as historical research concerning Portugal and Architecture in the twentieth century. Following this, a study visit to Porto, Portugal was undertaken where primary data was collected. The methodology used was personal observation, specifically, drawing, photography and descriptive writing. This data was then synthesized and displayed graphically in in a concise and interesting manner. Following this visit, a comparative analysis of two case study buildings was conducted using personal observation data, historical research and a critical framework derived from an essay by Kenneth Frampton. This essay and its possible associations to Alvaro Siza was revealed by the Literature review and proving or rejecting possible connections between the two case studies and the text became a vehicle for a rigorous critical analysis.

1.4 Introduction - Alvaro Siza Álvaro Joaquim Melo Siza Vieira was born in Matosinhos near Porto, Portugal, in 1933. Whilst at primary school and living under the same roof as his uncle Jaoquim, Siza was encouraged to draw, ‘Almost every day after dinner, which I remember very well, he took me and gave me a paper and a pencil and encouraged me to draw.’ (Kreger 1999). Other influences in Siza’s early life were travel, between 1945 when Siza was twelve years old and 1953 the family would drive to Spain every year and Siza was encouraged to visit the buildings and monuments of Barcelona, Valencia and Galicia. Siza wrote of the trip to Barcelona, ‘ My interest lay in the museum of Vich and in Gaudi. I was not very interested in architecture; but this was more like sculpture, or painting.’ (Siza 1997, p123)

Fig 1.0 Sizas Family Home, Matosinhos a Casa em Roberto Ivens, 2010, p7 Fig 1.1 Garden Pavilion, Matosinhos. author’s own photograph

In 1949 Siza moved into the house nº 582, Rua Roberto Ivens, in Matosinhos (Fig1.0). Siza’s family bought the house in order to renovate it and this became an influential move in Siza’s development. At age 15 before Siza had enrolled at the Academy of Fine Arts (ESBAP) in Porto, Siza’s father asked him to design a space for him and his brother to study, draw and conduct science experiments. The result was a nine metre square pavilion to the rear of the house, which still exists. (Fig 1.1). Siza began architectural training at aged 16 at the Academy of Fine Arts (ESBAP) in Porto from 1949 to 1955. Following his studies, he began working for Fernando Tavora, a professor and director of the Faculty of Architecture, and promoter of studies into popular architecture in Portugal. After working for Tavora, Siza set up his own Architectural studio in Porto where he began winning commissions at this early age. During these early years, Siza combined practice with teaching at the School of Architecture (ESBAP) from 1966 – 7

69. It is this period of Siza’s life, before he reached age thirty-three (1966) that is the focus of this dissertation. During this time, Siza had completed two major public works as well as a number of residential projects in Matosinhos and Porto. It was these two public works, which have since received great attention in Architectural Publications. These were the Boa Nova Tea House, Matosinhos and the Ocean Swimming Pools, Leça de Palmeira. Siza began work on these projects in his twenties and after visiting both buildings on a previous trip to Porto, I was intensely curious about discovering what the conditions and influences had been for the young architect to produce a work of such distinction which, in the case of the Ocean Swimming Pools, is still considered a masterpiece. I also hoped to gain an understanding of Siza’s personal approach to architecture in this period of Portuguese architectural history and how this was manifested in the completed buildings.

Chapter 2 – A History of Twentieth Century Portugal 2.1 Introduction One of the key aims of this dissertation is to investigate and understand the country in which Siza was born and grew up in. It is clear that the cultural, political and Social environment, played an enormous role in shaping Siza as a person and as a young architect. Using historical research and analysing Siza’s own writing I hope to gain an understanding of some of the key themes which were most prevalent in shaping the generation which Siza grew up in. 2.2 Historical Analysis The graphical representation of related historical data (fig 2.0) illustrates key events in the Twentieth century through the categories – Architecture, Socio-Political and Economic. An illustrative timeline allows clear comparisons to be drawn between related sets of data and their cause and effects on interconnected categories. This generated a more thorough understanding of Portugal’s history in the twentieth century and Siza’s placement within it.

This timeline is rooted in an understanding of the world political situatuation of 1950, generated by

the political illustration fig 2.1. The synthesis and representation of these data sets allowed the development of a solid foundation of knowledge upon which the case studies could be investigated.

os in h at os M Bo rn

Si za

ro A lv a 33 19

lli n W gw 19 or ate r 41 ld Po - F V ra 19 ill r 42 a M tug nk O M ai ues Llo sc in re e E yd ar is a N try - A xhi Wr ie o m f H lva bitio ight ey e r A n , er al th alto Lis bo an n d Ed uc at io n 19 4 H 7 ‘T ou h se e ’ - Pr F e obl rn em an o do f Ta the vo P o ra rtu gu es 19 e 52 Sa yn at sa lo Ci ty H al lA lv ar 19 A 56 al to Co m pe tit io n

e rR oh de n va ie s -M ili on av aP lo n Ba rc e 29 19 Military coup d'état established the ‘Second Republic’

1910 revolution. Overthrow of the Constitutional monarchy by the Portuguese Republican Party.

9,0

World War II (1939 - 1945)

De colonization movement sweeping Europe. Bloody battles in its Africa colonies, drew great condemnation throughout Europe.

1939

1933

8,5

‘New State’ Estado Novo regime of António de Oliveira Salazar.

The key values, Nationalism, Catholicism Family.

1926

(1990 GK dollars; semi-logarithmic scale)

9,5

1910

A rc Ti hite m ctu el r in al e ci o Ti -Po m li el tic in a e l

10,0

8,0 Until 1914, Portugal had experienced a long period of economic divergence.

Following the overthrow of the monarchy, the economy recovered moderately until 1950.

7,5

From 1950 until the ‘Carnation Revoluti record economic growth. It was at the he Portuguese economic history, that Siza g This Economic transformation was achie production and consumption in trade and foreign investment. For the first time Por with Europe’s more developed economie

Ti ono m m el ic in e

7,0

1910

1915

1920

1925

1930

1935 1940 1945 1950 1955 1 Growth of income per capita: Portugal and

So ci o Ti -Po m li el tic in a e l Portugal withdraw from the colonial wars and grant independence to the countries.

This was soon to change and following the ‘Carnation revolution’ in 1974, Portugal’s economy experienced negative economic growth due to the nationalisation of industries and the negative effects of decolonisation in its African territories. Heavy industry halted almost immediately and various economic sectors plummeted. Other compounding problems were the mass emigration of Portugal’s skilled workforce to Brazil and Europe coupled with an influx of refugees returning to Portugal from its previous African colonies. This resulted in Portugal dropping from the country with the highest growth rate in Europe, to the lowest.

955 1960 1965 1970 1975 gal and Average 9, 1910 - 1998

1980

1985

Portugal

Present day, Portugal is a democratic republic ruled by the Constitution of 1976.

1974

In 1974 the Carnation Revolution, led by Left-wing Military Officers in Lisbon, overthrew the Estado-Novo and the following year Portugal, for the first time in fifty years held its first democratic elections.

‘Average 9’ is based on an unweighted average index for the following European countries: UK, France, Belgium, the Netherlands, Germany (West Germany to 1991), Italy, Denmark, Norway and Sweden. Peak years defined in relation to a log-linear time trend. Source: Maddison (1995 and 2001). Maddison, A. (2001). The world economy. A millennial perspective. Paris, OECD.

In the decades following its EU membership, Portugal’s economy experienced a continual growth in a variety of exporting sectors, becoming world leaders in many sectors. However Portugal, considered a developed country, currently has the lowest per capita GDP in Western Europe. (Eurostat, 2010)

This economic turmoil was stablised in 1986 when Portugal established trade ties and received funding through its adhesion to the European Union.

1990

1995

Ec Ti ono m m el ic in e

he ‘Carnation Revolution’ in 1974, Portugal experienced growth. It was at the height of this period, the greatest in mic history, that Siza graduated and began work. nsformation was achieved through changes in patterns of nsumption in trade and tourism as well as emigration and t. For the first time Portugal had the option of integrating re developed economies. (Leite, 2006)

1970, when Siza was 37, Salazar died and the dictatorship was passed onto one of his closest advisors, Marcelo Caetano, who began to democratize Portugal

1970

The end of the Estado Novo regime started in the 1960’s with the uprising of the Portuguese colonies. Wars raged throughout the decade drawing criticism from Europe, the US and USSR.

1960

tit io n pe Co m 56 19

rc Ti hite m ctu el r in al e

Bo a

N ov aT 59 ea 19 Ta H 60 lie ou 19 T sin se e 61 n W n e Su is st rv Pa - f ey vi ra on lion nk Po - lloy 19 pu Fer d 63 la na W Bo r A n rig aN rc do ht hi Ta ov te vo aT ct r ur a ea ei H n ou Po 19 se rtu 66 ga O l ce an Sw im m in g Po ol sA lv ar o Si za

rA al to A lv a

H al l-

ody battles in its African ope.

