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1
Baker, Nick, Manuel Correia Guedes, Nabeel Shaikh, Luis Calixto, and Ricardo Aguiar. "The LT-Portugal software: A design tool for architects." Renewable Energy 49 (January 2013): 156–60. http://dx.doi.org/10.1016/j.renene.2012.01.041.
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Carvalho, Ricardo. "Ruy Jervis d'Athouguia. A Modern Architect in the Garden-City." Modern Lisbon, no. 55 (2016): 44–49. http://dx.doi.org/10.52200/55.a.nkyd6io5.
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In the 1950s, when the social, aesthetic and technological assumptions of the Modern Movement seemed to be consolidated, there was hesitation in Portugal. Two possibilities were open to what could be viewed as post-war understanding of modernity. Some architects focused on the possible confrontation between the heritage of tradition and avant-garde proposals, in tune with the international movement. Others assimilated the universal appeal of the Modern Movement and aimed to operate within those contexts, facing the shortage of technological tools and of scarce theoretical production. Ruy Jervis d'Athouguia (1917–2006), an important Portuguese architect, belonged to the latter.
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Baia, Pedro, Nuno Correia, and Carolina Garcia Estevez. "Editorial Joelho 10." Joelho Revista de Cultura Arquitectonica, no. 10 (December 25, 2019): 005–15. http://dx.doi.org/10.14195/1647-8681_10_0.
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The title of this issue is composed by three moments of focus: Team 10 / Debate and Media / Portugal and Spain. The main focus addresses Team 10 as a group of architects who were dealing with the renovation process of Modern Architecture after the Second World War. Known as an informal group, Team 10 was however a platform of discussion, based on a complex network of several individual links with schools of architecture, architectural magazines, editors, writers and artists. That network is analysed in the second moment of focus. The last moment is a cultural and geographical one. In part because of their specific languages and political situations, Portugal and Spain were two countries geographically and culturally far from the centre of Europe. Although, despite that distance, there were many architects who managed to break this cultural detachment.
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Lopes Dias, Tiago, and Rui Jorge Garcia Ramos. "The notion of limit in architectural theory. Two case studies in Portugal." ZARCH, no. 14 (November 3, 2020): 58–69. http://dx.doi.org/10.26754/ojs_zarch/zarch.2020144293.
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Modern Portuguese architecture has been seen as the result of an eminently empirical and intuitive practice, dissociated from any effort of theoretical structuring. This paper intends to contradict that predominant view, presenting the notion of spatial limit as a subject that earned particular consideration from a younger, more critical and intellectually demanding generation of architects. Firstly, it introduces two notions directly related to limit - ‘extensions of the dwelling’ and ‘transition-space’ - presented in theses by Nuno Portas (b. 1934) and Pedro Vieira de Almeida (1933-2011) respectively, two highly innovative works in the academic panorama of early 1960s. Next, it focuses on the fundamental role each of the notions taken in investigative works that are parallel in time but substantially different. The first, Habitação evolutiva, is a typological study reflecting the spirit of its time by claiming the ‘right to the city’ as the founding principle of a model critical of CIAM urbanism. The second is an essay stemming from a critical reflexion on the work of an eclectic architect that eludes categorization (Raul Lino, 1879-1974) which sheds light on the need for a critical approach to the history of modern architecture.
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Vaz Milheiro, Ana, and Filipa Fiúza. "Women Architects in Portugal: Working in Colonial Africa before the Carnation Revolution (1950–1974)." Arts 9, no. 3 (July 31, 2020): 86. http://dx.doi.org/10.3390/arts9030086.
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How did women architects shape a modern world in the late period of Portuguese colonial Africa, just before the Carnation Revolution? The specific role of women in Portugal working in colonial African architectural culture has now started to be addressed by Portuguese and Lusophone-African historiography. During the 1950s, the presence of women in the metropolitan schools of architecture was reduced. Of those who could graduate, few actually worked as architects. Most were absorbed by the commonly feminine roles, resulting from marriage and from the ideal of family promoted by the Estado Novo dictatorship. To the ones that risked prosecution for working outside the family, the option of jobs associated with the feminine universe, such as teaching, was privileged. Among those who were emancipated from this pattern, the majority worked in familiar partnerships, regarded as an extension of marriage. The women architects that follow the husbands in their African emigration often ended up having the opportunities to work in their professional field partly due to the lack of qualified technicians, and to the high demand of commissions. This paper not only seeks to outline a perspective on these women, but also tries to understand the context of their work by presenting two case-studies in the late in the late period of Portuguese Colonisation: Maria Carlota Quintanilha and Maria Emilia Caria.
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Pérez-Moreno, Lucía C., and Patrícia Santos Pedrosa. "Women Architects on the Road to an Egalitarian Profession—The Portuguese and Spanish Cases." Arts 9, no. 1 (March 23, 2020): 40. http://dx.doi.org/10.3390/arts9010040.
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The 1970s was a key decade in the path towards democracy in the Iberian Peninsula. Portugal and Spain suffered deep social, cultural and political changes, with Salazar’s and Franco’s Totalitarian Regimes ending in 1974 and 1975 respectively. In both countries, located side-by-side in the Western end of Southern Europe, democracy was finally established, marking a turning point in the liberties of all Iberian citizens, but especially in regard to women’s life and work. As the Editorial of the Special Issue ‘Becoming a Gender Equity Democracy: Women and Architecture Practice in Spain and Portugal’, this text aims to briefly present this panorama to appreciate the particularities of Portugal and Spain in relation with the delay incorporation of women to the architecture profession. It explains the gender stereotypes of Salazar’s and Franco’s Regime in order to understand the discrimination against women that they produced and how it maintained women far from the architecture profession. Therefore, it provides useful data on the incorporation of women into architectural studies in order to understand the feminization of this gendered profession in both countries. This Special Issue aims to create an opportunity for researchers and scholars to present discussions and ongoing research on how democracy affected women that wanted to practice architecture as well as architectural analysis of women architects.
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Mascarenhas-Mateus, João. "Construction History and the History of Construction Cultures: Between Architecture and Engineering in Portugal." Buildings 10, no. 4 (March 28, 2020): 65. http://dx.doi.org/10.3390/buildings10040065.
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This paper aims to debate the epistemological boundaries of construction history, in relation to the fields of history of architecture and the history of engineering, using Portugal as a case study. The concept of construction culture is used to broaden the analysis, avoiding the old dichotomy between architects and engineers. Instead, construction history (understood as the history of construction cultures) aims to integrate the contributions of all actors in this sector of activity, such as contractors, materials and machine producers, traders, and public and private institutions. The history of architecture and the history of engineering in Portugal serves to illustrate the extent to which the study of how a community built in a particular space, at a particular time, is fragmented in the present age. The conclusions highlight the limits of a history that has been interpreted mainly from the point of view of the activity of architects and engineers. This paper also explores the potential of a history of construction cultures as a constructum in constant transition and under constant discussion, capable of explaining the set of problems involved in this millennia-old human activity.
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Novas-Ferradás, María, María Carreiro-Otero, and Cándido López-González. "Galician Female Architects—A Critical Approach to Inequality in the Architectural Profession (1931–1986)." Arts 9, no. 1 (March 4, 2020): 33. http://dx.doi.org/10.3390/arts9010033.
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The remoteness of Galicia, a cultural and linguistic bridge between Portugal and Spain, did not prevent it from playing a significant role in the history of female architects in the Iberian Peninsula. Nine Galician pioneers have carved the path since the first generation of Spanish female architects outlined the precedents during the Second Spanish Republic (1931–1939). They were also present in an initial period, even if housewifization theories were intensively fueled by the dictatorship (1939–1975); likewise during the continuity period in the transition to democracy (1975–1982), and the second wave of feminism. However, it would not be until progressive democratic institutionalization (1982–1986) that more women gained access to architectural studies in university (consolidation period); but what is the legacy of these pioneers? Are Galician female architects ‘in transition’ yet? Based on data primarily collected by research group MAGA and released publications, this piece explores how, despite their achievements, their recognition is still superficial. And even if the number of undergraduate students reached quantitative equality, female practitioners continue to leave architecture and these numbers are increasing. Towards a critical approach to inequality in the profession, this article researches the history—and stories—of Galician female architects to examine how far we are from effective equality in the Galician architectural world.
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Pinto, Paulo Tormenta. "Cassiano Branco. Modern Visions of an “Inconvenient” Architect." Modern Lisbon, no. 55 (2016): 30–37. http://dx.doi.org/10.52200/55.a.v6it95op.
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Cassiano Branco (1897-1970) belonged to the pioneer generation of modern Portuguese architects, who worked during the years of the dictatorship. During the 1930s, Cassiano produced an anti-conservative and eloquent architecture, contrasting with the guidelines of the regime. The discomfort about his personality came also from his ideological opposition to the government. Among his peers he has been considered “an exception to the rule”, working, mainly for private investors, on programs for rental housing, movie theaters and tourism facilities, which were built along the boulevards of Lisbon or in the natural and intact regional areas of Portugal.
