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Ceramics in Portuguese Architecture (16Th-20Th Centuries)
CASTELLÓN (SPAIN) CERAMICS IN PORTUGUESE ARCHITECTURE (16TH-20TH CENTURIES) A. M. Portela, F. Queiroz Art Historians - Portugal [email protected] ABSTRACT The purpose of this paper is to present a synoptic view of the evolution of Portuguese architectural ceramics, particularly focusing on the 19th and 20th centuries, because the origins of current uses of ceramic tiles in Portuguese architecture stem from those periods. Thus, the paper begins with the background to the use of ceramics in Portuguese architecture, between the 16th and 18th centuries, through some duly illustrated paradigmatic examples. The study then presents examples of the 19th century, in a period of transition between art and industry, demonstrating the diversity and excellence of Portuguese production, as well as the identifying character of the phenomenon of façade tiling in the Portuguese urban image. The study concludes with a section on the causes of the decline in the use of ceramic materials in Portuguese architecture in the first decades of the 20th century, and the appropriation of ceramic tiling by the popular classes in their vernacular architecture. Parallel to this, the paper shows how the most erudite route for ceramic tilings lay in author works, often in public buildings and at the service of the nationalistic propaganda of the dictatorial regime. This section also explains how an industrial upgrading occurred that led to the closing of many of the most important Portuguese industrial units of ceramic products for architecture, foreshadowing the current ceramic tiling scenario in Portugal. 1 CASTELLÓN (SPAIN) 1. INTRODUCTION In Portugal, ornamental ceramics used in architecture are generally - and almost automatically - associated only with tiles, even though, depending on the historical period, one can enlarge considerably the approach, beyond this specific form of ceramic art. -
ADAPTABLE BUILDINGS: a PORTUGUESE CASE STUDY Summary 1. Construction in Portugal
The 2005 World Sustainable Building Conference, 10-036 Tokyo, 27-29 September 2005 (SB05Tokyo) ADAPTABLE BUILDINGS: A PORTUGUESE CASE STUDY António SANTOS, Arch.1 Jorge de BRITO, Dr. Eng. 2 Luís EVANGELISTA, Eng. 3 1 Faculdade de Arquitectura, Universidade Técnica de Lisboa, Rua Prof. Cid dos Santos, Pólo Universitário, Alto da Ajuda, 1300-049 Lisboa, Portugal, [email protected] 2 Instituto Superior Técnico, Universidade Técnica de Lisboa, 1049-001 Lisboa, Portugal, [email protected] 3 Instituto Superior de Engenharia de Lisboa, Av. Conselheiro. Emídio Navarro, 1, 1949-001 Lisboa, Portugal, [email protected] Keywords: adaptability, flexibility, case study, Portugal, EXPO 98 Summary The Portuguese construction sector is currently ruled by new buildings, responsible for 95% of the annual investment in this sector. Formal aspects and initial costs are the primary design concerns, using current long lifespan construction, with little consideration given to future maintenance or future needs. This situation represents a tremendous waste of resources (present and future), and there is a growing perception of the need to address these issues. One of the possible change trends lies in a revision of current design practices to increase building adaptability accommodating current construction logics, but there is a lack of examples bridging the gap between current (international) theory and (Portuguese) practice. The Lisbon EXPO 98 World Exhibition was the largest example of urban regeneration in Portugal, in which several buildings addressed the need for adaptability according to different design logics, since their original uses would cease or change upon the exhibition’s closure. This paper will present the case study of an EXPO 98 building, Portugal’s Pavilion by Pritzker Winner Architect Álvaro Siza, as an example of the use of design strategies to provide adaptability (at structural, spatial and material levels) within an institutional building, using current Portuguese construction possibilities. -
Romanesque Architecture and Arts