Average 9

(fig 2.0)

Fig 2.1 World Politics 1950 personal illustration includes image - Corax, C. (2009). Ha 40 anos.... [online] available at http://corvosegralhas.blogspot.com/ [accessed:November 2010]

2.3 Interpretive Analysis 2.3.1 Porto Introduction Porto, the second largest city in Portugal lies on the River Douro Estuary. With a population of 1.1 million it is the second largest urban area in Portugal after Lisbon. (Demographia, 2010)

Historically, Porto was a Roman Settlement and is amongst the oldest European centres. Registered

as a UNESCO World Heritage Site in 1996, Porto is most famous for its international export of Port Wine, which is produced and exported in the area.

2.3.2 Siza describing Porto The rows of houses climb the hills and open up squares where they can: narrow valleys or sloping terraces, which no manual could possibly handle. The walls sweep down to contain the transient fabric; only a Bishop or a Parish made methodically rich (or suddenly as the result of the favour of some nouveau riche) can put up autonomous architecture, disconnected from the rocks and the narrow houses, with an implacable geometry, dissolving into round sculptures, returning to Petrified nature. (1997 pp136-138) 2.3.3 Reflections of Siza and Porto The graphic illustration, (Fig 2.2 ) attempts to understand how the features of Porto, as personally recorded, affected Sizaâ&#x20AC;&#x2122;s architectural understanding. The illustrative study analysis Porto at four differing scales in an attempt to construct links between the physical environment and Sizaâ&#x20AC;&#x2122;s notions of City, Landscape, Territory and Idea.

Scale

Understanding

Personal Sketch

Siza Sketch

|||||||||| City (Place) tight alleyways, perspectives, nodes, focal points, vantage points. views from above views from below, morphology, layered urban fabric

||||||| Landscape (Context) topography, ocean, river, energetic natural landscape, wild ocean, trees and parks,

|||||

Territory (Boundaries) public/private, historic centre, tight sites, irregular plans, human boundaries, natural boundaries, pathways, stairs

|||

Idea (Purpose) vibrant streetscape cafes, plazas, activites, energy, fishing, seafood, Port drinking outdoor lunches,

(fig 2.2)

2.3.4 Matosinhos Introduction Matosinhos Municipality is situated in the Porto District of Portugal. Matosinhos (Fig 2.3) is the main city within this Municipality and it was here that in 1933 Alvaro Siza was born. Matosinhos lies North of Porto and as a coastal development on a river estuary, it was historically a fishing port. Matosinhos is currently a regional centre for commerce and industry. 2.3.5 Siza describing Matosinhos ‘Long horizontal views of the sea or the port, the street or beach or the courtyard of an ilha, a boat or a rock or factory – profiles cut out against a sky of ragged clouds, or over a void, a blur announcing the sea……funnels amplified by smoke, electricity pylons, frames subdivided vertically, narrow cells of varying height cutting out patterns and facades, garrets, shirts hanging to to dry on a line, pointed roofs, crosses, lighthouses…’(1997 pp135-136)

2.3.6 Personal descriptive journey through Matosinhos Fig 2.3 displays graphically a personal journey undertaken whilst visiting Porto. Arriving by Tram from Porto, the same way Siza had travelled in his youth, and walking through the streets of the old Matosinhos town, over the bridge of the river Leça finishing at Siza’s Boa Nova Tea House. Personal observations are included in various formats illustrating sounds, smells, movement, activity, views and key buildings.

Per s o n a l v i s i t Matosinhos

Key

Location Plan - Matosinhos

Whilst visiting Matosinhos, I conducted a journey from the Historic centre, through a variety of Matosinhos districts, finishing at Alvaro Sizas Boa Nova Tea House. Along the route I recorded visual and other sensory data. The location plan illustrates the route taken as well as the sensory recordings and location of the sketches below.

7 6

Route Walked

Seafood Restaurants Braga Porto Guarda

Mat o s i n h o s

SPAIN

Santarem Lisbon

Atlantic Ocean

PORTUGAL

Sound of Ocean

Atlantic Ocean

Aveiro

Strong smell of fresh fish

Modern Development

Sketch Location Sound of Seagulls

PORTO

Evora

Beja

Porto Tram Arrive via tram into historic centre of Matosinhos

Nº 582, Rua Roberto Ivens Siza’s childhood home

Bridge over river Leça boundary, shapes landscape

Quinta da Conceição Tennis Pavilion 7 Architect Fernando Tavora 1960

Matosinhos Harbour The historic fishing ports horizontal form dominates the landscape

Seafood Restaurants Area renowned for high quality seafood. Traditional Porto restaurants.

Quinta da Conceição Swimming Pool 8 Architect Alvaro Siza 1965

Boa Nova Tea House Architect Alvaro Siza 1963

Ocean Swimming Pool Architect Alvaro Siza 1966

(fig 2.3)

Chapter 3 Architectural Influence 1900 – 1966 3.1 Intro – In order to conduct an analysis of two selected case studies it is necessary to present a historical account of the field of Architecture during the twentieth century in an attempt to understand Siza’s architectural influences. In order to emphasize the relevance of each case study, comparative illustrations have been included highlighting specific areas or case studies, which show links to Siza’s work. 3.2 Modernism in Portugal 3.2.1 Fernando Tavora Born in Matosinhos in 1923, Fernando Tavora was a respected Portuguese architect and Professor at the School of Architecture in Porto (ESBAP), Tavora taught Alvaro Siza at the ESBAP from 1949 – 1955. In 1947, Tavora published the essay ‘O problema da casa portuguesa’ (The Problem of the Portuguese House) (Mumford 2000, p335) in response to the politically driven, pastiche designs of the 1940 World Portuguese Exhibition in Lisbon. Following this publication, Tavora designed housing schemes in Porto, Brazil and Portugal’s colony, Mozambique. In 1955, an exhaustive enquiry into the country’s Vernacular architecture was undertaken. The “Inquérito à Arquitectura Popular em Portugal” (A Survey on Popular Architecture in Portugal), was published in 1961 and Tavora played a key role through his thorough examination of the Minho region. The aim of the published manuscript was to foster a new style of architecture, which was to be ‘neither

Fig 3.01 Quinta da Conceicao Tennis Pavilion, Fernando Tavora author’s own photograph

unduly xenophobic nor abstractly cosmopolitan.’ One example of the new approach was Fernando Tavora’s ‘neo vernacular quasi-brutalist approach’, as described by Frampton (2006 p12), which is evident in the Tennis Pavilion for Quinta de Conceicao Park. The timing of this approach coincided with Siza beginning to work for Tavora in 1955, following six years at the school of Architecture in Porto (ESBAP). Tavora’s work is credited with “guaranteeing the knowledge and diffusion in Lisbon and Porto of the experiments being carried out in contemporary European architecture – despite the isolationist obscurantism of the dictatorship installed by Salazar.” (Dal Co 2006, p7) 3.3.2 Carlos Ramos Carlos Ramos (1897-1969), Siza’s professor and eventually director of the ESBAP, had noticed Fernando Tavora’s work up to and including the 1961 Survey, and he invited Tavora to join him as a teacher at the school. Tavora and Ramos, each of a different generation were united in their work, developing a rigorous Portuguese cultural architecture in a period which was described as an ‘ambiguous, unpredictable and culturally repressive environment.’ (Frampton 2006, p12) This combined goal was achieved through varying routes, Ramos was a founding member of the National Organization of Modern Architects (ODAM 1947 – 52) whilst Tavora became the Portuguese ambassador of CIAM (Congrès International d’Architecture Moderne) from 1954 until 1959 attending CIAM 8, 10 and 11, which resulted in his participation in the World Design Conference held in 1960.

