Aires Mateus, Bak Gordon, Carrilho da Graça, Siza Vieira Curated by Julia Albani, José Mateus, Rita Palma e Delfim Sardo - PDF

Pavilion of Portugal 29 August 21 November 2010 Aires Mateus, Bak Gordon, Carrilho da Graça, Siza Vieira Curated by Julia Albani, José Mateus, Rita Palma e Delfim Sardo Università Ca' Foscari Dorsoduro

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Pavilion of Portugal 29 August 21 November 2010 Aires Mateus, Bak Gordon, Carrilho da Graça, Siza Vieira Curated by Julia Albani, José Mateus, Rita Palma e Delfim Sardo Università Ca' Foscari Dorsoduro 3246 (Calle Foscari) 10am-18pm Tuesday closed CONTENTS Program 03 Text by Gabriela Canavilhas, Minister of Culture 04 Press Release 05 Curatorial Statement 06 Houses 12 Films 14 Biographies 18 Images 26 Credits 32 Map & Contacts 34 PROGRAM PROFISSIONAL PREVIEW DAYS: 26, 27, 28 Agosto 2010 Thursday, August 26th, 2010: reserved for press agencies, dailies, weeklies, TV and radio press and chief editors, correspondents (nominated by chief editors) of art and architecture periodicals Friday, August 27th and Saturday, August 28th, 2010: non-specialized periodicals and all categories mentioned above. PAVILION OF PORTUGAL Exhibition Opening 27 August 2010 at 6 p.m. Università Ca' Foscari (Calle Foscari) CONFERENCE 27 August 2010 Auditorium Santa Margherita 10 a.m. 1 p.m. Aires Mateus, Bak Gordon 3 a.m. 6 p.m. Carrilho da Graça, Siza Vieira The 12 th International Architecture Exhibition La Biennale de Venezia receives a representation from Portugal which demonstrates the excellence of Portuguese contemporary architecture. Álvaro Siza Vieira, Manuel and Francisco Aires Mateus, João Luís Carrilho da Graça and Ricardo Bak Gordon were the architects chosen by means of four already built projects, four houses representing four different views and architectural cultures on a very dynamic horizon in the ways of thinking and doing architecture. One of Portugal s most important symbolic assets is its architecture. Our architecture, on national territory and nowadays present in many countries, showcases the creative capacity and technical know-how of the contemporary generations. The new generation of Portuguese architects has continued the splendid work of its predecessors through innovative and competent projects that have marked national and international public space. No place like is the unfinished phrase that presents our exhibition in Venice. It refers not just to the importance of private space but also to the quality of such spaces perhaps, indeed, there are no houses like these. The challenge the Venice Biennale curators put to the artists Filipa César, João Onofre, João Salaviza and Julião Sarmento consisted of commissioning them to make four films about the four houses by the architects of the Portuguese representation. I believe this approach brings a larger audience into contact with the works on show, in so far as it develops other reading processes which enable a better grasp of the architectural content. The partnership with the Lisbon Architecture Triennale to undertake this representation is an example of possible ways to work with civil society on projects where the public interest does not necessarily have to be assumed by the state alone. It also serves to publicise the Triennale, which opens in Lisbon soon after the Biennale gets under way in Venice, connecting this initiative to the international calendar of landmark architecture events. Portuguese architecture merits the attention and commitment of decision-makers, the national and international public and the diverse players in the sector. It enhances our country s visibility and demonstrates the vitality of contemporary Portuguese creation. Portugal s presence in Venice is an example of that. Gabriela Canavilhas, Minister of Culture PRESS RELEASE A city district moored like a boat, a beach-house with a sand floor, another camouflaged in a city district and one looking out to the plain. How can they be exhibited? The duo Manuel and Francisco Aires Mateus, Ricardo Bak Gordon, João Luís Carrilho da Graça and Álvaro Siza Vieira are the architects representing Portugal at the 12th International Architecture Exhibition La Biennale di Venezia. The curators Julia Albani, José Mateus, Rita Palma and Delfim Sardo have chosen 4 exemplar housing projects, each from one of these architects. To show them, fictional films have been comissioned to Filipa César, João Onofre, João Salaviza and Julião Sarmento, some of the most outstanding Portuguese artists and film directors. The houses, presented through the films, are all located in Portugal, and correspond to different dwelling typologies, conditions and contexts. The houses, presented through the films, are all located in Portugal, and correspond to different dwelling typologies, conditions and contexts. The Portuguese exhibition is on show at the Ca' Foscari University, a public institution and landmark space located on the great bend of Venice's Grand Canal. Portugal's participation is organised and produced by the Directorate-General