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Fevereiro, António Francisco Arruda de Melo Cota. "THE ART NOUVEAU TILES AS FRAMES TO ARCHITECTURE IN LISBON." ARTis ON, no. 2 (February 12, 2016): 62–74. http://dx.doi.org/10.37935/aion.v0i2.44.
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The combination of tile with architecture has been used in Portugal for centuries. It achieved a unique level of artistry by the end of the 19th century and beginning of the 20th century. The use of new colours and modern stylizations were explored during the Art Nouveau period. The tile was used as a frame for architectural features in order to enhance the building. By then all the elements were intended to be harmoniously combined as a whole.A span of case studies, chronologically ordered, illustrates the role and evolution of tiles used during this period, when tiles were designed by academic painters or architects. The comparison of projects published, or kept in archives, with the actual buildings led to a new understanding about this artistic period in Portugal and, particularly, in Lisbon and its surroundings.
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Dias, Tiago Lopes. "Ética e Arquitetura: a responsabilidade de uma novíssima crítica em Portugal." Latin American Journal of Development 3, no. 5 (September 22, 2021): 2997–3013. http://dx.doi.org/10.46814/lajdv3n5-025.
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O argumento do presente texto defende que o “Novo Brutalismo”, sendo indiscutivelmente um debate arquitetónico de origem britânica, era movido por um princípio universal: a adesão intelectual aos problemas do seu tempo. A luta contra o academicismo e o historicismo, a aceitação da realidade e das diferentes formas de cada cultura construir o seu habitat, e a crescente importância atribuída aos utilizadores da arquitetura, constituem pontos essenciais para a revisão dos modelos arquitetónicos levada a cabo no pós-guerra. Estes princípios despertam o interesse de uma nova geração de arquitetos portugueses cada vez mais crítica e atenta ao debate internacional, que os assimila por coincidência de interesses, mais do que por conexão ou influência direta. A metodologia adotada passa por recuperar alguns argumentos dos textos de 1955 e de 1966 do crítico Reyner Banham, o principal ideólogo do Novo Brutalismo, com particular incidência nas propostas dos arquitetos Alison e Peter Smithson e o seu papel no grupo Team 10. Após se introduzirem as origens e o contexto do debate, esboça-se o panorama da situação portuguesa nesses anos, com especial incidência na difusão da “novíssima” geração de arquitetos (sensivelmente, os nascidos entre finais de 1920 e inícios de 1930) por iniciativa da revista Arquitectura. Finalmente, apresentam-se os argumentos de dois representantes dessa geração —Nuno Portas e Pedro Vieira de Almeida— cuja relação com o brutalismo não reside em questões estéticas, de forma ou de tratamento das superfícies, mas sim em questões éticas, ou seja, de compromisso com a “utilidade social da arquitetura”. Num primeiro momento, expõe-se um debate em torno à habitação coletiva centrado em métodos e posições críticas, que se complementa num segundo momento com uma breve abordagem a uma obra de arquitetura na qual ambos têm responsabilidade.
The argument of the present text argues that the "New Brutalism", being arguably an architectural debate of British origin, was driven by a universal principle: the intellectual adherence to the problems of its time. The struggle against academicism and historicism, the acceptance of reality and the different ways each culture builds its habitat, and the growing importance given to the users of architecture, are essential points for the post-war revision of architectural models. These principles have awakened the interest of a new generation of Portuguese architects that is increasingly critical and attentive to the international debate, assimilating them through coincidence of interests, rather than through direct connection or influence. The methodology adopted involves recovering some arguments from the 1955 and 1966 texts of the critic Reyner Banham, the main ideologue of New Brutalism, with particular focus on the proposals of the architects Alison and Peter Smithson and their role in the Team 10 group. After introducing the origins and context of the debate, the panorama of the Portuguese situation in those years is outlined, with special focus on the diffusion of the "brand new" generation of architects (roughly those born between the late 1920s and early 1930s) through the initiative of the magazine Arquitectura. Finally, we present the arguments of two representatives of this generation -Nuno Portas and Pedro Vieira de Almeida- whose relationship with brutalism does not lie in aesthetic questions, of form or surface treatment, but in ethical questions, i.e., their commitment to the "social utility of architecture. In a first moment, a debate around collective housing centered on methods and critical positions is exposed, which is complemented in a second moment with a brief approach to a work of architecture in which both have responsibility.
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Gonçalves de Carvalho, Carmo, Inês Flores-Colen, and Paulina Faria. "Rehabilitation of renders of old buildings in Portugal." Structural Survey 33, no. 4/5 (November 9, 2015): 337–53. http://dx.doi.org/10.1108/ss-04-2015-0024.
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Purpose – The purpose of this paper is to present a proposal for a methodology to support the rehabilitation project of renders of old buildings. Design/methodology/approach – To achieve the objective it was considered essential to define the main types of participants and aspects to integrate the proposal. The research methodology consists in an inquiry presented to several professional participants in rehabilitation, a market study of materials and products available in Portugal, the design of a methodology proposal and its application to a case study. The inquiry sample totals 24 answers from the targeted professionals. A sequence of relevant supporting procedures consists in the proposal, which aims to provide a supporting methodology to decide and project in this context and also to be tested with its application to the building. This proposal was applied to an old building with load-bearing stone masonry walls and air-lime-based renders. Findings – It was concluded that the assessment of the building and ex+ternal renderings’ condition, its diagnosis and of the supporting walls, the definition of intervention, the specification of materials to be used and performance requirements to comply, and also plans for conservation and periodic maintenance, are crucial. From the inquiry, compatibility between materials and complementary roles and points of view of different types of participants in rehabilitation must be highlighted. Originality/value – A proposal for a methodology to support the project could provide useful guidance particularly for architects and construction engineers, and improve the understanding of direct participants on site, therefore contributing for the correct implementation of the intervention.
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Montaner, Josep Maria, and Zaida Muxí Martínez. "Modern Housing: Heritage and Vitality." Modern Housing. Patrimonio Vivo, no. 51 (2014): 10–11. http://dx.doi.org/10.52200/51.a.m3ws825n.
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One of the main subjects in contemporary architecture is how to deal with the physical and intellectual requirements of transforming modern housing. Joan Busquets points out in his contribution to this issue, that the special effort made by modern architects and progressive housing politics during the 20th century must be reinterpreted and followed today. Intentionally, this issue brings a special focus on the Iberoamerican world, specifically Spain, Portugal and Latin America, with the aim of relocating it in a cultural world of predominantly Anglo-American historiography. In any case, it presents a very wide spectrum, including North America, Switzerland and Great Britain. For this reason the projects are presented as case studies, both housing politics in different countries, and paradigmatic architectural examples, either positive or negative.
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Salvatore, Silvia Di. "Towards a Modern Lisbon through the Work of João Guilherme Faria da Costa for the Lisbon City Council (1938-1948)." Modern Lisbon, no. 55 (2016): 8–15. http://dx.doi.org/10.52200/55.a.f1er6cca.
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The urban planner João Guilherme Faria da Costa (1906–1971) is a leading figure of the generation of modern Portuguese architects, who distinguished himself by an intense professional activity in the field of urban planning since the 1930s, which is when this discipline was introduced into Portugal. In fact, with the institution of the Estado Novo regime (1933–1974), a completely new era was initiated for Portuguese urban planning, which evolved from being mostly the result of private initiative, to becoming an instrument for the public control of urban transformation. Faria da Costa, who worked for the Lisbon City Council from 1938, participated directly in some of the great urban transformations of the Portuguese capital which took place during this period.
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Ramos, Rui Jorge Garcia, Eliseu Gonçalves, Gisela Lameira, and Luciana Rocha. "State-Subsidised Housing and Architecture in 20th-Century Portugal: A Critical Review Outlining Multidisciplinary Implications." Challenges 12, no. 1 (March 1, 2021): 7. http://dx.doi.org/10.3390/challe12010007.
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Stable access to affordable quality housing is a core feature of public health principles and practices. In this report, we provide an update on the research project “Mapping Public Housing: A Critical Review of the State-subsidised Residential Architecture in Portugal (1910–1974)” (MdH), developed between 2016 and 2019 at the Faculty of Architecture of the University of Porto (FAUP) in Portugal. This funded research project (PTDC/CPC-HAT/1688/2014) brought together an international and multidisciplinary team composed of architects, sociologists, historians, an economist, an anthropologist, information scientists and archivists, from different academic levels (senior researchers, postdoctoral, PhD and Master’s degree students), adopting a variety of approaches and operating in a range of different contexts. The aim of the research undertaken was to investigate the reality of social and state-subsidised housing in terms of its architecture, while, at the same time, seeking to broaden our understanding of this phenomenon and of the transition to a democratic regime. Furthermore, this research project was designed to contribute towards the development of common ground for supporting decisions in the environmental, social and economic fields relating to housing management, as well as architectural heritage management and protection. This review is based on the submitted application (2015) and final report (2020).