INDEX 9 PREFACES 17 1ST CHAPTER 19 Romanesque architecture and arts 24 Romanesque style and territory: the Douro and Tâmega basins 31 Devotions 33 The manorial nobility of Tâmega and Douro 36 Romanesque legacies in Tâmega and Douro 36 Chronologies 40 Religious architecture 54 Funerary elements 56 Civil architecture 57 Territory and landscape in the Tâmega and Douro between the 19th and the 21st centuries 57 The administrative evolution of the territory 61 Contemporary interventions (19th-21st centuries) 69 2ND CHAPTER 71 Bridge of Fundo de Rua, Aboadela, Amarante 83 Memorial of Alpendorada, Alpendorada e Matos, Marco de Canaveses ROMANESQUE ARCHITECTURE AND ARTS omanesque architecture was developed between the late 10th century and the first two decades of the 11th century. During this period, there is a striking dynamism in the defi- Rnition of original plans, new building solutions and in the first architectural sculpture ex- periments, especially in the regions of Burgundy, Poitou, Auvergne (France) and Catalonia (Spain). However, it is between 1060 and 1080 that Romanesque architecture consolidates its main techni- cal and formal innovations. According to Barral i Altet, the plans of the Romanesque churches, despite their diversity, are well defined around 1100; simultaneously, sculpture invades the building, covering the capitals and decorating façades and cloisters. The Romanesque has been regarded as the first European style. While it is certain that Romanesque architecture and arts are a common phenomenon to the European kingdoms of that period, the truth is that one of its main stylistic characteristics is exactly its regional diversity. It is from this standpoint that we should understand Portuguese Romanesque architecture, which developed in Portugal from the late 11th century on- wards. -
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6 Mass Media and the International Spread of Post-War Architecture 4 | 2019 | 2 How Brazil’s Modern Architecture Revolution impacted Europe and Africa Ana Cristina Dos Santos Tostões Associate Professor at Technical University of Lisbon IST, Department of Architecture and Civil Engineering University of Technology Lisbon [email protected] Ana Cristina Dos Santos Tostões was born in 1959 in Lisbon where she lives. She is an architect (ESBAL, 1982), architecture historian (UNL, 1994) and chair of DOCOMOMO International. She has been coordinating the master’s degree in architecture (2007-2009) and she is the architecture focus area IST- École Polytechnique de Lausanne (EPFL) Phd program responsible. Her research field is the history of architecture and the city of the twentieth century, in which she develops an operative view oriented towards the conservation of modern architecture, focusing especially on post-war architectural culture and relations between Iberian, African and American modernity. On these topics she has published books and scientific articles and organised exhibitions: Portugal: Architektur im 20. Jahrhundert (Deutsche Architektur Museum, Frankfurt, 1997); Keil do Amaral, o arquitecto e o humanista (1999); Arquitectura Moderna Portuguesa 1920-1970, um património para conhecer e salvaguardar (Oporto, Lisbon, Évora, Coim- bra, 2001-2004); Arquitectura e Cidadania. Atelier Nuno Teotónio Pereira (2004); Biblioteca Nacional.Exterior/Interior (2004); Gulbenkian Headquarters and Museum, The architecture of the 60s (2006); Lisboa 1758: The Baixa Plan Today (2008). She has participated in several scientific conferences and given lectures in European, American and African universities. She has formed part of juries and scientific committees and has been invited as an expert to several awards. -
Drift Bench Concrete Drift Drift-In Drift-Out Amanda Levete
Drift Bench concrete Drift Drift-in Drift-out Amanda Levete Drift Bench, Concrete Drift, Drift-In Drift-Out Bench Amanda Levete Design 2006–07 Drift Bench Amanda Levete The New Elegance Accept this charming invitation to contemplate super smooth contours ambient glow The Drift bench is a masterclass in complex curves, angles and subtracted spaces. Informed by a piece of found driftwood Amanda Levete translated her organic, highly sensual, architectural language into a condensed form. The naturally fluid lines soften angles without dissolving the defined outline associated with traditional sculptural forms. ‘You can’t say found space is non- space. Actually it is very carefully chosen.’ Amanda Levete Drift Bench, Concrete Drift, Drift-In Drift-Out Bench Amanda Levete Design 2006–07 Concrete Drift Amanda Levete Rock Solid Put your trust in a solid foundation It’s hard to find a more futuristic looking form. Designed to last, the concrete Drift bench is a timeless masterpiece. Whether placed in a bank lobby, public square, botanical greenhouse, English country garden or alpine height this bench provides a sculptural focal point. Made from very fine sand and cement with a crushed limestone fleck the smooth surface is expertly cast by an artisan sculpture studio. Drift Bench, Concrete Drift, Drift-In Drift-Out Bench Amanda Levete Design 2006–07 Drift-In Drift-Out Amanda Levete Making Shapes Dance and design with this flexible seating set ‘Drift-In, Drift-Out is a natural evolution of the Drift bench. I wanted to use the same conceptual language of the piece of found driftwood on these much smaller scale, versatile, modular pieces.’ Amanda Levete Easily moved about, these smaller curved two-seater benches can be used singularly or positioned together in numerous configurations. -
AL A-Brochure1.Pdf
Whenever you go see AL_A you have to leave your shoes at the entrance along with at least 40 other pairs of shoes. AL_A have enabled us to contemplate new possibilities for our future in the V&A, they have challenged our thinking and they continue to bring a freshness which we all relish. Their studio is a think tank, it has a very unusual atmosphere, a lot of brilliant young people and great ideas. AL_A support our work but they challenge us too. Martin Roth’s Introduction to the V&A Museum Annual Design Lecture by Amanda Levete, February 2013 INTRODUCING AL_A AL_A is an award-winning architecture and design studio. It was founded in 2009 by Amanda Levete and grew out of Future Systems, a practice widely regarded as laying down the agenda for architecture in the twenty-first century, with works including the Stirling Prize-winning Media Centre at Lord’s Cricket Ground and the Selfridges department store, Birmingham. Led by Amanda Levete, Ho-Yin Ng, Maximiliano Arrocet and Alice Dietsch, AL_A has refined an intuitive and strategic approach to design that has radicalised clients and briefs, and led to a diverse range of concepts for cultural, retail and commercial schemes around the world. The practice’s creative relationship with a client is defined by a mutual respect as well as being reciprocally demanding: AL_A challenge assumptions and presuppositions, and expect to be challenged in return. Recent commissions include the highly anticipated expansion of the Victoria & Albert Museum in London, Central Embassy, a 1.5 million sq ft mixed-use development in Bangkok on the former grounds of the British embassy, a new centre for the cancer care charity Maggie’s, a 13-hectare media campus for Sky, and a cultural centre in Lisbon commissioned by EDP, one of the world’s foremost energy companies. -
XXI T Riennale in Ternational Exhibition Milan 2016 P Ortugal 02 a Pr — 12
Portugal Press Kit Press XXI Triennale International Exhibition Milan 2016 02 Apr — 12 Sep Release Press Milan 2016 Portugal XXI Triennale International Exhibition Press Kit/ Objects after objects Objects After Objects, the Portuguese Delegation at the 21st Triennial of Milan The Year of Portuguese Architecture and Design The Triennale di Milano is an event that kicks off a great year for Portuguese architecture and design. The project Objects After Objects proposes a reflection on contemporary project-related practice, its teaching, production, its creative, economic and political dimension, starting in April and running through September. The press conference, promoted by the Ministry of Culture, takes place March 23rd, at around 3PM, at Ajuda National Palace, in Lisbon. The same year the work of Álvaro Siza is being celebrated at the Biennale di Venezia di Architettura, in Italy; where the Portuguese Pritzker Prize winner is being honored in an exhibition at MAXXI, in Rome; with the ongoing exhibit entitled Les Universalistes. Architecture Portugaise 1965 -2015 at Cité de l’Architecture, in Paris; and whose return home, to close out the year, is marked by the Trienal de Arquitectura de Lisboa (Lisbon Architecture Triennial), a large set of events begins with the Portuguese Representation at the Triennial of Milan. With an area of 225 m2, Portugal’s Pavilion is located at the iconic Leonardo da Vinci National Science and Technology Museum. The Portuguese presence, featuring emerging architecture and design practices, stands out as the only one involving a higher-education design school, while being present with an exterior self-constructed ephemeral architecture, and presenting a disseminated programming, with simultaneous events at various venues in Milan and Portugal. -