Fig 3.02 Fernando Tavora at 8th Congress of CIAM, in the center with Le Corbusier, Bottoni, Wogensky, Yoshizaki, Kange, Roth, 1951 Ferrão, B. (1993).p26

Summary statement It is in this context of Portuguese architects attempts at redefining a modern interpretation of the Portuguese Vernacular that Siza entered the world of practice in 1955. 3.3 Modernism in Europe and North America 3.3.1 Frank Lloyd Wright 1867 – 1959 The influence of American architect Frank-Lloyd Wrights ideas, can be seen, manifested in Siza’s built work and in Siza’s personal writing. Siza wrote that he is “Interested in the concept of organic architecture in the sense put forward by Frank Lloyd Wright; the relationship between all the elements of the construction, in such a way that the whole and the parts mutually generate and influence each other.” (Siza 1997, p96) Two precedents stand out in Frank Lloyd Wrights work as influences to Siza. Fallingwater, (1936 – 39) in Pennsylvania is described as Wrights most successful union of modern architecture and nature. Several concrete trays extending from a masonry core occupy a site immediately over a waterfall. The celebrated achievements are the flow of spaces around the central core, the relationship between internal and external spaces and the integration of site and landscape. The second relevant project is Taliesin West (1937-1959), a personal summerhouse, in the desert of Phoenix,

Fig 3.03 (L) Fallingwater 1939 Frank Lloyd Wright Author’s own sketch Fig 3.04 (R) Boa Nova Tea House 1963 Alvaro Siza Author’s own photograph

whose long low horizontals mimicked the landscape. The home was designed as a crystalline structure, which would evoke the impression of its natural extension from the landscape.

Fig 3.05

Plan Drawing, Taliesin West, 1959 Frank lloyd Wright Levine, N. (1996). The Architecture of Frank Lloyd Wright. Chichester, Princeton University Press.p34

Fig 3.06

Plan Drawing, Ocean Swimming Pool, 1966 Alvaro Siza Ganshirt, C. ( 2004). Alvaro Siza: Swimming Pool on the Beach at Leca De Palmeira 1953-1973 Lisboa/ PT, Editorial Blau,Portugal p77.

Fig 3.07

Sketchbook extract, Fernando Tavora Tavora, F. (1993). Fernando Tavora. Porto, FAUP.p12

Fernando Tavora, visited Fallingwater on a world tour in 1960 whilst Siza worked alongside his team on the Boa Nova Tea House Competition. His sketchbook extract illustrates the route taken and the importance of this project to the tour is emphasized. (fig 3.07) 3.3.2 Alvar Aalto 1898 – 1976 The Finnish architect Alvar Aalto, born in 1898, was a leading figure in Scandinavian modernism. Aalto united the technological developments of the Modern Movement with an appreciation of nature and natural materials typical to Scandinavian designers. Siza describes Aalto, when studying at the School of Architecture, as having ‘made a great impression on me… for the incredible alliance that he achieved between rationality and sentiment, for the clarity of expression and for the luminosity of his work.’ (Siza, 2009)

Fig 3.08

Villa Mairea, 1941 Alvar Aalto Houses Urbanism, A. (1983). Alvar Aalto. Tokyo, A+U Publishing Co.p61

Following the WWI, Aalto’s contribution to the Modern movement was that he gave a humane, subtle and warm touch and in contrast to other leading modernists he claiming that nature rather than machine should be looked towards for inspiration in the Modern Movement. In this sense he can be likened to the style of Frank Lloyd Wright.

Fig 3.09

(L) Saynatsalo town hall 1951 Alvar Aalto Author’s own sketch

Fig 3.10

(R) Boa Nova Tea House 1963 Alvaro Siza Author’s own sketch

A house designed for himself, the Villa Mairea (1938-41) used natural materials both indoors and out, and endeavoured to create an intimate relationship with the natural surroundings which was not common practice in the modernist architecture of the time.

Fig 3.11 Fig 3.12

(L) Section, Saynatsalo town hall 1951 Alvar Aalto Weston, R. (1993). Town Hall, Saynatsalo: Alvar Aalto London, Phaidon Press.p46 (R) Section Boa Nova Tea House 1963 Alvaro Siza Portas, N. (1992). Boa Nova Tea House 1965. Casa de Cha da boa nova = Boa nova tea-house : Alvaro Siza Vieira, 1958-1963. . L. Trigueros. Lisbon, PT, Blau. p14

Saynatsalo town hall completed by Aalto in 1951, can be seen to have influenced Siza’s Boa Nova Tea House in the approach sequence of platforms and stairs, the design of alternating monopitched roofs and in the choice and use of tactile materials throughout. Siza himself describes Aalto’s influence on Portuguese architecture, ‘Aalto’s architecture was only influential in Portugal after the second half of the fifties...for a short time and more frequently in the forms (some of them) than the content.’ (Siza 1997, p103) This statement confirms the previous suggestions of Aalto’s influence on the Boa Nova project whose design process commenced in 1959, the period in which Siza is referring. In 1968, Portuguese citizens were allowed to travel freely and Siza embarked on a group study trip to Holland, Sweden and most importantly Finland where he was to visit the influential works of Alvar Aalto.

3.3.3 Ludwig Mies van der Rohe 1886 – 1969 Ludwig Mies van der Rohe, the German architect born in 1886 is universally regarded as one of the pioneering masters of the Modern Movement. Mies’ architecture was a search for perfection through relentless logic.

Fig 3.13 Fig 3.14

Plan Drawing, Barcelona Pavilion 1929 Mies van der Rohe Blaser, W. (1997). Mies van der Rohe. Berlin, Birkhäuser p27. Plan Drawing, Ocean Swimming Pool, 1966 Alvaro Siza Ganshirt, C. ( 2004). Alvaro Siza: Swimming Pool on the Beach at Leca De Palmeira 1953-1973 Lisboa/ PT, Editorial Blau,Portugal p77.

Mies was asked to design the German Pavilion for the 1929 Barcelona exhibition. This design would prove to be his most publicised piece. A single story building with a long horizontal roof contained a series of interior spaces divided by glass and marble screens. This temporary building, re-constructed in 1986, proved to be one of the most exemplary pieces of 20th century Modern Architecture. Although I have never found any written reference to Mies in the writings and interviews of Siza it is interesting to compare both the plans and resulting spaces of the Barcelona pavilion alongside Siza’s Ocean

Fig 3.15

Perspective sketch, Barcelona Pavilion 1929 Mies van der Rohe Author’s own sketch

Fig 3.16

Perspective sketch, Ocean Swimming Pool, 1966 Alvaro Siza Author’s own sketch

Swimming Pools and suggest similarities in this way. It can be seen that, the influence of strict rational geometry in Mies plan influences Siza’s design on some levels and in perspective views the predominance of the long, swooping horizontal reflects those of the Barcelona pavilion creating similar spaces and transitions through volumes experienced in the Ocean Swimming Pools changing complex. 3.4 Modernism in South America. 3.4.1 Oscar Niemeyer 1907 - Oscar Niemeyer was born in 1907 in Rio de Janeiro, Brazil. In 1934 he graduated from the Escola de Belas Artes (Brazil) as an Engineer Architect. Politically this was a transitionary period in Brazil after the revolution in 1930, the result of which saw Getúlio Vargas assuming power in 1937. (BBC, 2010) This was a key moment in the development of Brazilian Modernism and set the course for Oscar Niemeyer’s career as the period is described as ‘a rare moment in modern history when a national government was almost institutionally avant-garde in its taste and sensibility.’ (Glancey 2000, p190) After graduating from the Escola de Belas Artes in 1934, Niemeyer began working, for the established

Fig 3.17, 3.18 (L + R) Ministry of Health and Education, 1942 Oscar Niemeyer Unknown. (2009). [online] available at http://modern-brazil-architecture. blogspot.com /2009/12/ministry-of-education-and-health.html. [accessed: December, 2010]

architect Lucio Costa which would lead him to collaborate on projects such as the Ministry of Health and Education (1937-42) with Le Corbusier. Niemeyer would go on to be appointed adviser to an organisation responsible for implementing the designs for Brasilia, the new capital of Brazil. In 1957 Niemeyer became chief architect of the city masterplan designing many of the new capital’s most important buildings. Niemeyer is said to have brought an ‘unprecedented degree of sensuality to the Modern Movement’ which he attributes to the inspiration surrounding Rio de Janeiro in the mountains, beaches and Atlantic Ocean. (Glancey, 2000 p190) It is these physical influences and their affect on Niemeyer’s fluid, organic take of the modern movement, that can be considered when contemplating the Architectural influences on Alvaro

Fig 3.19

Sketchbook extract, Fernando Tavora Tavora, F. (1993). Fernando Tavora. Porto, FAUP. p13

Siza in his early years. It can be seen that Niemeyer’s most notable early work, (fig 2.0) coincides with these early years of architectural education from 1949 - 1955 and the years immediately after, which is the timeframe particularly relevant to this dissertation. Sketches by Siza’s tutor and first employer Fernando Tavora reveal studies depicting Lucio Costa’s irregular cross shaped plan for Brasilia which Niemeyer was to become chief architect of. This confirms the relevance of Niemeyers work to the Portuguese architecture community, of which Tavora was not only a leading figure but influential to Siza in his early years.