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De Carvalho, António Da Silva Ferreira. "ALVALADE: once modern never old (but age-friendly)." Joelho Revista de Cultura Arquitectonica, no. 9 (December 25, 2018): 152–70. http://dx.doi.org/10.14195/1647-8681_9_9.
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Portugal, namely, Lisbon had in the middle of the 20th century a young and growing population for which new and modernist housing solutions were designed, turning the new Alvalade district into a modernist laboratory. But time passed by and half a century later, at the dawn of the new millennium, Alvalade was already a NORC (Naturally Occurring Retirement Community): its initial population had aged in place (Pastalan, 1990), making it a modernist environment now inhabited by older people who were no longer the stylish MOD inhabitants envisioned by modernist architects in the 50’s. This is the main issue we will address in this article: how to reuse and adapt this modernist global environment (public spaces, buildings, and interiors), respecting its high-quality design standards and yet turning it into an age-friendly community as a case study for wider dissemination.
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Doroz-Turek, Małgorzata. "LIVING TRACES OF HISTORY – PORTUGUESE APPROACH TO CONSERVATION ON THE EXAMPLE OF RELIGIOUS BUILDINGS IN LISBON." Structure and Environment 15, no. 2 (June 30, 2023): 99–112. http://dx.doi.org/10.30540/sae-2023-010.
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The article addresses the issue of the Portuguese conservation approach to religious buildings in Lisbon that have been damaged by cataclysms. The aim is to show approach to both preserving the original substance and changing the function of the sacral building. After the tragic destruction of Lisbon in the mid-18th century was followed by the use of the ruins of the Carmelite monastery church, Convento do Carmo, for adaptation into the Archaeological Museum. Church of the Nossa Senhora da Conceição Velha, also acts as a remnant of historic events. The Church of St Dominic is also an example of atypical conservation and restoration. Another one is the adaptation the São Julião church on the Museum of the Bank of Portugal. That projects are examples of pioneering conservation activities conceived as a result of the conservation practice of Portuguese architects.
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Silva, Manuel, Fernando Rodrigues, António Jorge Fontes, and André Fontes. "Participatory Methods: the Exemplary Case of the Bela Vista “Island” in Porto (2013-2017)." Sociological Journal 28, no. 1 (March 29, 2022): 40–60. http://dx.doi.org/10.19181/socjour.2022.28.1.8837.
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The authors summarize the origin and evolution of the urban “island” of BelaVista in Porto, Portugal, since the 19th century. Despite local residents mobilizing in the wake of the revolution of April 25th 1974 in the context of the urban housing and design initiative (Local Ambulatory Support Service — Serviço de Apoio Ambulatório Local, SAAL), they were unable to renovate the crumbling neighbourhood. The Residents’ Association, resisting the onslaught of demolition strategies that were driven by real estate interests, eventually managed, with the support from a technical team of architects, social scientists and activists, to mobilize residents and ensure the political commitment of an independent parliamentary candidate in order to rehabilitate the “island” of Bela Vista. The project was also subsequently supported by the Councillors of Culture and Urbanism. Though various quantitative (survey) and qualitative (interviews, life stories) methods were applied in the study, the article highlights and expands on the action-research method opposite to positivist assumptions.
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Fialho, João Pedro do Carmo. "Railway Station Buildings: An Architect Engineer Experience." Advances in Science and Technology 103 (August 2020): 1–9. http://dx.doi.org/10.4028/www.scientific.net/ast.103.1.
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Innovative Aspects in Design Practice of Railway Stations Buildings Requires to Overcome Difficulties Related, among Others, Permanent Circulation of Trains, Maintenance of Accessibilities, Urban Contextualization, Performance, Economy and Sustainability of Solutions. for this Reason, from the early Stage of Architectural Genesis of a Railway Station Building Design it is Necessary an Understanding of the Essential Problems such as Functional Requirements, Tectonic Elegance and Feasibility of Structures. it is Essential a Broad Understanding of Structural Engineering and Capacity to Appropriate Explanation of the Idealized Solutions to the Structural Partners.In this Context Proposed Paper Intends to Present the Author Experience. Additionally, and Based on the Author's Experience in Teaching Curricular Units within the Scope of Architecture Technologies at the Lisbon School of Architecture, a Reflection is Made about the Importance of the Training Component of Architects in the Area of Structural Systems as an Enhancer of Innovative Architectural Projects.The Projects Presented Correspond to the Author's Activity in Portugal on Railway Passenger Stations Buildings of REFER E.P. Rede Ferroviária Nacional, over the Last 25 Years, as Architect and Structural Engineer Senior Partner in ENARCO, Gabinete De Engenharia e Arquitectura, Lda, in which he Promoted the Study of Projects Establishing a Vision of Synthesis between the Architectural and Structural Concept. these Aspects will Be Discussed through Case Studies of Platform Metallic Sheds Based on the Author Design Experience. the Studies Relate Mainly to Three Levels of Intervention: Rehabilitation of Existing Facilities; Variant Projects; Remodeling of Preexisting Infrastructures. the Design Conditions, the Design Concepts and the Structural Solutions Developed will Be Referred. the Studies are Presented by Chronological Order of Design Conclusion.
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De Vos, Els, Selin Geerinckx, Inês Lima Rodrigues, and Ana Vaz Milheiro. "Post-WWII Modernism with a glaze." Docomomo Journal, no. 68 (September 1, 2023): 8–17. http://dx.doi.org/10.52200/docomomo.68.01.
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Post World War II European modern housing often exhibited a Corbusian influence, but Le Corbusier was not embraced to the same extent everywhere, as noticed during exchanges between the University of Lisbon and the University of Antwerp in the ambit of the COST-Action 18137 on MCMH. While Belgium has several 1950s social housing projects, strongly indebted in its Unité d’habitation in Marseilles, Portugal does not. There, social housing architecture remained rather conservative, even though Corbusian features manifested themselves in some middle-class mass housing projects, such as the complex on Avenida Estados Unidos da América in Lisbon (1954-1966) designed by Lucínio Cruz, Alberto Ayres de Sousa and Mário Oliveira. While the housing blocks are on pilotis, they also have notable Art-Deco elements. In Belgium, free-standing modernist housing on pilotis with Art-Deco features also appears, such as the housing project at the Jan De Voslei in Antwerp designed by Jos Smolderen (1952-1967). These Modernist/Art-Deco hybrids have never been explored in depth because they are considered not radical enough. However, these cases shed light on how (older) architects mediated between traditional architecture and Modernism, between their own preferences and those of the state or housing company. They illuminate the political, social, and urban context in which these buildings were created. This paper explains why the principles Belgian architects applied to social housing were closer to Lisbon’s middle-class housing than their similar buildings for low-income housing. Based on cross-referencing archival material, legislation, on-site observations, and a study of the political, urban and social context, this paper posits a re-reading of Le Corbusier’s legacy in middle-class housing in Lisbon versus Antwerp.
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Carbonel Villanueva, José. "La rehabilitación como oportunidad de evolución de la fachada ligera. Caso de estudio: el Colegio de Arquitectos de Cataluña." Devenir - Revista de estudios sobre patrimonio edificado 4, no. 8 (March 12, 2018): 75. http://dx.doi.org/10.21754/devenir.v4i8.156.
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RESUMENLa arquitectura moderna se caracteriza por su flexibilidad y fácil adaptación a las transformaciones. Las fachadas ligeras son muestra de ello, gracias a las mutaciones ventajosas que han aparecido en la envolvente en los últimos años. En este trabajo se intenta demostrar que a través de la rehabilitación de una fachada moderna es posible encontrar vías que señalen el camino de la evolución. En 2014, 12 propuestas de despachos españoles resultaron finalistas del concurso de la rehabilitación de la fachada del Colegio de Arquitectos de Cataluña (COAC), edificio que se encuentra dentro del Registro DOCOMOMO ibérico, el cual agrupa a los edificios del movimiento moderno más significativo de España y Portugal. Esta investigación confrontará las propuestas mediante el análisis de sus mejoras, agrupadas en cuatro aspectos arquitectónicos: tecnológicos, económicos, socio-ambientales y formales. Estas mejoras se abordan a través de estrategias que, por su recurrencia, finalmente señalarán los vectores de evolución para este caso.PALABRAS CLAVESvectores de evolución, rehabilitación fachada moderna, BarcelonaABSTRACTModern architecture is characterized by its flexibility and easy adaptation to changes. Light weight facades, thanks to the advantageous mutations that have appeared over the past years regarding building wraps, are an example of this. This essay will attempt to demonstrate that in the exercise of rehabilitating a modern facade it is possible to find ways that show the path of evolution. In 2014, 12 proposals made by architecture offices, mainly Catalan, were finalists of the contest for the rehabilitation facade of the Architects’ Association of Catalonia (COAC), a building that is located within the "Iberian DOCOMOMO Registry", which groups the most significant buildings of the Modern Movement of Spain and Portugal. This investigation will confront the proposals through the analysis of their improvements, grouped into four architectural aspects: technology, economics, socio-environmental concerns and formal concerns. These improvements are addressed through strategies, which by virtue of their recurrence will finally indicate the vectors of evolution for this case.KEYWORDSdevelopent vector, rehabilitation modern facade, Barcelona
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Mateus, L., J. Fernández, V. Ferreira, C. Oliveira, J. Aguiar, A. S. Gago, P. Pacheco, and J. Pernão. "TERRESTRIAL LASER SCANNING AND DIGITAL PHOTOGRAMMETRY FOR HERITAGE CONSERVATION: CASE STUDY OF THE HISTORICAL WALLS OF LAGOS, PORTUGAL." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 5, 2019): 843–47. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-843-2019.
