Architecture

A pesquisa explora os processos de contaminação positiva inerentes ao fenómeno urbano, com origem em mudanças implementadas no património edificado. Por contaminação positiva entende-se a inter-relação de factores que permite a propagação dos efeitos de determinada acção, resultando numa transformação contínua afecta a um contexto cada vez mais
abrangente do sistema urbano, com impacto na sua regeneração. Com referência a Évora (Portugal), é objectivo estudar a sua morfologia ao longo do tempo e identificar alterações na configuração espacial, acreditando que estas serão reflexo ou origem de novas dinâmicas urbanas que precisam ser melhor compreendidas. Partindo da premissa que essas alterações se
disseminam no espaço e no tempo por meio de relações sociais, assume-se a
leitura da contaminação urbana sob a perspectiva da Sintaxe Espacial,
proposta por Hillier e Hanson [1], entendendo o conceito de atractividade
do lugar segundo Whyte [2]. O uso das ferramentas configuracionais para a
reconstrução da malha urbana tem vindo a revelar-se uma estratégia promissora para compreender os processos de transformação dos assentamentos humanos [3] e para mensurar o grau de afectação de intervenções na cidade ao explorar as relações inter-partes, colaborando para o estudo da propagação dos efeitos associados à contaminação positiva.

A partir da abordagem teórica ao tema da intervenção na cidade, cujos objectivos são a regeneração
urbana e o desenvolvimento sustentável, pretende-se explorar os processos de contaminação
inerentes ao fenómeno urbano e a sua potencialidade em ampliar os efeitos de acções de
intervenção pontual. Com a experiência do estudo da Ecopista de Évora (Portugal), uma via-férrea
reciclada que desencadeou um processo de transformação na envolvente, pretende-se desenhar um
modelo preliminar de avaliação e evolução da contaminação urbana positiva, identificando o
conjunto de factores na origem desse processo. Este estudo insere-se numa investigação que visa
ampliar a presente experiência a outros casos e contribuir para a criação de um modelo estratégico
de regeneração urbana à “boleia” dos processos de contaminação. Uma vez que estes processos
demonstram a capacidade de ampliar o raio de afectação de acções pontuais, permitem alcançar
melhorias no ambiente urbano, rentabilizando recursos e reduzindo investimentos avultados.

This paper discusses the use of Space Syntax for the positive contamination processes in human settlements. It is intended to explore the contamination processes inherent to urban phenomenon and its potential to magnify the effects of given punctual intervention actions. Positive contamination means the interrelation of urban elements or factors that allow the effects propagation of a particular action resulting in a continuous transformation affecting an ever broader context of the urban system with impact on that system’s regeneration.
Nowadays, intervening in the city is associated with sustainable development and urban regeneration concepts, in a reinterpretation of the dense and compact canonical city. Projects are implemented through a planned logic which evokes the interrelationship effectiveness between global strategy and local intervention.  In parallel, it is argued that the city shape is the result of a “natural evolution” process, similar to a living system with self-regenerating capabilities. It is widely accepted that intervening in urban settlements triggers changes in corresponding dynamics and promotes a dissemination process in that system (contamination). Though, this perspective is for assessing, there are not yet appropriate methodological tools to achieve this goal.
In view of these assumptions, this paper evaluates the Ecopista of Évora intervention (Portugal), a recycled railway that started a transformation process in the environment. Considering a diachronic and relational approach of place morphological characteristics, applied to the case study, an evaluation and evolution preliminary model of positive urban contamination was drawn, identifying, qualitatively and quantitatively, the changes promoted by the intervention as well the factors at the origin of the triggered transformation process. Assuming that the dissemination of intervention effects in space comes from its inherent social relations, the reading of urban contamination generated by Ecopista intervention was assessed under the perspective of Space Syntax, proposed originally by Hillier and Hanson (1984), and place attractiveness evaluation, consolidated preliminary by Whyte (1980).
In Syntax perspective, the performances are investigated in three modelling levels: axial, segments and visibility/isovists.  Topometry variables are explored and correlated with land use data, space use intensity and socio-economic profiles. In Whyte's view, public space is evaluated by four key attributes: access/linkages, uses/activities, comfort/image and sociability which, in turn, are subdivided into qualitative and quantitative aspects. The two approaches are complementary and were discussed together.
The findings highlight the robustness of configurational tools related to Space Syntax to measure the positive contamination process in a complementary bias. The research points to the need of a rigorous registration of the intervention scenarios (before, during and after) to produce a solid database, that allows more accuracy in the systematic comparison of the time periods in order to qualify corresponding performances.
This paper is part of wider research that aims to extend this experience to other cases and contribute to the creation of a strategic model of urban regeneration boosted by contamination processes. Once these processes demonstrate ability to enlarge the effects radius of punctual actions, they will help to achieve improvements in the environment, maximizing resources and reducing investment, crucial factors in the current conjuncture.