Chapter 4 - Towards a Critical Regionalism: Six Points for an Architecture of Resistance 4.1 Introduction Throughout the literature review, the most prolific writer on the works of Alvaro Siza proved to be Kenneth Frampton. The respected and well publicised Architect, Critic and Historian, born in England in 1930 is a well respected authority on twentieth century architecture, with books including ‘Modern Architecture: A Critical History’ (1980) and ‘Studies in Tectonic Culture’ (1995).

Frampton was the Author of the most comprehensive Monograph of Siza’s work, ‘Alvaro Siza

– Complete Works’ which includes all built work and essays on his work by others was compiled and published in 2000. This book alone proved a valuable resource during the literature review.

Frampton achieved prominence as an Architectural Critic following the publication of his essay

‘Towards a Critical Regionalism: Six Points for an Architecture of Resistance’ (1983) included in the book ‘The Anti-Aesthetic. Essays on Postmodern Culture’, edited by Hal Foster. Siza acknowledges Frampton in his own writing in ‘Alvaro Siza, Writings on Architecture’ (1997) where he discusses the debate accompanying Framptons approach being ‘given the name “critical regionalism.” Siza notes the ‘suspect connotations of the term Regionalism’, which he claims in reality, is more a result of historical circumstance. He also remarks that ‘the accompanying adjective is considered inadequate or ambiguous’. Siza proceeds to commend Frampton for praising and thus revealing characters such as Luis Barragán emphasizing the ‘appearance and participation of forgotten or unknown cultural contexts’ apparent in their work. It was this relationship between Critic and Architect, and continuing debate accompanying the topic termed ‘Critical Regionalism’, which became the starting point for developing an analytical framework upon which a further investigation of Siza’s work could develop.

4.2 An analysis of Kenneth Frampton’s essay ‘Towards a Critical Regionalism: Six Points for an Architecture of Resistance’ 4.2.1 Global vs Local Frampton sets out his argument that the problem of Modern building is that building has been reduced by 26

factors such as Automotive access and land sale values to two categories. The first the supposed ‘high-tech’ whereby predetermined component production is the governing design factor in order to produce as economically viable design as possible. Or an approach whereby a standardised, universal construction is undertaken, again with economics being the governing factor which is then fronted in the visible parts with a ‘compensatory façade’ purely for the sake of marketing the building upon completion. Frampton started this essay with an extract from Paul Ricoeur’s History and Truth, (1961) which questioned “how to become modern and return to sources” (Ricoeur, p277) Frampton proposes that historically civilization’s interest has been ‘instrumental reason’ whereas the concern of culture has been that of expression. It is the fusion of these two values that generates a meaningless architecture.

4.2.2 Post-War Modernism Frampton sets his grounds for the need for a new architectural theoretical framework by describing the death of Avant Gardism. From its emergence Avant gardism has been closely associated with the modernization of architecture and society. During the 20th Century crisis such as World War One, and later the threat of world destruction by nuclear advancements signalled the end of the concept of ‘cultural modernization’ as a purely postitive and liberative movement. The need within society for ‘psycho-social stability’ combined with the advancement of the media industry in particular the television, led to the gravitation of art towards the category of ‘commodity’, and architecture, namely postmodern architecture being reduced to mere ‘technique and scenography.’ The American post-modernist avant-garde was therefore not only responsible for the death of avant-gardism but the end of the entire culture of critical adversary. Frampton stated that Avant-gardism may no longer be deemed liberative because ‘its initial utopian promise has been overrun by the internal rationality of instrumental reason’. 27

4.2.3. Towards Contextualism Frampton explains that he believes in order to remain a critical practice, architecture needs to take up an ‘arriere garde’ position which distances itself from both the over hype myths of progress and the backwardlooking return to past architectonic forms. He argues that a critical, identity-giving culture with subtle hints to Universal Technique may grow from this ‘Arriere-Garde’ stance rather than mere Populism who’s aim is the presentation of visual information for marketing purposes. The essential approach of Critical Regionalism is to ‘mediate the impact of universal civilization with elements derived indirectly from the peculiarities of a particular place.’ Such as local light, tectonics or topography.

Frampton explains that whilst we inherit world culture we are all heirs to universal civilization. It is important in terms of Critical Regionalism to deconstruct and isolate the suitable fragments of world culture and produce an appropriate critique of universal civilization. Frampton explains that Critical regionalism should be an expression of the most appropriate elements of modern construction tecniques fused with the theoretical foundation upon which the indigenous architectonic forms arose. 4.2.4 The Resistance of the Place-Form As this chapter dealt primarily with issues on an urban scale, I have chosen to remove it from this particular study as I did not find it useful when analysing the two chosen case studies. 4.2.5 Design Criteria Critical Regionalism necessitates a greater relationship to nature than is apparent in the construction trends seen at the time. In this chapter, Frampton lists examples of theoretical approach in order to avoid meaningless architecture. Building the site Frampton argues that placeless architecture results from the dominant trend of flattening out a site in order to build upon. He proposes that the act of terracing the site in order for it to receive the building, immediately

forms deeper bonds between building, site and the geological and agricultural history. Nuances of site may be expressed unsentimentally in the architecture. Local Light The sensitive adaptation of local light is a goal, which cannot be achieved by Universal tecnique. A buildings interior surfaces may be rooted to the external regional environment through the play of the local light spectrum across its surface. The fenestration form arising from this light modulation transcribes regional character into its design. Ventilation This approach to unsentimental expression through design of openings is also applicable when mediating the local environment through the ventilation of a building. The universally dominant technique of airconditioning removes this element of interaction between building and local environment and the nuances of climate, season and time are all but eliminated. The depth, size, style of opening along with its orientation and fixing all have the ability to express regional character. Tectonic The primary method of creating autonomous architecture is in the tectonic rather than the scenographic. Tectonic as described by Karl Botticher (1852) in and summarised by Stanford Anderson in ‘Modern Architecture and Industry:…’ (1980): “Tektonik” referred not just to the activity of making the materially requisite construction… but rather to the activity that raises this construction to an art. The ‘Tectonic’ is embodied in the displayed constructional elements, which is different to the mere revelation of a skeletal framework. It is the functionally adequate form expressing its function in a poetic manner. It is the embodiment of the entire structural method revealed in the play of material, craft and gravity. 4.2.6 Sensorial Approach to Design A resistant approach to the domination of universal technology lies in the bodies’ ability to understand the environment in ways other than the visual. The tactile, is an important element in the perception of reality as it is not, unlike scenography, the mere presentation of information but a series of ‘complementary sensory perceptions’ 29

Frampton cited as a case study Alvar Aalto’s Saynatsalo Town Hall (1952 - completed 4 years prior to the Boa Nova Tea House competition commenced.) Here, he describes the entrance sequence from threshold to the main space in purely tactile terms. Through his description, memories of experiencing the Boa Nova teahouse arise in terms of qualities of light, variation in volumes, sounds, smells and textures. It is these experiential rather than mere presentational features that Frampton suggests as antonymic to modern western tendency, resulting in a Critical Regionalist approach to architecture. It is clear that an important relationship between the Tactile and the Tectonic exists. It is the play of each tactile element and their corresponding inherent properties that is the currency in which Tectonics deals. It is these core elements that are used to create constructional components, which have the potential to express constructional ideology. 4.3 Analytical Framework In order to analyse the chosen case studies against Frampton’s theory, I aim to address the following questions, derived from the chapters above: 1 – Can it be seen from the design documents and final outcome that an overriding governing factor was the use of components of a predetermined nature whose choice is driven by cost reduction? 2 – Is the design approach that of a universal construction, which is then fronted with a compensatory façade in order to reduce overall cost and increase marketability of, completed building? 3 –Does the design allow for an unsentimental expression of Site as described by Frampton in ‘Building the Site’? 4 – Does the design allow for the sensitive adaptation of local light? 5 – Does the design mediate the local environment through passive ventilation, expressing regional character in the openings and fenestration? 6 – Describe and illustrate the structural method as revealed in the play of material, craft and gravity? 7 – Can the approach to design be described as ‘Critical Regionalism’ based on the questions formulated above?