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<p><strong>Abstract.</strong> Conservation planning is a complex process involving a wide range of agents such as architects, engineers, conservators and archaeologists. Their integrated inputs contribute to the definition of criteria for the conservation project and the conservation strategy. In this process, graphical documentation is a common denominator to all involved areas-of-expertise. It provides the basis for the dialog between agents coming from different fields of knowledge that often don’t speak the same technical language nor share the same codes. The way this dialog can be improved through documentation is the main motivation of our study.</p><p>In this paper we analyze the requirements of digital documentation in Cultural Heritage (CH) conservation strategies, and we tackle the fundamental role of photogrammetry and terrestrial laser scanning (TLS), and integrated implementation throughout the several steps, from the fieldwork to the conservation planning for CH sites. The described process is demonstrated through the case study of ‘the conservation project of the historic walls of Lagos’, in south Portugal.</p><p>After introduction and related work, the study is structured in four main sections. In the second section, we present the case study and conduct an analysis of existing data and preliminary synthesis of heritage values related to the historic walls of Lagos. Second section corresponds to an overview of the project workflow. This spans from recording and documentation, considering geometry, colour, light, materials and degradation forms; to their analysis and diagnosis, resulting in criteria and guidelines for the intervention actions. Third section emphasises on how the simultaneous use of photogrammetry and TLS in the documentation process, and its relationship with other methods and techniques, introduces a distinctive character in the conservation project. Fourth section is about the documentation process with photogrammetry and TLS. Finally, fifth section focus in the analysis and architectural project.</p>
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Saraiva, Tatiana Santos, Manuela Almeida, Luís Bragança, and Maria Teresa Barbosa. "Verification of the Adequacy of the Portuguese Sustainability Assessment Tool of High School Buildings, SAHSBPT, to the Francisco de Holanda High School, Guimarães." Sustainability 11, no. 17 (August 22, 2019): 4559. http://dx.doi.org/10.3390/su11174559.
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Sustainable development can be achieved through several activities. The building and construction sector (B & C sector) is one of the major industries, and it can play a crucial role in the improvement of the most relevant environmental impacts. Nowadays, there are major concerns related to sustainability in construction. All types of buildings have different technical aspects; therefore, it is required to develop specific sustainability assessment tools. A school building has peculiarities connected to aspects of sustainability, as it is a building planned to offer adequate environments for the education of adolescents and children. This article shows the application of the SBTool methodology developed specifically for Portuguese high schools, SAHSBPT (Sustainable Assessment for High School Buildings) methodology, that is being elaborated by the first author in her PhD Thesis. This methodology allows architects, engineers and designers to improve sustainability in school buildings, in projects or in the rehabilitation of buildings. The objective of this research is to apply that evaluation tool in order to verify the efficiency of this methodology, as well as to recognize the level of sustainability of the Francisco de Holanda High School Building, in Guimarães, Portugal. The values found in the application of the Sustainable Assessment for High School Buildings in that high schools demonstrate a good result, as the overall value is A, 75% of the total result.
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Cardoso, Rui, Jorge Pinto, Anabela Paiva, and João Carlos Lanzinha. "Earth-based construction material field tests characterization in the Alto Douro Wine Region." Open Engineering 7, no. 1 (December 29, 2017): 435–43. http://dx.doi.org/10.1515/eng-2017-0048.
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AbstractThe Alto Douro Wine Region, located in the northeast of Portugal, a UNESCO World Heritage Site, presents an abundant vernacular building heritage. This building technology is based on a timber framed structure filled with a composite earth-based material. A lack of scientific studies related to this technology is evident, furthermore, principally in rural areas, this traditional building stock is highly deteriorated and damaged because of the rareness of conservation and strengthening works, which is partly related to the non-engineered character of this technology and to the knowledge loosed on that technique. Those aspects motivated the writing of this paper, whose main purpose is the physical and chemical characterization of the earth-based material applied in the tabique buildings of that region through field tests. Consequently, experimental work was conducted and the results obtained allowed, among others, the proposal of a series of adequate field tests. At our knowledge, this is the first time field tests are undertaken for tabique technology. This information will provide the means to assess the suitability of a given earth-based material with regards to this technology. The knowledge from this study could also be very useful for the development of future normative documents and as a reference for architects and engineers that work with this technology to guide and regulate future conservation, rehabilitation or construction processes helping to preserve this important legacy.
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Nuno Grande. "In praise of light and shadows." Sophia Journal 5, no. 1 (December 1, 2020): 82–85. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_07.
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The interaction of light and shadow has always fascinated architects, and even more so since Le Corbusier’s famous quote from 1923, published in Vers une Architecture, in which he describes architecture as “the learned game, correct and magnificent, of forms assembled in the light”. This game, which thus motivated the painters of Purism and Cubism – among whom Le Corbusier would come to be included – contributed in great part to the definition of the aesthetic ideals of the artistic avant-garde in the West in the first half of the 20th century. Associated with the purity of crystal, with the idea of total transparency, and with the blurring of the boundaries between the interior and the exterior, this very same game served as the conceptual premise of (and later as a critical challenge to) the architecture of the Modern Movement. The counterpoint to the purist and crystalline impetus of modernism would emerge, and indeed one of many, by way of “In Praise of Shadows”, a reference to the book written in 1933 by Junichiro Tanizaki. In this work, the author examines how Oriental culture (in contrast with Western culture) has always sought to shield the interior space from the invasion of light and from exterior views by use of trees, porches, patios, shutters, and translucent sliding doors or dividers (the Japanese shôji). It is not by accident that many of these traditional elements would once again come to be adopted by Western architecture from the late 1950s onward in its search for vernacular values deriving from a broad variety of cultures. Having studied in these seminal years of critical review of the Modern Movement and coinciding with the publication of the Survey on Regional Architecture in Portugal – (Inquérito à Arquitetura Popular em Portugal) (1955-1961), the young architect Álvaro Siza learned from Fernando Távora – his former teacher and mentor – to appreciate not only the effect of light on forms (Távora himself admitted to being an avid admirer of Le Corbusier), but also to stroll about the shadows in traditional habitats (Távora would gather important teachings from Japanese architecture during his grand tour in 1960 and filtering it through another great influence of his: Frank Lloyd Wright). These different “phantom-characters” would come to also occupy the imagination of the young Siza, and to them he added references to Alvar Aalto, Bruno Taut or Adolf Loos, at the moment of considering the relationship between the individual and the collective space, between the domestic and the monumental scale, between the window and the city. The photographic work of Mark Durden and João Leal focusing on Álvaro Siza’s work in Porto – now published by Scopio Newspaper – goes in search of not only this same game of shadows upon the target surfaces of the façades and the interiors of the buildings but also the multiplicity of transparencies and penumbras that unfold through their ample glazed windows. [...]
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Jakovlevas-Mateckis, Konstantinas, and Lina Kostinaitė. "SOME ASPECTS OF MINIMALISM IN MODERN LIBRARY ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 30, no. 2 (June 30, 2006): 97–104. http://dx.doi.org/10.3846/13921630.2006.10697070.
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The paper presents a short review of the development tendencies of academic and public libraries. In the period of the last two decades the features of minimalistic expression became stronger in the architecture of libraries. The main criteria revealing minimalistic expression in architecture are investigated: simplicity, geometry, light, integrity and statical character. Such libraries as the Library of Porto University (Portugal, 1996), the Library of Delfo Technological University (Holland, 1998), distinquish themselves in simplicity of forms and clearness of structure. Minimalists consider colour and light as the main elements of modelling and forming space and size. For example, the Royal Library called “Black Diamond” is distinquished by a black façade (Denmark, 1999).The newest works of minimalists expanded the concept of minimalistic form. Minimal form in architecture may be expressed not only by primary geometrical figures, but by rather plastic derivatives as well. Two different works of Japanese architects splendidly illustrate it: it is of quadratic plan rectangular prism practically glass mediateka in Sedai town (2001) and of irregular cylinder (egg form) entirely glass library in Morioka town. The authors of the paper present a conceptual project of the Public Library in Vilnius, prepared in 2003, which has distinct features of minimalistic architecture. The building’s form is rational–a quadratic prism one wall of which is concaved inside what gives the building expressiveness and attraction. Minimalism in library architecture reveals the changed conception of modern library as well.
