At the end of 2016 Portuguese architect João Luis Carrilho da Graça was invited to design a hotel to support the EDP's new facilities and refurbishment of its existing spaces. Carrilho da Graça is also responsible for the urban plan of the area in which the projects will be developed and built--the Zona da Boavista Nascente, between Santos and the Cais do Sodré
This article is part of our new series "Material in Focus", where we ask architects to share with us their creative process through the choice of materials that define important parts of the construction of their buildings.
This station and command post located in the Serra do Alvão, Portugal functions as a technical building supporting the wind farm. Surrounded by a unique landscape with beautiful views of the valley, the place is known for being isolated and home to a rather hostile climate, exposed to strong winds and extreme temperatures. We talked with architects Ricardo and Sofia Senos of the M2.SENOS studio to learn more about their material choices and the challenges of the project.
As the common phrase attests, “history is written by the victors.” We therefore know that the story of the West is that of Europe and the United States, while the other actors in world history are minimized or invisible: it happened to the Chinese and Japanese during World War II, to the Ottoman Empire in sixteenth-century Europe, and to racial majorities in the common reading of Latin American independence. The same thing happens in architecture.
The current boom of the Global South is based not only on new work, but rather on the recognition of an invisible architecture which was apparently not worthy of publication in the journals of the 1990s. The world stage has changed, with the emergence of a humanity that is decentralized yet local; globalized, yet heterogeneous; accelerated, yet unbalanced. There are no longer red and blue countries, but a wide variety of colors, exploding like a Pollock painting.
This serves as a preamble to consider the outstanding projects of 2016 according to the British critic Oliver Wainwright, whose map of the world appears to extend from New York in the West to Oslo in the East, with the exception of Birzeit in Palestine. The Global South represents more than 40% of the global economy and already includes most of the world’s megacities, yet has no architecture worthy of recognition? We wanted to highlight the following projects in order to expand the western-centric world view, enabling us to truly comprehend the extent of architectural innovation on a global scale.
Throughout the 60-year career of Álvaro Siza, his work has continuously defied categorization--having variously been described as “critical regionalism” and “poetic modernism,” with neither quite capturing the true essence of Siza's intuitive architecture. In this interview, the latest in Vladimir Belogolovsky's “City of Ideas” series, Siza discusses those attempts to categorize his work, his design approach and the role of beauty in his designs.
Vladimir Belogolovsky:Your student, Eduardo Souto de Moura said, “Siza’s houses are just like cats sleeping in the sun.”
Álvaro Siza: [Laughs.] Yes, he meant that my buildings assume the most natural postures on the site. There is also a reference in that to the human body.