Chapter 5 - Case Study 1 – Boa Nova Tea House – Matosinhos 1963

Fig 5.00

5.1

Sketch Boa Nova Tea House 1963 Alvaro Siza Portas, N. (1992). Boa Nova Tea House 1965. Casa de Cha da boa nova = Boa nova tea-house : Alvaro Siza Vieira, 1958-1963. . L. Trigueros. Lisbon, PT, Blau. p9

Factual

The Boa Nova tea house was completed following an important period in Portuguese architecture. Fernando Tavora had recently completed two important projects, realised in the scope of the recently completed Regional Architecture Survey (1955-61) ‘Mercado da Feira’ 1954 and ‘Casa de Ofir’ 1956. These projects embodied principles such as familiarity, regionalism, local identity and acted as a critique of the “international style”. The Boa Nova Tea House, for Siza personally marked an important stage of his career , a time for architectonic reflection as the project, was described by Paulo Gomes (1992, p10) as being built ‘in the style of…’ The style in which Siza built was of Finnish architect Alvar Aalto but other influences also reveal themselves in Mackintosh and Frank Lloyd Wright. The resulting outcome Gomes describes as ‘an object marked by the force of style’. (1992, p10) In 1958 the office of Fernando Tavora won the competition held by the municipality of Matosinhos for a public restaurant. Tavora chose the site of a rocky outcrop on the Atlantic coast of Matosinhos. At the time of this competition Tavora himself undertook a world tour and it was a team of five collaborators, headed by Alvaro Siza including the following architects; Alberto Neves, Antonio Meneres, Botelho Dias and Joaquim Sampaio who were working in his office who designed the competition winning entry. Tavora told the five

collaborators, ‘I cannot do it, but you can make it’ declaring that as he had not designed it he could not make it. (Kreger 1999)

Siza and the team, after winning the competition worked on the design until its completion at which

point Siza was struggling with personal issues regarding the design, in particular he was concerned that the project was in two volumes, with an elevated Tea-room and a lower dining room. With an abundance of volumes already dominating the site in the form of rock outcrops Siza believed that the two rooms must be

Fig 5.10

View from North, Boa Nova Tea House 1963 Alvaro Siza author’s own photograph

on the same level connected by the kitchen. He presented his thoughts to the design team who’s response Siza later described (Kreger 1999): ‘you are crazy, this project is finished! We cannot do this!’. So we (the design team) went to Tavora; Tavora was working with us again by then. They explained, ‘Siza wants to change everything, we don’t want to; the drawings are already finished ..what do you say?’ Tavora looked and said, ‘I say Siza’s is much better.’ With the new design completed, construction commenced in 1958. The key architectural idea is the organization within the landscape. The Dining room and Tea-room are westerly facing to take advantage of the spectacular Atlantic views. These two spaces are both served by a half-sunken kitchen and ancilliary

rooms, which are expressed externally as a simple narrow window and a chimney clad in tiles. The main spaces open to the small cove below in a butterfly shape plan with the western perimeter walls delineating the extent of the sites rock formations. Western glazed walls, freed from loadbearing duty by exposed concrete columns, are fully openable by sliding the entire frame beneath the floor. In summertime this effect of continuation between interior and exterior space, an outdoor paved plateau, is enhanced by the seamless continuation of material to the external eaves. Alterations after the initial construction are limited to an event where, following an exceptionally large atlantic storm, waves broke through the glazed doors and after smashing furniture against the back wall, washed back down the rocks carrying some of the restaurant furniture. In 1991, all original details and characteristics were preserved during a full restoration. 5.2 Experiential

Fig 5.20

Architectural Promenade, Boa Nova Tea House 1963 Alvaro Siza Authorâ&#x20AC;&#x2122;s own sketches

5.3 Analytical 5.3.1 â&#x20AC;&#x201C;Can it be seen from the design documents and final outcome that an overriding governing factor was the use of components of a predetermined nature whose choice is driven by cost reduction? Plans

When analysing the published plans particularly those showing the landscape, it can be

seen that the form of the building closely reflects the ground conditions allowed by the rock formations and existing site contours. The wall construction is in-situ concrete and therefore a simple geometric form is always more economically favourable. Given the variety of wall sizes in length, thickness, height and profile it can be argued that cost reduction was not a primary concern in this aspect of design.

Fig 5.30

Plan Drawings, Boa Nova Tea House 1963 Alvaro Siza Portas, N. (1992) p7,11

Fig 5.31

Section Drawing, Boa Nova Tea House 1963 Alvaro Siza Portas, N. (1992) p14

Sections

An advanced section of columns, overhangs and cantilevers all facilitate the spatial qualities

hoped for in Sizaâ&#x20AC;&#x2122;s design These free standing, non loadbearing perimeter walls were not cost reductive, but purely a system to allow the spatial intentions. The spatial organization was the key architectural idea for Siza who demanded having the two dining volumes on the same level linked with the lowered kitchen. Sinking the kitchen and creating a split-level to address the level of the entrance was not a measure driven by reducing build cost. Details

The drawings detailing the Complex suspended ceilings, especially the central roof lantern

illustrate that the use of predetermined components was not a major design driver. The experiential qualities of varying volumes and the manipulation of light was evidently more of a driving factor.

Fig 5.32

Roof lantern, Boa Nova Tea House 1963 Alvaro Siza Authorâ&#x20AC;&#x2122;s own photograph

5.3.2 – Is the Design approach that of a universal construction, which is then fronted with a compensatory façade in order to reduce overall cost and increase marketability of the completed building? The external material palette consists of both exposed concrete wall construction and white rendered masonry walls. The material used in the roof construction by Siza was Roman red terracotta tiles, a traditional roofing technique for Portuguese vernacular housing. This choice is echoed and highlighted in the church, which lies immediately North of the site. All windows are bespoke woodwork holding large glass panes with matching wooden reveals. There is a small portion of black tiling, which denotes the pinnacle of the large chimney.

Internally Siza employed a basic palette of white plastered masonry with red African ‘Afezelia’

wood cladding for the walls, furniture, doorframes and suspended ceilings. The cladding is not for structural reasons but is also not merely a marketing façade, it pays reference to the work of Alvar Aalto and Frank Lloyd Wright in its physical qualities of tone, texture and the play of light across it. Exposed concrete load bearing columns allow freedom in the western envelope. Here a mix of full glazed sliding panels or glazed

Fig 5.33

North Elevation, Boa Nova Tea House 1963 Alvaro Siza Portas, N. (1992) p19

Fig 5.34

West Elevation, Boa Nova Tea House 1963 Alvaro Siza Portas, N. (1992) p19

sliding windows control the internal external boundary. 5.3.3 –Does the design allow for an unsentimental expression of Site as described by Frampton in the chapter ‘Building the Site’? The design of the Boa Nova Tea House aimed to harmonise with the rocky outcrop on which it inhabited, through a careful analysis and a considered response to the sites geology, topography, weather and tides as well as to the avenue and city beyond. A series of platforms and stairs rises through the site, amongst the existing rock formations from entrance parking lot to the building threshold. These stairs and tile-clad platforms creates a journey through the landscape which simultaneously hides and reveals the sites characteristics along the way. After passing through the threshold, this relationship to the landscape is maintained as a variety of volumes within the program cling to the sites topography expressing the site through changes in volume, height and creation of space. The tall narrow central stairwell emphasises this topographic nature, volumetrically linking the site visually to the rocks, through the downward view onto the rockscape. This experience of volume is altered once downstairs into the restaurant rooms as the wide glass panels express the horizontality of the site and connecting with the horizon beyond. 5.3.4 – Does the design allow for the sensitive adaptation of local light? On this stretch of Southern European, Atlantic Coastline the characteristics of the local light are intensity,

Fig 5.35

Roof lantern, Boa Nova Tea House 1963 Alvaro Siza Author’s own photograph

magnified on this site by the reflective expanse of the Atlantic Ocean and the unsheltered, isolated Tea House. The wide-open landscape, stretching to the horizon in the west and un-shaded from all other aspects creates the architectural challenge of light mediation. Externally, the vernacular tradition of painted white masonry produces a strong distinction between object and landscape where due to the topographic nature a similarly toned exterior may have seen the building lost amongst the rockery. In this way, the ‘building of the site’ is emphasized and enjoyed when viewed. When entering the threshold the dark, recessed space of the doorway mediates the change in light levels from internal to external. Once inside the central stairwell, diffuse light filters over the dark wooden lantern, which occupies a central position above the stairwell. This gentle diffusion is complemented with a view down the stairway through the glass door onto the rockscape and importantly not the bright reflective Atlantic Ocean. ‘The contrast between the light inside the building seen from the outside (the light in a look) and the outside light seen from inside, swerves, is tamed and is always indirect, and safeguards the building from the merciless gaze from the sky.’ (Gomes 1992, p19) Passing down the staircase there is a gradual increase in light level as the passage towards the sea is experienced The closer one travels towards the external, glazed envelope the greater the connection to the expanse of Atlantic ocean is felt. The light fills the spaces through long horizontal windows, diffusing gently up the suspended ‘Afezelia’ wood ceiling. In summer with the sliding glazed doors down this transition is even more natural as the boundary between internal, external courtyard and external natural rockscape is eliminated. 5.3.5 – Does the design mediate the local environment through passive ventilation, expressing regional character in the openings and fenestration?