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Sampaio, Alcínia Zita, and Rafael V. Lozano-Diez. "BIM short course for construction industry professionals = Curso corto en BIM dirigido a los profesionales de la industria de la construcción." Advances in Building Education 4, no. 3 (December 1, 2020): 23. http://dx.doi.org/10.20868/abe.2020.3.4508.
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The Building Information Modelling (BIM) methodology is currently the main work platform in the construction industry, and all sectors have been enhancing its applicability. The demonstration of the benefits registered in the development of various activities motivates the great interest. affirmed by architects, engineers and managers, in knowing its concept and the scope of its applicability. Recently, higher education technical schools have been following this interest, introducing changes into their curricular programs and also offering short courses to construction industry professionals. In recent years, the Department of Civil Engineering of the University of Lisbon, Portugal, has organized courses concerning BIM with the aim of meeting the professionals’ needs. To this end, the most recent short course offered to the technical community covered aspects, from the parametric modelling concept to the analysis of the interoperability capacity of the software. The text presents the course program - concept, practice, structures and construction - and the assessment of the degree of satisfaction of participants, based on their pre-course expectations and interest they had in attending the course. It can be concluded that the school and the industry should continue to collaborate in order to reinforce the efficiency of the construction sector.ResumenLa metodología Building Information Modelling (BIM) es actualmente la principal plataforma de trabajo en la industria de la construcción, y todos los sectores han estado potenciando su aplicabilidad. La demostración de los beneficios registrados en el desarrollo de diversas actividades motiva el gran interés, verificado por arquitectos, ingenieros y gestores, por conocer su concepto y el alcance de su aplicabilidad. Las escuelas técnicas han estado siguiendo este interés, introduciendo cambios en sus programas curriculares y ofreciendo también cursos cortos a profesionales de la industria de la construcción. El Departamento de Ingeniería Civil de la Universidad de Lisboa, Portugal, ha estado organizando cursos sobre la cuestión BIM, en una perspectiva de lograr las necesidades de los profesionales. En este caso, el curso corto más reciente ofrecido a la comunidad técnica abarca varios aspectos, desde el concepto de modelado paramétrico hasta el análisis de la capacidad de interoperabilidad. El texto presenta el programa del curso (concepto, práctica, estructuras y construcción) y la evaluación del grado de satisfacción de los participantes, confrontado con sus expectativas e interés en asistir al curso. La escuela y la industria han estado colaborando para potenciar la eficiencia del sector de la construcción.
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Sampaio, Alcinia Zita. "The University of Lisbon’s Short Professional Course in BIM: Practice, Construction, Structures and Historic Buildings." Architecture 2, no. 2 (May 20, 2022): 406–23. http://dx.doi.org/10.3390/architecture2020022.
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The implementation of building information modeling (BIM) methodology in the construction industry has wide applicability with recognized benefits when designing, constructing, and operating buildings. To stay competitive in business, companies are urged to recruit professionals that offer brand-new knowledge and skillsets. To meet this demand, BIM training regarding the concept, range of applications, and tools available is required within the construction profession. A recent short course organized by the University of Lisbon, Portugal, actualized with the most relevant achievements in Master’s degree research, was offered to professionals in the industry, namely, architects and civil engineers coming from diverse engineering areas such as the environment, construction, maintenance, contracting and surveyors, and from patrimonial enterprises and public organizations, as well as city councils. The proposed action covers the areas of construction (conflict analysis, planning, and material quantity), structures (interoperability, analyses, and the transfer of information between software types), and the most recent heritage building information modeling (HBIM) perspectives. The methodology used was based on the presentation of case studies related to situations of conflict between disciplines, interoperability problems, and the structural rehabilitation of old buildings. The difficulties found in the course are mainly due to the heterogeneity of the participating population, who have different interests and specific perspectives. The participants followed the course with great interest and satisfaction, formulating several questions directed at the particular field of expertise of each professional. In general, the participants indicated a positive score, and changes in response to negative feedback will be adopted in future courses. The course aims to contribute to the dissemination of the potential of BIM in the design, construction, and refurbishment of historical buildings.
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Talhinhas, Pedro, João Cunha Ferreira, Vera Ferreira, Ana Luísa Soares, Dalila Espírito-Santo, and Teresa Afonso do Paço. "In the Search for Sustainable Vertical Green Systems: An Innovative Low-Cost Indirect Green Façade Structure Using Portuguese Native Ivies and Cork." Sustainability 15, no. 6 (March 20, 2023): 5446. http://dx.doi.org/10.3390/su15065446.
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Green façades in the urban environment represent points of biodiversity value, contributing to species conservation, acting as urban wildlife corridors connecting elements, and also aiming at sustainability, when the materials and structure are thoughtfully chosen. Ivies (Hedera spp.) are perennial climbing evergreen plants that are easy to cultivate and demand little input, and their use in vertical green systems is much appreciated but may lead to damage to the constructions in the long term. Among the 14 species of Hedera currently recognized, a few have been bred into cultivars and are available in the market for cultivation, often as exotic species. Four Hedera spp. are native to Portugal, but most cultivated species in this territory are exotic and the suitability of native species for their use in green façades has not been documented. Thus, in the present work, we describe the installation of a low-cost indirect green façade structure supported on cork panels using plants belonging to the native H. iberica and H. hibernica. The structure is installed at the Ajuda Botanical Garden, under Mediterranean conditions, on a brick and cement wall, and will enable researchers and landscape architects to follow the development of this structure as a long-term experiment, prompting the use of native species toward increased biological and technical sustainability. The preliminary results indicate that the cork structure is able to provide adequate support for the plants and that these were able to climb and develop in this structure, avoiding direct contact with the wall and the possible subsequent damage. Therefore, the structure provides a viable solution to implementing sustainable green façades with native species, on brick-cement walls, able to be replicated in other urban locations under similar environmental conditions.
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Tostões, Ana. "Brutalism and Nature. The Gulbenkian Foundation Buildings (1959-1969)." Modern Lisbon, no. 55 (2016): 50–57. http://dx.doi.org/10.52200/55.a.rbpu9plo.
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The Calouste Gulbenkian Foundation headquarters and museum complex (1959–1969) headed a fundamental role in building science in Portugal, as it contributed to the accomplishment of a Modern Movement design committed with a high level of construction quality, showing that there was more beyond Modern Movement formalism. Inaugurated in 1969, it was designed to create a pleasant environment, providing prospects from inside at various angles to the grove of trees and the surrounding land. As a mega-structure designed under a multi-disciplinary design and construction team it achieved a high level of technical excellence and comfort, whilst beautifully linking the building and garden. Located in central Lisbon, within a park with an area of 7.5 ha, occupying an area of 25.000 m2, it was designed by the architects Alberto Pessoa (1919–1985), Pedro Cid (1925–1983) and Ruy Jevis d’Athouguia (1917–2006) with the collaboration of the landscape designers Ribeiro Barreto (1924–2013) and Gonçalo Ribeiro Telles (1922–). The construction gathered an international interdisciplinary team of specialists. The most up-to-date techniques were adopted, including reinforced and pre-stressed concrete in its construction. Some figures illustrate the volume of these buildings: 150,000 m3 of excavation, 45,000 m3 of concrete, 3,200 t of steel, 100 km of power cables, 50,000 m of air conditioning pipes and 3,500 kW of installed electrical capacity. The architectural design expresses the structure. The aim of having a dominant horizontal line that guaranteed the image of a low building hugging the land and the wish to emphasize the long slabs of concrete that constituted the visible image of the built complex called for a very creative structural concept. The impact that the complex has had and the way in which it has manifested the effectiveness of its qualities, such as formal sobriety and restraint, have confirmed the close relationship between the conception process and the construction site. With its garden it has created the very image of the prestige and innovation of the Foundation itself.
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Borges, Vera, and Manuel Villaverde Cabral. "Les architectes au Portugal : entre la vocation et la profession." Sociologie de l'Art OPuS25&26, no. 1 (2015): 153. http://dx.doi.org/10.3917/soart.025.0153.
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Lobo, Susana. "Conceição Silva, "the architect of tourism"." Joelho Revista de Cultura Arquitectonica, no. 10 (December 22, 2019): 148–63. http://dx.doi.org/10.14195/1647-8681_10_9.
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In 1973, Gustavo Gili published the Spanish version of Planning and Design for Leisure, by Georges Candilis. In the Introduction, the author emphasised that "from the moment we admit that mass leisure is in the process of becoming a crucial phenomenon of contemporary civilisation, we have the duty ¼ to clarify its true meaning, its content, its varied and multiple aspects, as well as the growing and preponderant role it is called to have in our society". From the disciplinary point of view, the situation demanded "a new architecture: the architecture of leisure".