for the Arts of the Ministry of Culture, in collaboration with the Lisbon Architecture Triennale. CATALOG A 120 pages full colour catalogue, with documentation from the projects, texts from the curators, Alberto Campo Baeza, Luís Santiago Baptista, David Chipperfield, Francesco Dal Co, Jonathan Sergison and a DVD with the films will be published. Title: No place like 4 houses, 4 films 120 pages ISBN: Publisher: Directorate-General for the Arts - Portuguese Ministry of Culture CURATORIAL STATEMENT Home Home, with our bodies touching Home, and the cameras watching Home, will infect whatever you do Where home, comes to life from out of the blue David Byrne From the song Home Represent Represent is a transitive verb in the sense that it implies turning something, someone, into a present image or function. But it is also a pronominal verb, which implies a reflexive aspect: whoever represents also self represents. In this case, in so far as the curatorial team is formed by the Lisbon Architecture Triennale, this represents an understanding of architecture and the way to celebrate and communicate it, and also self represents from the standpoint proposed for the exhibition, which in many aspects will be the perspective present in Lisbon in October Houses The object of the exhibition No place like 4 houses, 4 films is to show how the house is a redeeming moment for the practice of architecture. In the history of 20 th century architecture, as well as in the economic, political and social transformations at the beginning of this century, housing (in its most literal version, as house, or in its metaphoric versions, in the meanings of dwelling in the world) built up the driving force of architectural thought. Based on this pretext, and taking the Portuguese situation as a possible object of representation, the possibility of thinking out different aspects of architectural practice by Portuguese architects led us to search for situations with three exemplary categories: first off, to present projects dealing in certain ways with the questions of site-specificity, embodying what Michel Butor called the spirit of the place ; second, to find projects which are specific cases in the careers of their authors and in the way they deal with their architectural lineages, i.e., with their axes of reference, which do not necessarily correspond to formal kinships set out in isomorphs; and, lastly, to show projects that are grounded in a complex idea of meeting understood in inter-personal, social and collective though also historical and cultural terms. The house is the place of imagery about belonging. The four houses that the No place like exhibition presents are so many other examples of up-summoned imagery regarding the dual condition of belonging and return, probably distinct from major architectural events and their mega-narratives, and built much more from oft discreet small changes, micro-events, which serve a particular decorum, a clear ethic of accommodation. In either case a high performance ethic is placed in each understanding of dwelling, thus distancing them from the Gongoristic excess marking a significant portion of contemporary architecture, or at least the architecture arising in tune with the growth from the capitalist financial boom of the last 15 years. To gain some understanding of the sensible reason for each of these projects, we shall review the four and their architects. The projects presented by the architects Francisco and Manuel Aires Mateus, Ricardo Bak Gordon and João Luís Carrilho da Graça are single family homes, while Álvaro Siza Vieira s is an exemplary case of collective housing (the Bouça project, in the city of Porto). Siza Vieira The latter is an especially interesting case study regarding the development of an affordable housing project. This is also because events dictated that the project would be built in two phases with a three-decade interval, meaning that the Bouça neighbourhood accompanied the socio-economic and cultural changes affecting Portugal from the period just before and after the 1974 Revolution on up to its completion in Work on Bouça began before the revolution. Soon afterwards it was absorbed by the exceptional Mobile Local Support Service [SAAL Serviço Ambulatório de Apoio Local], a social housing construction programme set up in Portugal in August 1974 to support needy populations which remained operational until 1976, with intense collaboration between design teams and marginal communities. The project s result was a state-backed cooperative complex corresponding to the needs of the population it would eventually house. Although totally committed to the relationship with the community, Siza Vieira always kept a distance (in the Brechtian sense of Verfremdung), allowing him to never abdicate from his ideological, aesthetic and ethical position as an architect, as José António Bandeirinha states in a recent essay (Bandeirinha, 2010). So during the heat of the revolution, during the endless and feverish discussions mixing the major desire for change with