Fig 5.36

Section Drawing showing sliding window, Boa Nova Tea House 1963 Alvaro Siza Portas, N. (1992) p14

The coastal sea breeze, carrying the oceanic smells and the sounds of waves breaking against the jagged 38

rockline below is allowed to filter through the principal spaces of the restaurant due to the design and detailing of Siza’s windows and external envelope. Starting with the threshold, the oversized and heavy door suggested a different use to a regular door of a residence or private building. The design suggests that this is a door better suited to be left open and upon entering, the gentle Atlantic breeze is experienced as it is drawn from the downstairs spaces, up the stairs and out through the entrance.

Fig 5.37

Sliding window and ‘Afezelia’ wood grills Boa Nova Tea House 1963 Alvaro Siza Author’s own Photographs

Through Siza’s careful planning, he is afforded a great deal of freedom in the external West facing

envelope and nothing benefits more than the opportunities for openings and fenestration. Adopting different options of sliding window, in the two dining rooms, the first smaller room, Siza, influenced by Frank Lloyd designs long horizontal windows, which slide down into the exposed concrete wall below. In the larger dining room, entire glazed walls slide downwards below the floor slab. In both instances the internal suspended ceiling continues uninterrupted from internal space to the eaves of the external overhang. This internal external suspended ceiling is also utilised by Siza for natural Ventilation purposes for times when it is favourable to keep the windows closed. Delicate ‘Afezelia’ grills, merge with the cladding of the suspended ceiling to allow for this natural passage of air. It can be seen that the main ventilation device of the kitchen area is the chimney, visible, like the restaurant fireplace chimney, as major forms externally. Shown in the North elevation, and visible on all external photographs of that aspect, the chimneys express the function externally of the uses within. The Kitchen chimney, of lower elevation but wider draws reference in height to the roofscape behind, capped with flashing of a similar dimension. Whilst the restaurant fireplace chimney again references the elevation behind, it is finished with a black tile, which is unique to this feature and possibly relates to the traditional Portuguese vernacular use of tiles as cladding. When looking at the design in elevation the 39

rational relationships seem apparent however from differing perspectives a more organic form can be seen reminiscent of the undulating coastal rockscape. 5.3.6 â&#x20AC;&#x201C; Describe and illustrate the structural method as revealed in the play of material, craft and gravity? A contrast is achieved between the internal and external spaces through the change of materials underfoot. Leading up the paved, stairs and platforms a solid bright paved series of stairs and platforms cuts through the rocky outcrops. This material changes once into the covered entranceway as a timber platform expresses the nature of the floor construction thereafter. This material change alters the sound of footsteps from solid to lightweight, textural feel from abrasive to polished and the visual reading from matte to gloss. This change from harsh exterior to refined interior materiality is reflected in the wall cladding, where painted masonry walls are clad intricately with wood to match the floor and suspended ceiling. In the interior, any

Fig 5.38

Connection detail, Boa Nova Tea House 1963 Alvaro Siza Authorâ&#x20AC;&#x2122;s own photograph

place where a visitor may come into contact with a surface, a polished delicate woodwork is present. This is emphasized visually through the rounding of stair and furniture edges and the use of rounded elements such as curtain rails and the table items such as lamps. The reveals of doorways are faced in woodwork intricately joined to skirting boards, handrails and stairway wall cladding. The most impressive section of timberwork can be seen above the staircase in the central lantern where angled woodwork cladding meets the rooflight and the floating organic form of the suspended ceiling.

The suspended ceiling, using the same wood, emphasizes freedom from structural constraints 40

through examples such as the playful revelation of window lights and the elaborate detailing of connections to concrete structural columns. Internally, Siza is concerned with referencing the modern masters Alvar Aalto, and also Frank Lloyd Wright. He is less concerned with developing a rigorous revelatory structural poetic of his own, rather referencing examples and styles previously used by Aalto and Wright and attempting to create a building with a strong

Fig 5.39

Church North of Boa Nova Tea House Author’s own Photograph

organisational idea. This idea illustrates the achievements of the modern traditions through freedom of form and its subsequent detailing. Externally, through the choice of materials, a more ‘brutal’ approach with exposed concrete walls to the west elevation is adopted. Siza utilised a traditional Portuguese vernacular selection of material of painted white masonry and Terracotta roof tiles. 5.3.7 – Can the approach to design be described as ‘Critical Regionalism’ based on the questions formulated above? The Boa Nova Tea House can be described as an example of Critical Regionalism based on the responses to the questions derived from a personal analysis of Frampton’s essay. Organizationally, Siza employs Modern ideas freeing the external membrane from its load bearing duty. This allows for a dialogue with the site and a removal of the internal external boundary providing dining conditions similar to those found in Porto where during favourable weather the tables of the external plaza are filled with people eating, drinking and smoking.

In section it can be seen that Siza has mediated the local light and climate in such a way that the 41

restaurant is rooted into the local climatic conditions. This use of natural ventilation filters through the restaurant in a style similar to that of vernacular dwelling and although the large windowpanes are a modern feature, their deep recession beneath a long overhang and the materiality are features, which express the buildings particular place, time and seasonality. Siza also addresses the site in such a way that satisfies Framptonâ&#x20AC;&#x2122;s ideas of â&#x20AC;&#x2DC;building the site. Here comparisons may be drawn to seminal works of modern masters as well as the vernacular buildings on the steep valley sides of the river Douro in Porto. The material palette, externally of painted white masonry, terracotta roof tiles, and wooden windows are all elements, which can be found throughout Portoâ&#x20AC;&#x2122;s vernacular buildings. The forms which Siza uses with each element is more stylised than the traditional methods, examples include: The visible references to both Wright and Aalto in the overall roof design are: the pitch, sectional form, variation of roof lighting, eaves detailing and use of large architectonic elements such as the chimneys. All of these features are incorporated into a design, which favours local materials and craftsmen. It is this constant dialogue between traditional material and technique contrasted with the stylised execution derived from the reference to modern architecture, which is the reason the Tea House, may be categorised as Critical Regionalism.

Fig 5.31

Architects Sketches, Boa Nova Tea House 1963 Alvaro Siza Portas, N. (1992) p2

Chapter 6 - Case Study 2 – Ocean Swimming Pools – Leça de Palmeira, Matosinhos 1966

Fig 6.00

Architects Sketches, Ocean Swimming Pools 1966 Alvaro Siza Ganshirt, C. ( 2004). Alvaro Siza: Swimming Pool on the Beach at Leca De Palmeira 1953-1973, Lisbon, Blau. p67

6.1 Factual On the beach of Leça de Palmeira, a district of Matosinhos, lies Alvaro Siza’s Ocean Swimming Pools. In 1959 the city of Matosinhos commissioned a local construction firm, Ribeiro da Silva Ida. to undertake a feasibility study and cost estimate for a public swimming pool for the beach at Leça de Palmeira. After locating a suitable site, a rock outcropping being used for Lobster farming to the North of the beach, the firm proposed a rectangular pool lying parallel to the concrete sea wall which would fill with fresh seawater after each rising tide.

Following this feasibility study, Bernado Ferrão, the engineer and co-owner of the construction firm

advised the appointment of an architect and suggested Alvaro Siza, who he knew from his brother, Fernando Tavora’s office. Alvaro Siza’s, first design consisted of an organic lake encircled entirely by the natural rock topography of the site. Following its rejection, Siza proposed a development on the rectangular design by opening up the seaward concrete wall and utilising the natural rock formations, which already formed a boundary between ocean and pool. This, he argued would reduce cost and increase the ease of construction. This design was approved and construction of the pool and preparation of the platform for future changing buildings commenced in March 15th 1960. One problem encountered was the need for seawater to be filtered prior to entering the public pool. As a result of this, the concept of continuously refreshing the pool water through the natural tide-cycle was abandoned. 43

Fig 6.11

Topographical Survey, Ocean Swimming Pools 1966 Alvaro Siza Ganshirt, C. ( 2004) p15

In 1961 the second phase of the project commenced after the Mayor of Matosinhos, Fernando Pinto de Oliveira, who would become a long-term supporter of the project (Ganshirt 2004, p20) commissioned Siza to plan the “facilities necessary for the full functioning of the swimming pool.” The project had become part of the development plan for this coastal stretch of Matosinhos, which included Siza’s Boa Nova Tea House already under construction.

Fig 6.11

Second Phase Plan, Ocean Swimming Pools 1966 Alvaro Siza Ganshirt, C. ( 2004) p26

Phase 2 design

The design which Siza presented in 1962 consisted of an access ramp to a changing complex of 24 dressing rooms split equally between men and women, sanitary facilities, a central check room, a plant room, and a protected courtyard for entering the bathing area.