For Candilis, one of the founders of Team 10, tourism projects associated with the emerging welfare and mass consumer society represented the opportunity to test new urban planning and housing models which, as an alternative to the practices inherited from modernity, reclaimed denser patterns of territorial occupation and more diversified formulas of living. Many of the principles expressed by Candilis had already been announced by José Antonio Coderch, also a member of Team 10, in the unbuilt project of the Torre Valentina holiday complex, presented in 1959 at the last CIAM. The difference was now in the scale of the interventions. Responding to the democratic ideal of "leisure for the greatest number", there is an evolution in the traditional forms of tourism exploration, with the hotel giving way to the holiday mega-structure and the city of leisure. In Portugal, the protagonist of this transition would be Francisco Conceição Silva, “the architect of tourism”.
Keywords: Team 10, Georges Candilis, Architecture and Urbanism, Mass Tourism, Conceição Silva
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Craveiro, Maria de Lurdes. "Jean de Rouen architect. The dome as reason and science in devotional construction." digitAR - Revista Digital de Arqueologia, Arquitectura e Artes, no. 7 (December 28, 2020): 69–83. http://dx.doi.org/10.14195/2182-844x_7_5.
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A cobertura do espaço devocional com a opção da cúpula constitui uma estratégia do desenho arquitetónico que se afirma em Coimbra e em Portugal com a chegada de Jean de Rouen. Tema oriundo da cultura clássica e sempre conotado com a centralização dos planos, caberia a Jean de Rouen introduzi-lo na plasticidade retabular que organiza o mundo devocional na igreja cristã do século XVI. Mas, ao mesmo tempo que a dimensão cósmica aí instalada capta a natureza científica do discurso, ultrapassa também a fronteira “bidimensional” do retábulo. Rapidamente, a solução da cúpula passaria a integrar um conjunto harmónico entre o espaço criado e as formas e entre os elementos de arquitetura e o ornamento e a decoração. Com particular incidência na região centro de Portugal e na área de atuação de Jean de Rouen, as novas capelas erguidas passariam frequentemente a adotar um sistema de cobertura a partir do qual se reconhece a marca do artista francês. Identificase também um carácter erudito e apoiado na sua presumível formação na Normandia e em todos os contributos fornecidos pela Itália do Renascimento e pela tratadística. Mais do que um mero escultor de figura avulsa ou retabular, Jean de Rouen está talvez mais preocupado com a definição do espaço e com as questões relacionadas com a proporção e o equilíbrio no usufruto do espaço.
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Sucena, Sara, and João Castro Ferreira. "Fernanda Seixas, a Woman’s Take on Architecture as Social Intervention." ZARCH, no. 18 (September 2, 2022): 134–47. http://dx.doi.org/10.26754/ojs_zarch/zarch.2022186244.
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This paper sheds light upon architect Fernanda Seixas (1942-2017) as a trailblazing woman in her disciplinary field in Portugal. Her archives, a set of interviews, and bibliographical research allow us to pinpoint certain characteristics that make her stand out amongst her peers, and consider her as a woman succeeding in a ‘male profession’. Trained during an era of political dissent in which she actively participated against the dictatorship of Estado Novo in the 1960s, Seixas created her own practice right after the 1974 revolution and envisaged her work as a space of socio-political activism. In the 1980s her social consciousness broadened to include environmental concerns and she became a pioneering architect on the issues of energy efficiency and bioclimatic architecture. This technical approach combined with her social ethos stand out in her planning projects and built work.
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Corbalán de Celis y Durán, Juan. "Las obras públicas de Quito en los primeros años del siglo xvii según la documentación del Archivo de Indias." Cliocanarias, no. 3 (2021): 1–22. http://dx.doi.org/10.53335/cliocanarias.2021.3.07.
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In the years 1601-1604, in the time of the governor Lope de Mendoza, several urban works aimed at fixing the streets and bringing drinking water to their sources, urban reforms that had already begun his predecessor Diego de Portugal. In this short period of time he will carry out an important improvement of the roads of his district with the construction of seven bridges over its plentiful rivers, works these last ones that we believe all of them were carried out by the architect Juan del Corral
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Azevedo e Silva, José Manuel. "A geografia mítica e real do Atlântico, na visão de Leonardo Torriani." e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes 07 (2021): 169–88. http://dx.doi.org/10.53943/elcv.0221_12.
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In 1584, King Philip II of Portugal invited the Italian militar architect Leonardo Torriani to reorganize the defensive system of the Canary Islands, threatened by English and French privateers and pirates. Torriani remained there until 1593. King Philip II did not limit himself to fulfilling his royal duties. Based on direct observation and on all kinds of written and oral information, he left us the manuscript 314 of the Reserve Section of the General Library of the University of Coimbra, an important documental source of historical, geographical, cartographic, artistic and linguistic nature, illustrated with the most beautiful watercolors.
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Lameira, Gisela, Rui Jorge Garcia Ramos, Nuno Valentim, and Azar Mohammadpanah. "Good Architecture Matters: The Architect’s Perspective on Design for Ageing and Energy Efficiency." Buildings 13, no. 4 (April 18, 2023): 1067. http://dx.doi.org/10.3390/buildings13041067.
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Custom-built solutions for ageing, urban regeneration, energy efficiency, thermal performance, and well-being are contemporary challenges that have prompted considerable research over the past decades. In the construction field, subjects such as energy efficiency and thermal performance are often addressed within the scope of mandatory regulations, the suitability of construction solutions and the incorporation of technical equipment. Considering four residential structures for older adults under construction in Portugal, this paper aims to highlight the importance of a comprehensive approach to these issues, including architectural quality as the main target. In pursuit of this, a cohesive set of intervention principles guided the analysis: the adaptive reuse of raw materials; taking advantage of the site’s conditions; vegetation (type and location); construction options and durability; solar exposure and shading; the pedagogy of building use; and the comfort and thermal perception. Several reflections emerge from the analysis: good architectural design must consider dynamic models incorporating each context and the site’s conditions; the culture of use and maintenance and the notion of “adaptive comfort” are primary factors to enhance thermal performance and energy efficiency; and each building is a unique result of a complex negotiation process. Bridging research through practice, and multidisciplinary scientific integration enable engagement with reality and raise awareness of the constraints and challenges to innovation in LTC design.
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Ordóñez-Castañón, D., T. Cunha-Ferreira, and S. Sánchez-Beitia. "INTERVENTION IN VERNACULAR ARCHITECTURE: THE LESSON OF FERNANDO TÁVORA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 123–30. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-123-2020.
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Abstract. This article seeks to analyse the methodology and principles underlying the interventions of the Portuguese architect and professor Fernando Távora (1923–2005) in the conservation and renovation of vernacular architecture in the north of Portugal. The publication of his essay O problema da Casa Portuguesa (1945), his attendance at the last CIAM meetings (1952–1959) and his participation in the Survey on Popular Architecture in Portugal (1956–1961) reaffirmed his belief in creating a modern architecture that respected the values of local traditions. The features of the so-called “third way” – building a bridge between tradition and modernity – are to be found not only in his ex novo works, but also in his conservation and renovation of rural constructions, such as the house of Quinta da Cavada in Briteiros (1989–90) and another house in Pardelhas (1993–99). Based on the evidence of these case studies, this paper will focus on the features of his particular modus operandi: a case-by-case approach, a deep knowledge of vernacular constructions, the recovery of traditional materials and techniques supported by the ancestral knowledge of local craftsmen, respect for the preexisting scale through the use of ‘anonymous design’ and ‘subtle modernity’, visible in such gestures as the colour treatment, furniture design, joinery, light fixtures, door handles or metalwork. Finally, the paper will also reflect on the importance of Távora’s teachings about interventions in vernacular architecture in Portugal, as well as on the future challenges for the preservation of this scattered heritage in the light of the current abandonment and depopulation of rural areas.
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Pereira, Paulo Manta. "“Urbanistic Architecture” according to Raul Lino." Enquiry The ARCC Journal for Architectural Research 17, no. 1 (June 19, 2020): 1–27. http://dx.doi.org/10.17831/enq:arcc.v17i1.1064.
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Over a period of nearly one hundred years, Raul Lino (1879-1974) experienced the profound political, social and economic changes that marked the twentieth century in Portugal. Having been born during the Constitutional Monarchy (1822-1910), he lived through the First Republic (1910-1926), the Military Dictatorship (1926-1933), the Second Republic, or Estado Novo (New State, 1933-1974), and died shortly after the Carnation Revolution of 25 April 1974, at the dawning of the Third Republic. He was an architect who published prolifically in Portugal, having become known through his advocacy of the Campanha da casa Portuguesa (Portuguese House Campaign), which provoked a great deal of controversy. The debate peaked with the Polémica da casa Portuguesa (Polemic of the Portuguese house) at the Calouste Gulbenkian Foundation in 1970, after the inauguration of the retrospective exhibition on Raul Lino. He is less known for the quality of his transversal synthesis conceived between urbanism, architecture, the decorative arts, and its underlying affirmation of an idea of the city, which we conjecture from our analysis of his narrative. This analysis concentrates on eleven case studies that encompasses architectural projects, urbanistic plans and technical advice limited to the first half of the 20th century. The broad, cross-disciplinary position of Lino was defended in the same year as the First National Architecture Congress (1948), whose proposals ratified in Portugal the orthodoxy principles of modern architecture and urban planning for the new universal man-type, established in 1933 by the International Congresses of Modern Architecture (CIAM). Quoting Aristotle, Raul Lino conceived the city as the locus of happiness, shaping forms of consensus between tradition and modernity by means of an architecture at the scale of man and in proportion to his circumstance, consistently outlining a modern possibility of continuity.