inevitable populism, Siza Vieira worked out a design typology for Bouça which corresponded to the target population s ambitions and went far beyond that aim with respect to architectural performance. The project s fate was nevertheless beset with difficulties. After the first phase was finished, about a third of the houses, the project was interrupted, to be taken up again nearly 30 years later. This time interval corresponded not only to a process of isolating the neighbourhood in the context of the city, but also to a dual process, like the two faces of Janus: on the one hand it deteriorated, while on the other the residents made various changes due to the evolution of the family groups and their perceived needs. The second phase s design (which actually completed the initial idea for the neighbourhood) thus included and reworked some of the deviations inflicted on the initial plan, given that the target population had undergone major socio-cultural changes in the meantime. The other three projects are for single family homes. Aires Mateus The project of Francisco and Manuel Aires Mateus is for a house fragmented into four constructions on the sand dunes at Comporta, a beach south of Lisbon by the Tróia Peninsula. Using two precarious wooden constructions and two other masonry ones, actually four small clandestine houses, the project by the Aires Mateus duo takes on a task as apparently simple as it is programmatic: to use the vernacular structure and maintain its presence in the beach landscape, splitting living functions among the four constructions. For its poetic exiguity, this project seems to allude to an almost proto-architectural vision. Similar to what happened with the 20 th century artistic vanguards, which found an ethical possibility for artistic practice in typologies very close to life, this project is also based on an approximation between architecture and life, which in the apparently thinned-down design uses an almost pre-architectural economy. On the other hand, the brute recourse to the beach sand s invasion via the floor of the unit containing the house s common area presents a specific aspect of the place: the ground s materiality as a hallmark of the place and its affective nature. Yet in this option s straightforwardness, easily described as the ultimate representation of the house-on-the-beach typology, there is a perverseness with respect to the design typology itself of Francisco and Manuel Aires Mateus. This might be characterised as a materialisation of negative spaces in their most well-known projects otherwise evident in the project representation stylistics they habitually use. Here, in the sunny and open nature that is indeed the negative of what happens in projects such as the Azeitão house, the circulation space is the space itself open to the sea and the sandy ground, re-materialising the previous constructions walls like outer skins containing dwelling archetypes. This house, seemingly a positive, is a negative nonetheless. And therein lies its particularity. Bak Gordon In the midst of Campo de Ourique, one of Lisbon s livelier middle class districts with its small businesses, cafés and restaurants, the buildings from the 1940s and 1950s are arranged in blocks with empty inner spaces. It was for this space that Ricardo Bak Gordon conceived a discreet and powerful house, a concrete puzzle that redefines our concept of urban space and generates a place where only a non-condition existed beforehand. The house, whose snug fit defines a complicity between German rationalism and Brazilian modernism, configures a group of patios defining a narrative. From the cinematographic standpoint it is a set behind a set, a cinecitta that recreates at eye level and can do without the urban skyline condition because it turns the eye back to itself. Like on a film set, the eye is led on a hypothetical field and counter-field movement, opening onto its interior patios, swimming pool and small garden. Up above snake the clotheslines strung out the back of middle-class buildings; we cross one through the garage door to attain this time, whose pace is marked by the passage between different long and narrative spaces. Carrilho da Graça Finally, João Luís Carrilho da Graça s project is a volute developed around a theme: the decorum of living in the south, in the Alentejo region near Évora. Carrilho da Graça has a deep understanding of this subject. He himself is from the Alentejo, that huge plain which extends south of Lisbon and occupies nearly a third of Portuguese territory. The house was also planned in very familiar contact with the client (his sister, brother-in-law and their children) and this can be seen in the clear notion of justness, precise measure, contention and affectivity (a word apparently banned from the architectural and artistic lexicon). In typological terms, this house on the outskirts of a small village and facing the plain is based on the humble horizontal Alentejo house aligned with the landscape. At first glance its structure seemingly pays tribute to traditional