Nadir Afonso, one of the most recognized Portuguese painters, dedicated a large part of his life to the exercise of the profession in which (after all) he graduated - architecture, a fact that even today is often ignored by the general public.
From his time in architecture, a very rich journey abroad stands out, mainly as a collaborator of two of the most influential masters of the Modern Movement: in Paris, with the French-Swiss architect Le Corbusier and, in Rio de Janeiro and São Paulo, with the Brazilian architect Oscar Niemeyer. Working with these influential authors of the Modern Movement provided him with the opportunity to participate in several remarkable 20th century architectural projects. The unique modern influences he received are highlighted, visible in the work he came to build in Portugal, with a special predominance in Chaves, his homeland.
Eventually, Nadir Afonso ended up deciding to abandon the profession of architect, to dedicate himself full time to painting and to the creation of his extensive plastic and theoretical work.

Nadir Afonso dedicated a large part of his life to the exercise of the profession in which (after all) he graduated - architecture, a fact that even today is often ignored by the general public.
From his time in architecture, he collaborated with of two of the most influential masters of the Modern Movement: in Paris, with the French-Swiss architect Le Corbusier and, in Rio de Janeiro and São Paulo, with the Brazilian architect Oscar Niemeyer. Working with these influential authors of the Modern Movement provided him with the opportunity to participate in several remarkable 20th century architectural projects. The unique modern influences he received are visible in the work he came to build in Portugal.
Eventually, Nadir Afonso ended up deciding to abandon the profession of architect, to dedicate himself full time to painting and to the creation of his extensive plastic and theoretical work.

Nadir  Afonso,  um  dos  mais  conhecidos  (e  reconhecidos)  pintores portugueses,  dedicou  grande  parte  da  sua  vida  ao  exercício  da profissão em que (afinal) se formou, a arquitectura, facto que ainda hoje é frequentemente ignorado pelo grande público.

Siza Vieira sonhou ser escultor antes de ser arquitecto; Nadir Afonso sonhou ser pintor antes de se ter tornado arquitecto. A associação destes dois nomes maiores do panorama artístico e arquitectónico contemporâneo português resultou aqui em pleno, num conjunto singular que afirma toda a sua transcendência e modernidade. A clareza do desenho proposto por Siza aproximou de forma sublime este Museu a Nadir Afonso e à complexidade do seu trabalho e pensamento artísticos, celebrando assim, da melhor forma, a sua obra e filosofia, tão singulares quanto pioneiros.

João Cepeda foi o vencedor do Prémio Arquitectos Agora, promovido pela OA. Com uma linguagem marcada e assumidamente minimal, a obra do arquitecto Shinichi Ogawa transporta para a contemporaneidade dos nossos dias os princípios fundamentais que, desde os seus primórdios e pelas suas características (sempre) tão vincadamente modernas e inovadoras, a arquitectura tradicional japonesa ensinou a tantos mestres ao longo da história, nomeadamente a Frank Lloyd Wright, que sempre a referenciou como uma das suas mais importantes influências.

The Japanese way of building and inhabiting – deeply rooted in a secular tradition, but manifesting innovative solutions – has decisively influenced many Western authors.
Regarding Portuguese context, modernity was appropriated through different moments and, lastly, through a late stage of reflexion that searched for its own unique identity. This Portuguese critical spirit which, since the mid-1950’s, progressively questioned the validity of an intransigent Modern Movement, seemingly opened doors to a humanization and contextualization of language that gradually rediscovered Wright’s organic dimension. This fact – the rediscovery of Wright’s organicity – clearly disclosed strong Japanese traits and influences.
Despite the ancestral proximity between Portugal and Japan, there is no apparent in-depth research entirely devoted to this theme, within the framework of architectural culture.
Based on these indications and time spectrum, and grasping some traces that latently lie in modern Portuguese architecture, this paper specifically focuses on the resonances that “Japan’ness” may have had on the cases of two prominent modern Portuguese architects – by discovering their enchantment for Japanese architectural and artistic culture and, finally, by analysing two (diverse) works of their authorship.

The Japanese way of building and inhabiting – deeply rooted in a secular tradition, but manifesting innovative solutions – has decisively influenced many Western authors.
Regarding Portuguese context, modernity was appropriated through different moments and, lastly, through a late stage of reflexion that searched for its own unique identity. This Portuguese critical spirit which, since the mid-1950’s, progressively questioned the validity of an intransigent Modern Movement, seemingly opened doors to a humanization and contextualization of language that gradually rediscovered Wright’s organic dimension. This fact – the rediscovery of Wright’s organicity – clearly disclosed strong Japanese traits and influences.
Despite the ancestral proximity between Portugal and Japan, there is no apparent in-depth research entirely devoted to this theme, within the framework of architectural culture.
Based on these indications and time spectrum, and grasping some traces that latently lie in modern Portuguese architecture, this paper specifically focuses on the resonances that “Japan’ness” may have had on the cases of two prominent modern Portuguese architects – by discovering their enchantment for Japanese architectural and artistic culture and, finally, by analysing two (diverse) works of their authorship.