Fernando Távora: the Journey As an Instrument of Experience and Transmission of the Architectural Discipline1
Athens Journal of Architecture - Volume 4, Issue 1– Pages 53-64 Fernando Távora: The Journey as an Instrument of Experience and Transmission of the Architectural Discipline1 By Raffaella Maddaluno For the architect Fernando Távora, master of the “Porto School”, the journey represented part of a methodological progression within his own cultural growth. The journeys themselves were numerous: several trips to Spain, Italy, a trip around Europe in 1949, travelling on the occasion of the CIAM (International Congresses of Modern Architecture). His years of training culminated in a trip around the world in 1960, thanks to a scholarship from the Gulbenkian Foundation in Lisbon, which allowed him a four-moth trip to the USA, Mexico, Japan, Thailand, Pakistan, Lebanon, Egypt and, finally, Greece. The journey was the medium through which he would mentally and physically build a living relationship, direct, intelligent, without filters of interpretation, with the non-specialist “knowledge” of places and people. He considered the basic principle of “first live, then design” as fundamental to the discipline of a project. During this trip he would write daily, noting the chronology of the events and producing numerous drawings of all the places visited. His journey would come to an end in Athens where finally he reflected on the notion of time and the importance of removing “measurement” at the time of the event. Is there a form of TIME appropriate for transmitting an “architectural lesson”? Is there a practical experience of the journey that the lessons of Fernando Távora have transmitted to those who recognize him as a teacher? The present paper aims to illustrate some of the themes raised in his diary.12 Assistant Professor, University of Lisbon, Portugal. -
For Immediate Release – 13 June 2019
For immediate release – 13 June 2019 International design competition launched for new Markets at Birmingham Smithfield An international competition has been launched to find the creative team that will be tasked with designing a new home for the Birmingham markets positioned at the heart of the £1.5 billion Smithfield development. Lendlease has begun the search for designers who will play a key role in one of the most high-profile city-centre regeneration opportunities in Europe. Markets have been at the heart of Birmingham since the birth of the city, and the brief is to imagine a market building for the future. A place that builds on the existing energy and spirit of the markets by mixing in new ingredients and spaces to delight the existing communities, whilst attracting and entertaining new visitors. Lendlease is Birmingham City Council’s preferred development partner for Smithfield and the markets are central to the City Council’s Big City Plan, a 25-year vision to support the development of a world-class city centre. The markets will provide the backdrop for a new injection of colour, atmosphere, culture and vitality into the heart of Birmingham, accelerating the next wave of growth and regeneration in this youthful international city. Located in the heart of Birmingham, the project is set to reposition the city on an international stage. As well as a new markets building, the Smithfield development will deliver a significant family leisure and cultural offer, a new public square, integrated public transport and more than 2,000 homes with a public park and community facilities. -
Maat - Museum of Art, Architecture and Technology - Opens in Lisbon
3 October 2016 MAAT - MUSEUM OF ART, ARCHITECTURE AND TECHNOLOGY - OPENS IN LISBON This Wednesday, 5 October 2016, the EDP Foundation will officially open MAAT - Museum of Art, Architecture and Technology - on the Tagus River in Belém, Lisbon, with a 12-hour public programme featuring exhibition openings, educational events, performances and music happenings. Housed within two buildings and spanning a vast outdoor site, MAAT will explore contemporary culture through visual arts, new media, architecture, technology and science. It will comprise the elegant new kunsthalle designed by AL_A, the architecture practice headed by British architect Amanda Levete, and the recently renovated Central Tejo power station. The new museum complex is located on the EDP Foundation Campus, which is at the heart of an exciting urban revitalisation along one of Lisbon’s most historic waterfronts. Speaking about the EDP Foundation’s