and typical architecture. It is approached via the most discreet façade, opaque and white to reflect the heat, and is arranged around a patio to open out to the countryside, making it a landscape. Inside, the careful handling of light and the circulating air which sweeps the house from front gate to patio seems born from the southern construction tradition. Curiously, this project also possesses its own narrative produced by its circulation arrangement, in the scenic way the space is unveiled. To a certain extent it is a project that anticipates major travelling, a huge view-sequence skimming the plain which is the source of the landscape as movement. Films How then can theses houses be shown, if not via films? On the one hand, the serial aspect (in Bouça s case), the narrative nature of Bak Gordon s house, the fiction of Aires Mateus or the intuition of the cart conveying a camera around Carrilho da Graça s house in Évora demanded depiction in films. Architecture possesses an internal cinematographic relationship, as the spatiality and haptic mobility it makes possible contains a proto-narrative aspect. An approximation can be established between the architectural space s structure and the filming procedure of cinematographic montage or editing. We could even say there is a parallel between developments arising from the camera s mobility and the clever editing of modern cinema, and the idea of spatial deconstruction traversing architecture since Russian constructivism, which changed the shape of the metropolis, with both media competing to establish the representation of the modern world. The moving image is therefore the other benefiting from the travelling body which segregates architectural space, as defined by Lefèbvre. In this regard, the invitation addressed to three fine artists and a film director to conceive film shorts representing each of the houses we present aims to restore this link between architecture and its cinema, here built up through the eyes of Filipa César, who filmed Bouça; João Onofre, who considered the house planned by Bak Gordon; Julião Sarmento, who presents the Évora house by Carrilho da Graça; and João Salaviza, who fictionalised the Comporta house by Aires Mateus. These films, which add another layer of representation systems, contain the story enabling these projects to be chosen: their individuality, their specific nature, the way they assume the idiosyncrasy of their poetics and which are paradoxically the axis of their universality. HOUSES MANUEL AND FRANCISCO AIRES MATEUS HOUSES IN COMPORTA, Grândola, Portugal Project Construction The House in Comporta is situated on the Portuguese coast 130 km south of Lisbon and involves the renovation of 4 existing structures set directly on the beach sand. The house s functions are split among the 4 constructions linked only by the sandy ground. The house comprises four pre-existing wood and masonry pieces, very pretty. The pieces are so solid, so radical, so well arranged ( ). This simultaneously splendid, primitive and future house works on the outside-in spatial continuity starting with what s most basic, most fundamental the ground. With the sand that caresses our bare feet outside and inside ( ). And even though the architect s report says that the project responds to very specific conditions, I believe that the response, and that s what s so very right about this house, is its universality. This house is a universal house. Alberto Campos Baeza, With bare feet in: No Place Like 4 houses, 4 films. Portuguese official Representation, 12th International Architecture Exhibition - La Biennale di Venezia RICARDO BAK GORDON 2 HOUSES IN SANTA ISABEL, Lisbon, Portugal Project Construction The houses in Santa Isabel are located in Campo de Ourique, a middle-class central Lisbon district with republican and liberal traditions. The project is on the inside of a city block, unseen from the street. The house in Santa Isabel, Lisbon by Ricardo Bak Gordon architects is a courtyard house, or rather a set of houses with courtyards. As a house type, the courtyard or patio house dates back to Roman times. The house in Santa Isabel, however, with its multitude of courtyards, is more closely aligned to the Chinese house type plan. This arrangement makes clever use of a site in the middle of a city block. As a result of their precise location, the houses are somewhat hidden, and neither has any outlook onto the public realm. The courtyards are arranged as a constellation of open spaces resulting in a complex spatial matrix. Each one has its own character and programme and all should be understood as outside rooms. The dimensions of the courtyards are inevitably variable and frequently generous, making it difficult to describe the concept as the carving out of a solid block. The architect has been careful with the detailing and arrangement of the roof the only truly public elevation of the houses. Jonathan Sergison, in: No Place Like 4 houses, 4 films. Portuguese official Representation, 12t
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