LocationMuseu Serralves, R. Dom João de Castro 210, 4150-417 Porto, Portugal
TeamRoberto Cremascoli , Edison Okumura, Marta Rodrigues
MArch Valencia originates as a cultural meeting point for professional architects and designers, students and companies with a same set of values; with the aim of bringing together and sharing all different experiences that arise during creative processes.
A nexus between the academical, professional and enterprise worlds, which is vital nowadays.
This different master and postgraduate MArch programs, are directed by Fran Silvestre and feature influential speakers and studios from the current architecture as Alvaro Siza Studio, Souto de Moura Studio, Manuel Aires Mateus Architects, OAB • Ferrater, Juan Domingo Santos and Fran Silvestre Architects.
The church of Saint-Jacques-de-la-Lande will be the first church built in France’s Brittany region in the 21st-century. The project has been contracted to the Portuguese architect Álvaro Siza Vieira. Siza’s use of light and white concrete provide a unique ceremonial space that gently folds into the neighborhood south of Rennes, a residential area with five-story housing blocks. The Porto-based Italian photographer, Nicolò Galeazzi, visited the site and shared with us his perspective of Siza’s work in progress.
This week we present the Faculty of Architecture of the University of Porto through the lenses of Fernando Guerra. Here we share a complete series from the photographer of this iconic work, along with a brief text on the subject. The University of Porto plays a major role in the world's architectural landscape, always among the highest in rankings and boasting great architects like Eduardo Souto de Moura (Pritzker 2011), Fernando Távora and Álvaro Siza Vieira (Pritzker 1992).
Gordon Matta-Clark (1943-1978) is one of the most influential artists of the 1970s, whose work has continued to be a noted influence of both architects and visual artists since. SPLITTING, CUTTING, WRITING, DRAWING, EATING…GORDON MATTA-CLARK surveys the constructive and destructive verbs that defined his relation to art and architecture, featuring correspondence, drawings, photographs, notebooks, and films related to the artist's key projects, drawn from the archive of the Canadian Centre for Architecture, Montréal. Along with his major building cuts from 1973 to 1978, in which laboriously cut holes into floors of abandoned or disused buildings, including A W-Hole House, Conical Intersect, Day’s End, and Splitting (1974), the exhibition also explores his interest in metabolic and cooking processes, including his restaurant Food (1971); his play with language and the syntax of voids, gaps, and abandoned spaces; and the use of drawing as a mode of thinking through space.The exhibition will focus on these social and creative aspects of Matta-Clark´s conception of architecture, or as he put it, "making space without building it."
The following photo set by Fernando Guerra focuses on Boa Nova Tea House, a project by Portuguese architect Álvaro Siza Vieira. Completed in 1963, it was one of the first works done by the 1992 Pritzker Prize winner. Built on the rocks that hang over the sea in Leça da Palmeira, the tea house is in close proximity to another iconic project by the same architect, the Leça Swimming Pools, both classified as National Monuments in Portugal.
The "architectural pilgrimage" is much more than just everyday tourism. Studying and admiring a building through text and images often creates a hunger in architects, thanks to the space between the limitations of 2D representation and the true experience of the building. Seeing a building in person that one has long loved from a distance can become something of a spiritual experience, and architects often plan vacations around favorite or important spaces. But too often, architects become transfixed by a need to visit the same dozen European cities that have come to make up the traveling architect's bucket list.
The list here shares some sites that may not have made your list just yet. Although somewhat less well known than the canonical cities, the architecture of these six cities is sure to hold its ground against the world's best. The locations here make ideal long weekend trips (depending of course on where you are traveling from), although it never hurts to have more than a few days to really become immersed in a city. We have selected a few must-see buildings from each location, but each has even more to offer than what you see here—so don't be afraid to explore!
The 2017 Portuguese Commemorative Coins were unveiled this week in the Casa da Moeda, where the themes, authors and designs for the commemorative, chain and collector's coins to be issued throughout the year were shown.