commission, António Mexia, CEO of EDP Group and Chairman of EDP Foundation, said: “MAAT will restore the historic connection between the city and the water. It will be a hub for attracting people who come here to enjoy art and architecture. More than that, however, it will draw people from the heart of the city to the panoramic views along the Tagus estuary, a riverfront area that has long been neglected, but thanks to MAAT, will become a vibrant new destination within Lisbon.” Pedro Gadanho, Director of MAAT, added: “With its unique industrial heritage, a growing collection of Portuguese art and an innovative exhibition programme, MAAT will be a cultural space of discovery, critical thinking and global dialogue. MAAT will not only support the work of Portuguese artists and curators, but will also offer them a platform to connect with the international art community.” The new kunsthalle AL_A’s new kunstshalle, which contains four distinct gallery spaces, captures the essence of the exceptional 38,000 m2 riverside site and its extraordinary light. -
Press Kit´2016
PRESS KIT´2016 TIPSY BY KEIJI TAKEUCHI MATERIA’S MOST RECENT ADDITION KEIJI TAKEUCHI WINE BOTTLE STAND AGGLOMERATED CORK 55x60x430mm THERE ARE MOMENTS WHEN YOUR ATTENTION MOVES AROUND SPACE WITHOUT ANY NEED FOR WORDS. SUCH ARE THE OCCASIONS WHEN PEOPLE MEET ART, THEN THERE IS A BALANCE, THE ELEGANT MISTERY OF MAKING OBJECTS STAND EVEN WHEN IT SEEMS MOST UNLIKELY. TIPSY IS BALANCE AND ART, LIKE THE WORK OF A DANCER, WITH A TOUCH OF IRONY, IT IS THE WARMTH OF CORK, INFLUENCING THE ENVIRONMENT WITH THE SWEETEST, SIMPLEST SIGNIFICANCE. KEIJI TAKEUCHI BORN IN FUKUOKA, JAPAN 1977. IN 2012, TAKEUCHI DECIDED TO MOVE AND TO SET UP A SATELLITE OFFICE FOR FUKASAWA IN MILAN. AT AGE OF 15, KEIJI TAKEUCHI MOVED TO NEW ZEALAND IN 2015, HE ESTABLISHED KEIJI TAKEUCHI SRLS ALONGSIDE HIS WHERE HE SPENT HIS YOUTH. IN 1999, WHILE STUDYING AT AN DUTY FOR RUNNING FUKASAWA’S EUROPEAN AND WESTERN ART SCHOOL IN NEW ZEALAND, HE MOVED TO PARIS FOR A DESIGN PROJECTS. SCHOLARSHIP STUDY AT ENSCI / LES ATELIERS. TODAY TAKEUCHI IS COLLABORATING WITH VARIOUS INTERNATIONAL BRANDS. IN 2003, HE RETURNED TO JAPAN AND SINCE 2005, HE HAS BEEN A MEMBER AND A DESIGNER AT NAOTO FUKASAWA DESIGN LTD, WORKING UNDER ONE OF THE MOST INFLUENTIAL DESIGNERS OF TODAY: NAOTO FUKASAWA. www.keijitakeuchi.com 5 PRESS RELEASE TIPSY IS THE LATEST ITEM TO BE INCLUDED IN CORTICEIRA THE JAPANESE DESIGNER KEIJI TAKEUCHI WHO RUNS A MILAN AMORIM’S MATERIA COLLECTION - A SET OF NEW CORK OFFICE FOR NAOTO FUKASAWA IN ITALY, CONTEXTUALIZES THE PRODUCTS THAT CAN BE SEAMLESSLY AND FUNCTIONALLY DEVELOPMENT OF THIS OBJECT: “TIPSY’S CONCEPT IS BASED INTEGRATED INTO OUR EVERYDAY LIVES. -
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Advances in Social Science, Education and Humanities Research, volume 368 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019) A Comparative Study of Portuguese Colonial Architecture: a Case Study of East Timor and Macau Jiaying Fang Institute for Research on Portuguese-speaking Countries City University of Macau Macau, China Abstract—The Democratic Republic of East Timor Pacific islands. Due to the abundance of sandalwood and (hereinafter referred to as East Timor) and the Macau Special spices, this sleeping crocodile is used by the Portuguese Administrative Region of China (hereinafter referred to as colonists as a trade transfer station for extracting money and Macau) have historically been the Portuguese colonies in the is rarely developed. Due to geographical and political Far East area. During the period of Timor and Macau's reasons, East Timor was placed under the jurisdiction of ownership of Portugal, the two colonies brought art from Macau in the 19th century, and the relationship between the South-West Europe, such as songs, dance, architecture, etc. two places is very close. After the unique Western atmosphere collided with the local civilization, it formed a multicultural culture with local At present, there are few researches on Portuguese characteristics. architecture by the academic research. East Timor was brutally suppressed in the last century when it was governed This paper is divided into four parts to discuss the by the Republic of Indonesia (hereinafter referred to as Portuguese architectural styles of East Timor and Macau. The Indonesia), many buildings were damaged or even destroyed first part is the introduction to the background, including the during the past two decades.