The key architectural ideas in this second phase plan were in creating a modulation of the one

kilometre sea wall, such a dominant feature in the landscape. The rooms were to be inserted like â&#x20AC;&#x2DC;internal organsâ&#x20AC;&#x2122; (Ganshirt 2004, p29.) into the wall so as not to disrupt views of the horizon. To the north of the site, a fan shaped restaurant featured and finally a childrenâ&#x20AC;&#x2122;s pool and bridge, which aided in the connection between swimming pools and architectural complex.

The final drawings which Siza submitted replaced the fan shaped restaurant with a complicated

rectangular building which was later omitted due to lack of funds. Included in these final drawings were steps forming routes to the swimming pools through the rock formations.

The building work was carried out from 1963 to 1964, and upon completion featured a temporary

snack bar and toilet facilties. Problems were immediately encountered with the seawater filtration system and a subterranean canal was built drawing water from 100m out to sea. The pool opened in 1965 and it soon became apparent that facilities could not deal with the local demand.

Fig 6.12

Ocean Swimming Pools 1966 Alvaro Siza Ganshirt, C. ( 2004) p54

Phase 3 In 1965 Siza submitted plans for a 3rd phase, expansion of the swimming pool area, consisting of restaurant, storage spaces, sanitary facilities and bar. These plans featured a second retaining wall to the south which sheltered the Sanitary and storage spaces as well as leading to a ramp providing beach level access. To the North, Siza proposed a wall, at a 45 degree angle to the sea wall, which protected from North winds, a triangular courtyard within which a new permanent building replaced the temporary snack bar. By aligning, 45

this new wall with the North-East corner of the pool, the 45 degree angle finds continuation in the western edge of the pool. Further north, in the northern extent of the plan, sanitary facilities were built into the sea wall. Another 100m further north, Siza proposed some preliminary structures to connect the pool with the future restaurant. This proposal was eventually split into two parts, a third and fourth phase. The third phase being submitted in February 1966 . This proposal immediately met difficulties due to new health regulations regarding sanitary and changing facilities, as well as some relating to the snack bar. As a result of this construction Phase three commenced in the early 1970â&#x20AC;&#x2122;s. In April 1973 revised designs were submitted for the connection of the third and fourth phase. In this proposal, for the first time the large platform to the

Fig 6.13

Ocean Swimming Pools 1966 Alvaro Siza Authorâ&#x20AC;&#x2122;s own photograph

South of the dressing rooms appears as well as the staircase cutting into it at a 45degree angle. It is also the first time, which the platform and ramp in-front of the childrenâ&#x20AC;&#x2122;s pool appear.

The building remained unaltered in the years following until 1993 when Siza revised and completed

a full set of plans for the restaurant building, which again were never built due to a lack of funding. Whilst Siza prepared these drawings, the swimming pools underwent a full renovation. The main alteration was the replacement of the roof covering with Patinated copper as specified in the original design.

6.2 Experiential

Fig 6.20

Sketch studies, Ocean Swimming Pools 1966 Alvaro Siza Authorâ&#x20AC;&#x2122;s own drawings

6.3 Analytical 6.3.1 â&#x20AC;&#x201C; Can it be seen from the design documents and final outcome that an overriding governing factor was the use of components of a predetermined nature whose choice is driven by cost reduction? Plans Looking at the site plan, specifically the swimming pool, ramps, stairs and platforms, the irregular forms amongst the rocks, and the utilisation of some of the rocks in forming edges, pathways and routes, shows that the topography of the rockscape was a more important factor in the pool design than the specification of components of a predetermined dimension

When looking at the layout of rooms and corridors the plan shows a great variety of wall and

corridor lengths, corridor widths as well as a small variety of angled walls namely the wall of the entrance ramp and the courtyard-enclosing wall. This variety of features in an in-situ concrete wall construction suggests factors other than fixed sizes of components were central in the design.

Fig 6.31

Third & Fourth Phase Plan, Ocean Swimming Pools 1966 Alvaro Siza Ganshirt, C. ( 2004) p73

Elevations In the elevation drawings, a similar array of heights can be seen, which along with the variation in the plan is responsible for the rich sequence of volumes from the entrance, through to the act of swimming. Details Within the changing complex there is an element of repetition in the sizing of timber components however it is not the case that the sizes of these elements appear to have driven the design. The doors of the changing cubicles do not appear to be standard doors but bespoke pieces for the changing complex designed by Siza. The range of timber sizes also does not support any argument for their influencing the design.

Fig 6.32

Second Phase Elevations, Ocean Swimming Pools 1966 Alvaro Siza Ganshirt, C. ( 2004) p27

6.3.2 – Universal Approach - Is the design approach that of a universal construction, which is then fronted with a compensatory façade in order to reduce overall cost and increase marketability of, completed building? Wall construction throughout project is unpainted in-site concrete with visible shuttering. At the time this was a relatively universal construction method in other parts of Europe, however the material and its construction was celebrated by Siza by not, as Frampton describes it as being fronted with a compensatory facade. In all elements of construction and material selection Siza is not attempting to deceive, the basic palette of materials is expressed simply and honestly. The low pitched roofs with a green copper finishing expresses its material selection and is therefore not a ‘compensatory façade.’

Fig 6.33

Ocean Swimming Pools 1966 Alvaro Siza Ganshirt, C. ( 2004) p90

This was not a typical construction method or finish in Portugal, preference traditionally being a painted masonry external envelope. Similarly unfinished concrete floors and platforms are an uncommon feature of Portuguese buildings, preference being for a tiled external finish as used by Siza in the threshold of the Boa Nova Tea House, as well as an internal decorative floor finish such as timber or tiling. The copper roof finish is also a departure from the traditional roof tiles as used by Siza in the Boa Nova Tea House. 6.3.3 –Does the design allow for an unsentimental expression of Site as described by Frampton in the chapter ‘Building the Site’? The predominant feature of this stretch of coastline is the kilometre long, 5 metre high Seawall which stretches from Siza’s Boa Nova Tea House in the North to the Matosinhos harbour to the south. The Seawall 49

is an important boundary, the point at which cultivated land finishes and the wild atlantic ocean begins. As Martin Heideggar puts it, “a boundary is not the point at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing.” (Heidegger 1971, p 6) Walking along the promenade, from the North or South the visitor catches occasional glimpses of motionless swimming pools amongst the rocky wave covered outcrops, stairs and platforms winding in and out of view, copper roofs, a similar colour to the ocean covering dark shaded recesses, horizontal concrete walls suggesting a link with the distant elements of the long harbour wall to the south, the sea horizon to the west and the original sea wall on which you stand.

Fig 6.34

Stairs and Platforms, Ocean Swimming Pools 1966 Alvaro Siza Author’s own photograph

Fig 6.35

Pool retainining wall, Ocean Swimming Pools 1966 Alvaro Siza Ganshirt, C. ( 2004) p76

Siza took great care in designing the pools in order to reduce the need for blasting down to a minimum. The adults pool contrasts in both size and form to the small organically shaped paddle pool for children. Siza used the existing sea wall as a major reference in his organization of his plan and section in the changing room complex. When designing the swimming pools and the connecting pathways, ramps and stairs, Siza attempted to blast as little rock as possible and simply form pools amongst the rockscape. Between ramps and surrounded by rocks are small enclaves of coarse sand for swimmers to sit between swims. Concrete walls stretching between two large rock outcroppings form the main adult swimming pool. The notion of ‘borrowed scenery’ is also apparent in Siza’s work where from certain vantage points the water of the pool appears to merge with that of the Atlantic stretching to the horizon. Siza openly referencess Frank Lloyd Wrights in his use of the 45 degree angle in plan. “There is a reference of Wright’s Taliesin West of 1937, in which parallel galleries and through-ways also precede a diagonal expansion across water towards a distant view” (Curtis, 1994, p1)

6.3.4 – Does the design allow for the sensitive adaptation of local light? The first modified element is the manipulation of the intense sunlight. Walking along the sea wall the eye has become accustomed to the bright light of this stretch of coastline, enhanced by the lack of nearby shade, open expanses of sky and the strong reflection off the white sand and the ocean’s surface. Descending the ramp, light is gradually reduced to an overhead strip of sky until the entrance door reveals a barely visible cave-like space. A dark framework of changing cabins is gradually illuminated by light piercing narrow openings in the rough concrete envelope.