Among the novelties, a new series dedicated to Portuguese Architecture stands out, which includes a coin dedicated to Álvaro Siza Vieira designed by Eduardo Souto Moura, two great names in Portuguese architecture.
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.
The Regional Government of Andalucía (Spain) has decided not to move forward with plans to build "Puerta Nueva," the project for the new gate of Alhambra. Designed by Álvaro Siza and Juan Domingo Santos, the proposal won an international competition held in 2010. According to the newspaper El País, the decision follows the latest Icomos report, which rejects its construction and suggests it would have a "negative impact on the exceptional universal value of this monument World Heritage."
The 1992 Pritzker Prize winner's project sparked a long-running dispute between the Monument Patronage, the Mayor's Office of Granada and cultural institutions of Andalusia for the high concentration of commercial services that would be included in the project. "How is it possible to argue that the project is not integrated and is invasive in the landscape when the jury noted that one of its main virtues was its integration in a place so sensitive and intervened since the twentieth century?" remarked Siza and Santos on the decision of Andalucía, according to El País.
A new collection of five minute-long On Design stories—developed by the team behind Section D, Monocle 24's 24's weekly review of design, architecture and craft—profile a person, survey a place, or unpack an idea that’s changing or shaping design and architecture today. We've selected fourteen of our favorites from the ongoing series, examining issues as wide as Postmodernism and the architectural competition, to five-minute profiles of Alvaro Siza, Josef Hoffman, Kengo Kuma and Superstudio.
There are at least as many definitions of architecture as there are architects or people who comment on the practice of it. While some embrace it as art, others defend architecture’s seminal social responsibility as its most definitive attribute. To begin a sentence with “Architecture is” is a bold step into treacherous territory. And yet, many of us have uttered — or at least thought— “Architecture is…” while we’ve toiled away on an important project, or reflected on why we’ve chosen this professional path.
Most days, architecture is a tough practice; on others, it is wonderfully satisfying. Perhaps, though, most importantly, architecture is accommodating and inherently open to possibility.
This collection of statements illustrates the changing breadth of architecture’s significance; we may define it differently when talking among peers, or adjust our statements for outsiders.
Last month another building by Álvaro Siza Vieira, the Nadir Afonso Contemporary Art Museum in Chaves, Portugal commemorated its inauguration. To celebrate its opening, Fernando Guerra, from Últimas reportagens shared with us an amazing series of photographs.
See all the photos and learn more about the museum below.
Lasting for close to two decades now, the annual Serpentine Gallery Pavilion Exhibition has become one of the most anticipated architectural events in London and for the global architecture community. With this year’s edition featuring not just one pavilion but four additional “summer houses,” the program shows no sign of slowing down. Each of the previous sixteen pavilions have been thought-provoking, leaving an indelible mark and strong message to the architectural community. And even though each of the past pavilions are removed from the site after their short summer stints to occupy far-flung private estates, they continue to be shared through photographs, and in architectural lectures. With the launch of the 16th Pavilion this month, we take a look back at all the previous pavilions and their significance to the architecturally-minded public.
Through 181 images, Guerra shows us Siza's masterful play of light and shadow. The photos allow us to experience a full day at the museum: the morning sun, followed by sunset and finally, the museum illuminated at night.
Below, see the gallery and learn more.
Today, one of the most recognized and respected architects in the world turns 83: Álvaro Siza Vieira. Awarded the Pritzker Prize in 1992, the Portuguese architect charmed the jury at the time, who explained their choice by saying: “his forms, shaped by light, appear deceptively simple, they are honest.”
One of the most highly regarded architects of his generation, Portugese architect Álvaro Siza (born 25 June 1933) is known for his sculptural works that have been described as "poetic modernism." When he was awarded the Pritzker Prize in 1992, Siza was credited as being a successor of early modernists: the jury citation describes how "his shapes, molded by light, have a deceptive simplicity about them; they are honest."