The Japanese way of building and inhabiting – deeply rooted in a secular tradition but manifesting innovative solutions – has decisively influenced many Western authors, from Conder, Wright, Taut, Schindler, Raymond to Aalto, among others.
Regarding Portugal and its numerous modern architects, modernity was appropriated through different moments and its evolution went, lastly, through a late stage of reflexion that tried to foster its own unique regional identity within modernity.
This critical spirit present in modern Portuguese architecture which, since the mid-1950s, progressively questioned the validity of an intransigent Modern Movement, seemingly opened doors to a process of humanization and contextualization of language that gradually rediscovered, also through Zevi, Wright's organic dimension. This fact, the mid-twentieth century’s European rediscovery of Wright's organicity, clearly disclosed strong Japanese traits and influences.
Despite the ancestral proximity between Portugal and Japan, and even grasping some traces that lie in Portuguese architecture of the twentieth century, there is no apparent in-depth research entirely devoted to this theme, within the framework of architectural culture.
Based on these indications and time spectrum – since the mid-1950s, when the mythified canons of the Modern Movement seem to have been surpassed, until today –, this research focuses on all the relations and influences that Japanese architectural and artistic culture (traditional and contemporary) may have had on Portuguese modern architecture and its unique identity.
Specifically, this research is interested in all the direct and indirect connections that may have been established between the architectures of the two countries and which have been consciously translated into works, designs or intentions, revealing an enchantment for the Japanese architectural lexicon that enormously seduced Western architecture.
Therefore, this study interpretatively identifies and analyzes these relations, as well as the works that fit this purpose, with special focus on modern Portuguese architects such as Januário Godinho, Chorão Ramalho, Ruy d’Athouguia, João Andresen, Teotónio Pereira, Conceição Silva, Manuel Tainha, Fernando Távora and Álvaro Siza.

Nesta obra, a autora apresenta-nos a progressiva descoberta ocidental – nomeadamente, europeia – da arquitectura japonesa e sua arte dos jardins, através de um estudo minucioso dos principais escritos teóricos de arquitectos europeus publicados sobre o tema desde finais do século XIX até ao culminar dos anos 30 (1870-1940).

Esta tese foca-se no estudo de Nadir Afonso como arquitecto e no seu percurso pela arquitectura.
Relativamente à percepção da sua passagem pela arquitectura sobressaem os períodos de colaboração no estrangeiro: em Paris, nos ateliers de Corbusier e de Candilis, Josic e Woods, e no Brasil, no atelier de Niemeyer. A convivência com estes influentes autores do Movimento Moderno proporcionou-lhe a oportunidade de participar em projectos marcantes da história da arquitectura do século XX, ressaltando desta singular etapa as manifestas influências modernas que dela recebeu e que são visíveis na obra que veio a edificar em Portugal, com especial predominância em Chaves.
No entanto, para Nadir Afonso a arquitectura nunca emergiu como verdadeira paixão - essa foi sempre a pintura, actividade de que nunca prescindiu. Efectivamente, é habitual ouvi-lo referir que nunca gostou de arquitectura e que nunca se sentiu arquitecto.
Assim, Nadir Afonso acabou por decidir abandonar a profissão, tendo-se dedicado desde então a tempo inteiro à pintura e à criação da sua extensa obra plástica e teórica.

A fine autunno del 1954, Nadir Afonso ritornò in Portogallo da Parigi e decise di partecipare alla terza gara per la realizzazione di un monumento a Enrico il Navigatore da erigere sul promontorio di Sagres. Quell’anno – dopo che le prime due gare nel 1934 e nel 1938 non erano riuscite a condurre ad alcuna costruzione sul sito – il governo, per commemorare i 500 anni dalla morte di Enrico il Navigatore, indisse nuovamente una gara di idee per la realizzazione del monumento, stavolta di respiro internazionale.

Somos encaminhados por uma ligeira rampa em granito, à cota alta.
O percurso - que estabelece a transição entre o centro histórico e as margens do rio, enaltecendo-o - faz-se (quase) sempre de olhos postos neste corpo simples, mas de enorme plasticidade.
O silêncio da paisagem envolvente, e dos campos verdes, marca-nos a cadência dos passos.
O génio de Siza Vieira (escolhido pelo próprio Nadir Afonso) deu forma a
este elegante volume que se desenvolve ao longo do rio e que, aqui e ali, evoca subliminarmente o imaginário artístico e pictórico de Nadir.
Conferindo-lhe uma leveza particular, as lâminas que sobre-elevam o
edifício - perpendiculares ao rio, mas de orientação desencontrada - são rasgadas por uma série de aberturas que, criando interessantes enquadramentos visuais, nos remetem para as formas primárias que tanto
informaram a obra geométrico-abstraccionista de Nadir Afonso.

Architectural project designed by João Cepeda and Joana Croft Dantas, featured within the book "Genève Leçons". This book outlines the Development Masterplan work undertaken by "LAPA Studio" as a collaboration between the EPFL and the CCIG - The Geneva Chamber of Comerce and Industry. The project was one year long, with urban planning and urban development analysis, and further architectural development, with a specific focus on residential design. The book is a collection of this work, along with essays and contributions from leading thinkers and accademics from Geneva and specialists in the key areas affecting the urban development and future of the city of Geneva.