Fig 6.36

Internal External Transition, Ocean Swimming Pools 1966 Alvaro Siza Author’s own photograph

Fig 6.37

Internal Changing Complex, Ocean Swimming Pools 1966 Alvaro Siza Author’s own photograph

The effect of the reduced light acts to heighten the other senses, important in experiencing of place. There is a smell of the treated Riga wood and salty ocean air, the echoing sound of hushed conversations between cubicles, the slapping of wet feet of children chasing through the dark internal maze out into the brilliant sunlight and the constant crisp roar of the Atlantic ocean swells breaking onto the jagged rocks. The colour of the concrete, previously a dull grey is reduced to a barely visible dark grey. The temperature reduces immediately due to the overhanging roofs shading the deep spaces. A barely detectible cool breeze keeps the interior fresh, and smelling of treated wood and sea-salt. The low light levels force orientation by means of direct contact with the materials. Placing a steadying hand on the cool, coarse concrete wall followed by the dark, heavily grained Riga wood doors emphasizes the varying tactile nature of the selected materials 6.3.5 – Does the design mediate the local environment through passive ventilation, expressing regional character in the openings and fenestration? Ventilation in the changing complex of the pools was an inherent feature of the design concept as throughout

all phases of the design, it can be seen that the complex was not considered a closed, airtight building in the regular sense but rather an open, well ventilated interstitial space between the activity of walking on the external public promenade and swimming in the Ocean Pool. Within the complex, the lattice-like structure of timber beams allows for air circulation at feet and head level and it is noticeable that a gently breeze carrying the sound and smell of the ocean beyond circulates the cave like complex. In this way Siza creates a site specific architecture where one feels that Siza’s complex becomes the site, not merely an intrusion attempting contextual associations. 6.3.6 – Describe and illustrate the structural method as revealed in the play of material, craft and gravity? With the concrete walls, Siza reveals their in-situ construction by emphasizing the shuttering, leaving it a visible poetic feature in the finished wall. There is a relationship between the size of the shuttering, visible on the walls surface and the timber members of the changing structure. This concrete presence and awareness of the texture, sound and smell is emphasized as the user, when experiencing the vastly reduced light levels is forced to slow down and is guided through a series of narrow passageways. The load bearing nature of the walls is revealed in the connection detail and Siza also emphasizes the difference in nature of this connection. Externally the concrete walls forming the swimming pools share the same shuttering expression. A poetic expression of this construction method is also embodied in the junction between wall and existing rock formations. The concrete has been poured directly onto the rock forms in both the stairs and the walls and this exemplifies Siza’s tectonic attitude towards building on the landscape.

Fig 6.38

Material Studies, Ocean Swimming Pools 1966 Alvaro Siza Author’s own photographs

The timber changing complex is a finely detailed structure, reminiscent of timber detailing by Alvar Aalto. The structure is revealed and the consistency of junction detail are not a mere revelation of skeletal system 52

but through manipulation of light and finish serve to invigorate senses of touch, smell, sound and sight. In this way Siza does not create a mere perspective but an environment, which the occupant reads through a combined sensory experience. 6.3.7 – Can the approach to design be described as ‘Critical Regionalism’ based on the questions formulated above? The analysis reveals that although the Ocean Swimming Pools positively responds to the problems posed by Frampton’s essay, the Ocean Swimming Pools illustrate that there is more than one design outcome, producing a piece of Architecture with is deeply rooted in its contextual setting yet does not display any visible connections to local vernacular architecture. Siza has deeply rooted the building into the site through connection with climate, light, and site condition, (qualities Frampton notes as lacking in buildings produced at the time) but abandons any reference to the Portuguese vernacular in his approach. Rather than being classified as Critical Regionalism, the project should act as a case study in its own right as an example of how architecture can defy problems originating from mass globalization whilst still producing architecture with strong connections to site, culture and context.

Fig 6.39

Architects Sketch, Ocean Swimming Pools 1966 Alvaro Siza Ganshirt, C. ( 2004) p11

Chapter 7 – Conclusion The primary aim of this dissertation was to develop an intimate knowledge of the Portuguese architect Alvaro Siza Viera, from his birth in 1933 until the age of 40 in 1973, through historical research and the production of images and recordings from a visit to Portugal. From this, a secondary aim developed whereby a critical framework facilitated a comparative analysis of two case studies from this period. It was hoped that the outcome of this non-linear method of investigation would be the production of a broader range of results and a more thorough understanding of Siza’s early life and work. Historically, Politically, Socially and Economical the country which Siza was born, differs unrecognizably from that which exists today. This previous political model of Nationalist dictatorship and its associated economy, social conditions and artistic repression, influenced Siza’s life from birth to the completion of his most renowned early works. Experiencing Portugal, Porto and Matosinhos in the present day and undertaking a graphical analysis allowed for the production of illustrations which presented experienced qualities alongside historical facts. In this way, drawings are rooted in the present and the past. From the drawings and illustrations produced, it is possible to begin to understand themes prevalent in Siza’s own drawings and the factors, which influence his viewpoint concerning issues of Place, Context, Boundary and Activity. Siza’s personal drawings offer an insight into his thoughts that is perhaps more direct than his writing and a careful study in comparison to the experience of visiting Porto helped appreciate this. The influence of the Modern Movement, is evident in Portugal and across the Western world and this shaped the world in which Siza was born into, at the end of the first wave of modernism. Siza’s youth coincided with the second wave of the Modern Movement which was visible on a Global scale whilst at home Siza felt the tight grip of a nationalist authoritarian government. Siza became aware of the work of the European modernists such as Alvar Aalto and Mies van der Rohe, he saw publications of Frank Lloyd Wrights work in North America and furthermore saw the comparative freedom of Portugal’s former colony Brazil, through the work of Oscar Niemeyer. The literature review, revealed the critical writing and theory of the English Architect and Historian Kenneth Frampton. A well respected authority on twentieth century architecture, Framptons monograph ‘Alvaro Siza – Complete Works’ proved a valuable source of collected essays concerning all aspects of 54

Siza’s work. Alongside Framptons critique of Siza’s work, and equally significant in this study was his own theoretical writing, in particular his essay titled ‘Towards a Critical Regionalism: Six Points for an Architecture of Resistance’. This essay, starts by describing what Frampton believes to be the problems prevalent in Architecture at the time, in brief a supposed ‘high tech’ driven by component standardisation for reduced cost and universal building technique finished with a ‘compensatory façade for marketing purposes. Frampton goes on to explain how Avant-gardism and the promise of modernization can no longer be seen as appropriate avenues for the Architecture at the time. This leads to his own proposition of an architecture which will produce an ‘identity giving culture’ with subtle hints to modern technique. This proposition is explained with specific ideas of ‘Building the Site’, ‘Local Light’, ‘Ventilation’, and ‘Tectonic’. The sixth and final point emphasizes the tactile qualities of architecture, which can only be experienced in a building, rather than the production of marketable visual imagery.

Following this review of Frampton’s essay, a series of seven questions was deduced, providing a

critical framework upon which a more in depth analysis of two case studies could occur. The two case studies selected were the ‘Boa Nova Tea House’, Matosinhos, Portugal 1963 and the ‘Ocean Swimming Pools’, Leça de Palmeira, Portugal. 1966. Following a factual researched account of the production of each building, an Experiential study displayed sketches made during a site visit, illustrates the qualities of place, the architectural promenade, building threshold and the buildings threshold. Following this Factual and Experiential account, the analysis uses the critical framework, derived from Frampton’s essay to describe, explain and develop an understanding of Siza’s design intent. The framework reveals the theoretical approach to, and concretization of, ‘Building the Site’,’Local Light’, ‘Ventilation’ ‘Tectonic and the Visual Versus the Tactile’. The final question, important in the comparative nature of the case studies chosen, explains my response that in the context of this investigation, the Boa Nova Tea House can be described as Critical Regionalist Architecture. This is based on the evidence collected through document research, drawings and observations when visitng the Tea House and the results of the critical analysis derived from Frampton’s essay ‘Towards a Critical Regionalism: Six Points for an Architecture of Resistance’. This can not be said of the ‘Ocean Swimming Pools’ where an unparalleled piece of architecture is produced, which, whilst positively responding to the problems and issues posed by Frampton, is deeply rooted in its contextual setting whilst avoiding any reference to the vernacular architecture of the region. This dissertation provides a good overview of the Siza’s early life from a variety of scales from global to his 55

town of birth from an assortment of perspectives ranging from political to architectural. A possible route for continuation of this work could be a continual chronological study, investigating Sizaâ&#x20AC;&#x2122;s projects in the years immediately following the completion of the Ocean Swimming Pools (1973) into a time when Portugal experienced the dramatic changes of the Carnation Revolution (1974). Students of Architecture visiting Porto may also find this dissertation useful in order to gain an overview of Sizaâ&#x20AC;&#x2122;s early life and work prior to visiting.

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