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Parnisari, Elena. "Os bairros das crianças. Laboratório urbano de mulheres para promover-participação infantil no Bairro do Lagarteiro." Astrágalo. Cultura de la Arquitectura y la Ciudad, no. 33-34 (2023): 353–71. http://dx.doi.org/10.12795/astragalo.2023.i33-34.18.
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O artigo desenvolvido no âmbito da tese de doutoramento em arquitetura de Elena Parnisari pretende apresentar a metodologia aplicada no estudo de caso, evidenciar o trabalho de cooperação desenvolvido entre diferentes atores de distintas áreas disciplinares e a forte componente feminina que o caracteriza, no sentido de promover bairros mais justos e cuidadosos. Com este trabalho pretende-se investigar se é possível formular políticas urbanas mais inclusivas, a partir da exploração da corresponsabilidade em bairros sociais, ao assumir as crianças como indicadores da desigualdade urbana e como determinantes do desenho urbano inclusivo. Entre janeiro e setembro de 2022 foram desenvolvidos dois laboratórios nos bairros de habitação social Lagarteiro e Contumil, Porto, Portugal, através da implementação de oficinas de diagnóstico urbano. Este artigo apresenta o caso específico do bairro do Lagarteiro com nove atividades realizadas, possíveis graças a uma equipa interdisciplinar exclusivamente feminina de académicas, membros de associações e instituições e amigas que aderiram ao projeto, ofereceram o seu trabalho, disponibilidade e cuidado em torná-lo realidade. O projeto visa o envolvimento e a coparticipação das crianças e das suas mães no desenho urbano e das políticas públicas, a fim de criar espaços mais inclusivos para todos os cidadãos, partindo de uma perspectiva cuidadora do espaço público. Os principais resultados do projeto que se querem evidenciar no artigo são a rede que se criou entre instituições locais, solidificada pela solidariedade feminina ao participar num projeto comum, bem como as respostas obtidas das crianças e a sua consequente emancipação em relação ao tema.
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Ascensão, António, Laura Costa, Cláudia Fernandes, Franklim Morais, and Catarina Ruivo. "3D Space Syntax Analysis: Attributes to be Applied in Landscape Architecture Projects." Urban Science 3, no. 1 (February 5, 2019): 20. http://dx.doi.org/10.3390/urbansci3010020.
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The article delves into the potential application of space syntax methodology to landscape architecture. Anticipating the complexity of the landscape architectural design process, the use of 3D space syntax analysis made it possible to better understand the relations between urban space shapes and their functions. The application of an iterative process of project improvement optimizes the fulfilment of the landscape architect vision, through changes in ground shaping, selection of tree species and their spatial distribution. This article explores the vegetation attributes of vegetation that are necessary to consider in landscape architecture projects in the context of the DepthSpace 3D software, using the case study of an urban park in Maia—Portugal. To achieve this, it was necessary to define the attributes to be inserted in the software. The main attributes of vegetation that can be employed in landscape architecture projects are form and dimension, growth speed, and visual permeability (opacity) of the crown in winter and summer. The software proved itself a useful tool, not only in studying and evaluating the effects of the final design, but also during project development.
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Ordóñez-Castañón, David, Teresa Cunha-Ferreira, and Santiago Sánchez-Beitia. "Adaptive Reuse of Manor Houses: Modernism and Tradition in Fernando Távora’s Approach for Heritage Renovation." International Journal of Sustainable Development and Planning 16, no. 3 (June 22, 2021): 569–78. http://dx.doi.org/10.18280/ijsdp.160318.
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This article seeks to analyze the methodology and principles underlying the intervention of the Portuguese architect and professor Fernando Távora (1923-2005) in the renovation of manor houses in the north of Portugal. Throughout his renowned professional career, Távora designed the refurbishment of numerous country houses, managing to adapt uses and spaces to the new requirements without undermining their strong identity in the landscape and their historical and architectural values. Thus, the study of his particular methodology can provide design guidelines to approach the adaptive reuse of this cultural legacy with respect for its heritage values, especially in rural areas undergoing a severe process of depopulation and agro-productive transformation. Three case studies have been selected in order to determine the evolution and consolidation of his practice: The Casa da Igreja in Mondim de Basto (1958-1961), the Casa da Covilhã (1963-1988) and the Casa da Breia (1984-1985). These renovation projects reveal careful analysis of the preexistence, supporting sensitive introduction of new elements with subtle contemporary expression in respectful continuity with the forms and atmospheres of the past.
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Neto, Teresa. "PORTUGUESE INTERNATIONAL PAVILIONS AND NATIONAL STYLE — ARCHITECTURE TENDERS SHAPED BY POLITICAL AND CULTURAL AGENTS." ARTis ON, no. 7 (December 23, 2018): 101–10. http://dx.doi.org/10.37935/aion.v0i7.197.
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Universal exhibitions were true emblems of modernity in the nineteenth and twentieth centuries, as vehicles of artistic and technical paradigms of each country. Portugal’s participation, from the first Republic to the Estado Novo regime encompass different political and economic circumstances which moulded the strategies to adopt in each participation, and therefore the architectural style that should be used to convey a certain image of the country. The concept of ‘Empire’ dominates the discourse, to be translated into appropriate architectural options of its exhibition pavilions. This sparked a debate between architects and key cultural and political agents, selected as jurors for the architectural tenders held for the Portuguese Pavilions. Evaluating these events means identifying pivotal participants, their proposals and their thoughts on the issue of a representative ʻnational styleʼ. This particular period also dwells with the issue of implementing modern architecture, distanced from eclectic historicisms yet rooted in vernacular elements.
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Waelkens, Marc, and Edwin Owens. "The Excavations at Sagalassos 1993." Anatolian Studies 44 (December 1994): 169–86. http://dx.doi.org/10.2307/3642990.
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During 1993 the excavations at Sagalassos continued for their fourth season from 3 July until 19 August. From 21 until 28 August a survey was carried out in the district immediately south and south-east of the excavation site. The work was directed by Professor Marc Waelkens (Dept. of Archaeology, Catholic University of Leuven). A total of 45 Turkish workmen and 62 scientists or students from various countries (Belgium, Turkey, Great Britain, Portugal, France, Austria and Greece) were involved in the project. The team included 25 archaeologists, 8 illustrators, 8 architect-restorers (supervised by T. Patricio and directed by Prof. K. Van Balen and Prof. F. Hueber), 4 cartographers (directed by Prof. F. Depuydt), 2 geomorphologists (Prof. E. Paulissen and K. Vandaele), 2 archaeozoologists from the Museum of Central Africa at Tervuren (Belgium), 6 conservators (directed by G. Hibler-Vandenbulcke), 1 photographer (P. Stuyven), 2 computer specialists and 4 people taking care of everyday logistics. The Turkish Antiquities Department was represented by Mrs. Nurhan Ülgen for the first and by Mrs. Aliye Yamancı for the second half of the season, whom we both thank for their much appreciated help and collaboration.
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el-Dahdah, Farès. "The Dislocation of Brazil’s Capital: a Long-Standing Project." Brasilis, no. 43 (2010): 14–21. http://dx.doi.org/10.52200/43.a.nbsa4dnd.
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Dislocating the capital to Brazil’s interior highlands is a long standing project in the country’s history. The project was first linked to the transfer of the royal court from Lisbon to the Portuguese America, where a metropolis would be established in what until then had been a colonial purveyor of goods. Until 1953, the quest for a worthy capital involved many factors such as the establishment of a Portuguese empire in the Americas, Portugal’s repudiation of an Ancien Régime monarchy in the South Atlantic, the formation of a counter hegemony in a former colony, or the construction of a unified, republican, and modern Brazilian nation. As Lúcio Costa - the architect of the final iteration of Brazil’s new capital - once put it: “it was a century-old purpose, always postponed.”
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Waelkens, Marc, Edwin Owens, Ann Hasendonckx, and Burcu Arikan. "The Excavations at Sagalassos 1991." Anatolian Studies 42 (December 1992): 79–98. http://dx.doi.org/10.2307/3642953.
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During 1991 large-scale excavations at Sagalassos continued for their second season from 13 July until 5 September. The work was directed by Professor Marc Waelkens (Dept. of Archaeology, Catholic University of Leuven). A total of 42 scientists from various countries (Belgium, Turkey, Great Britain, Germany and Portugal) as well as 25 local workmen (supervised by Mr. Ali Toprak) carried out the work. The team included 20 archaeologists, 4 illustrators (supervised by G. Evsever and R. Kotsch), 4 architect-restorers (directed by Prof. R. Lemaire and Dr. K. Van Balen), 3 cartographers (directed by Prof. F Depuydt), 2 geologists (directed by Prof. W. Viaene), 2 geomorphologists (Prof. J. De Ploey and Prof. E. Paulissen), 1 archaeozoologist (Dr. W. Van Neer), 1 anthropologist (Dr. Chr. Charlier), 2 restorers for the small finds (directed by Miss K. Norman) and 1 photographer (P. Stuyven). The Turkish Antiquities Department was represented by Muhammet Alkan from the Sivas Museum, whom we thank for his help. Financial support came from the Research Council of the Catholic University of Leuven, the Belgian Fund for Collective Fundamental Research (F.K.F.O.), the Belgian Programme on Interuniversity Poles of Attraction (I.U.A.P. no 28), the National Bank of Belgium, the ASLK/CGER Bank, the tour operator ORION, the car rental company Interleasing, the restoration company E. G. Verstraete & Vanhecke N. V., Agfa-Gevaert films and the association “Friends of Sagalassos”.
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De Carvalho, Daniela Dias. "Urban design and architecture through notation." Ekistics and The New Habitat 73, no. 436-441 (December 1, 2006): 323–29. http://dx.doi.org/10.53910/26531313-e200673436-441133.
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The author attended Ginasiano Dance School in Porto, Portugal where she studied contemporary and classical Dance , and ESAP (College of Arts, Porto) where she graduated in Architecture. Seeking to congregate her experiences in architecture and dance, she developed her graduation thesis on Notation: Architecture and Dance. After graduation, she was invited to join two art research centers, Centro de Estudos Arnaldo Araújo and Instituto de História da Arte, as a researcher. As an architect, she worked in two offices of architecture - Noventa Graus and Off 4- for two years, on a project for the Center for Performing Arts in Portalegre, and on a contest for the Music Conservatory in Coimbra, among other projects. Simultaneously, she has worked with Kale Dance Company and Círculo Portuense de Opera, in several dance and opera performances, either as a dancer or a stage assistant director. For three years now, she has also taught young children at Ginasiano Dance School developing Expressões, a project that aims to develop the individual through Art in an altogether involvement with movement expression, visual arts, music and drama. The text that follows is a slightly revised and edited version of a paper presented at the international symposion on "Globalization and Local Identity," organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005.
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Tostões, Ana. "Gonçalo Byrne interviewed by Ana Tostões." Modern Lisbon, no. 55 (2016): 78–82. http://dx.doi.org/10.52200/55.a.3nsva8ux.
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On July 2016, Ana Tostões interviewed the architect Gonçalo Byrne who has been deeply reflecting, writing and interviewing in the city through projects of reference, in order to broadly understand the evolution of the city, with an emphasis on the modernity of the 1758 Baixa Pombalina Plan, and its contemporary and future potential, grounded in its roots. Gonçalo Byrne was born in 1941, Alcobaça, studied architecture at the Lisbon School of Fine Art (1968) and is Doctor Honoris Causa (2005) from the Technical University of Lisbon and the University of Alghero. He has been professor in several universities such as the University of Navarra, the University of Alghero, the Accademia di Architettura di Mendrisio, the Katholieke Universiteit Leuven, the École Polytechnique Federale de Lausanne, the Università IUAV di Venezia, the Harvard University, the Politecnico di Milano and the University of Coimbra. He is the principal of Gonçalo Byrne Arquitectos, in Lisbon, with an extensive work both in terms of scale, program and context, including urban planning and building design, urban renewal and project management such as the renewal of the Bank of Portugal headquarters (with João Pedro Falcão de Campos), the renewal of the Thalia Theatre in Lisbon (with Barbas Lopes Arquitectos), the renewal of the Machado de Castro National Museum in Coimbra, the renewal of the Trancoso Castel and the renewal of the Santa Maria Abbey surroundings in Alcobaça. He has received the AICA Award (1988), the Valmor Award (2000), the Gold Medal from the France’s Académie d’architecture Française (2000) and the Piranesi Prix de Rome (2014).
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Tostões, Ana. "Manuel Salgado interviewed by Ana Tostões." Modern Lisbon, no. 55 (2016): 74–77. http://dx.doi.org/10.52200/55.a.wdsh9h4l.
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On August 2016, Ana Tostões interviewed the architect Manuel Salgado, councilor of the Municipality of Lisbon since 2007, in order to discuss the main policies undertaken and his ideas on urban planning in its connection to mobility infrastructures, public space and the continuous reconstruction of park and green areas, in Lisbon. Manuel Salgado was born in 1944, Lisbon, and studied architecture at the Lisbon School of Fine Art (1968). From 1971 to 1982, he was the technical responsible for the architectural office CIPRO and in 1984 he became manager of the architectural office Risco. From 2002 to 2008, he was architecture professor, at Instituto Superior Técnico. He has participated in conferences worldwide and widely published, on urban planning, and has designed major urban projects and buildings in Portugal: the Belém Cultural Centre (with Vittorio Gregotti), the Lisbon Theatre and Film School, the Polytechnic Institute of Setúbal, the Expo’98 public areas, the FC Porto Dragão Stadium, the Lisbon Luz Hospital, etc. His architectural and public space projects received several awards: the Valmor Award (1980, 1998), the International Award Architecture in Stone (1993), the AICA Award (1998); the Portuguese National Design Award (1999) and the Brick in Architecture Award (2003). Within the Municipality of Lisbon, he took the position of councilor of the Urbanism and Strategic Planning Department in 2007, which accumulates, from 2009 to 2013, with the Municipality Vice-Presidency. Currently, as councilor, heads the Department of Planning, Urbanism, Urban Rehabilitation, Public Space and Construction of the Municipality of Lisbon.
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Bleich, Marcia Campos. "Joaquim Tenreiro: mobiliário moderno artesanal." Jangada: crítica | literatura | artes, no. 8 (May 1, 2018): 138–56. http://dx.doi.org/10.35921/jangada.v0i8.124.
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Resumo: Nascido em Portugal, Joaquim de Albuquerque Tenreiro, mudou-se definitivamente para o Brasil, no ano de 1928, após passar duas temporadas em terras brasileiras. De sua família herdou a profissão de marceneiro que, ligada à sua grande paixão pelas artes plásticas, possibilitou transformar seus móveis em peças diferenciadas, esculturas em marcenaria, palha e couro. Tenreiro estudou as madeiras brasileiras e introduziu no cenário nacional móveis esteticamente modernos, representados por peças dignas das mais importantes escolas de design da Europa. Em sua juventude, desejava ser arquiteto. Não teve a chance de se dedicar à formação acadêmica, mas, é reconhecido como um dos criadores do mobiliário moderno brasileiro. Embora distante dos movimentos de arquitetura e design do início do século XX, ele criou um mobiliário moderno, de formas limpas, em total sintonia com as ideias defendidas pelas escolas de arte que tiveram início na Europa no período entre guerras, principalmente a escola de Arte, design e arquitetura da República de Weimar, denominada Bauhaus. Tenreiro teve importante contribuição na criação do mobiliário brasileiro e, embora sua obra seja sempre estudada e apresentada como moderna, sua defesa do trabalho artesanal se apresenta como uma contradição pois, na visão dos idealizadores do modernismo europeu, os designers deveriam estar preparados para criar peças que seriam desenvolvidas em série e não de forma artesanal.
Palavras-chave: Joaquim Tenreiro, Mobiliário Moderno, Modernismo, Mobiliário brasileiro, Design de Interiores.
________________________Abstract: Born in Portugal, Joaquim Tenreiro Albuquerque, he moved permanently to Brazil in 1928 after spending two seasons in Brazilian lands. His family inherited the profession of cabinetmaker that linked to his great passion for art, enabled turn your mobile into different pieces, sculptures in carpentry, straw and leather. Tenreiro studied Brazilian woods and entered the national scene aesthetically modern furniture, represented by pieces worthy of the mostimportant European design schools. In his youth, he wanted to be an architect. He did not have the chance to devote himself to academic education, but is recognized as one of the creators of modern Brazilian furniture. Although far from architectural movements of the early twentieth century design, he created a modern furniture, clean shapes, in tune with the ideas defended by the art schools that began in Europe in the interwar period, especially the Art School, design and architecture of the Weimar Republic, called Bauhaus. Tenreiro had an important contribution to the creation of the Brazilian furniture and although his work is always studied and presented as modern, his defense of craft work is presented as a contradiction because, in the view of the creators of European modernism, designers should be prepared to create pieces that would be developed in series and not by hand.
Keywords: Joaquim Tenreiro, Modern Furniture, Modernism, Brazilian Furniture, Interior.