(COM)TACTO - O ESPELHO DA COR

(COM)TACTO - O ESPELHO DA COR

BY NADJA ARAÚJO, DANIEL BAPTISTA, JÉSSICA ANDRADE, CÉSAR MADUREIRA

The focus of this project is to create a conceptual space of appreciation and contemplation through the cube. The idea arises from the reflection of the colors present inside the Faculty of Economics of the University of Porto, as a manifesto of the outside, under the mirror of water that belongs to it. Through red, blue and yellow, this cube intends to reach the sensorial dimension, absorbed by the individual.

BETWEEN SERENITY AND SEDUCTION

BETWEEN SERENITY AND SEDUCTION

BY ANA CATARINA DIAS, CLÁUDIA SANTIAGO, CRISTIANA FULGÊNCIO, SOFIA CASTRO, TATIANA MOURA

Located in the eastern part of the city of Porto, the Faculty of Fine Arts occupies an old palace from the 19th century that has gardens, where buildings of architectural interest were built in the 1950s, specially designed for the teaching of the traditional disciplines of Fine Arts. Based on this pre-existing relationship between nature and architecture, it was decided that a structure should be created to give it more strength, as well as a stronger dialogue between exterior and interior and between the chaotic and fragmented atmosphere, but at the same time, organized and rational.

The structure was designed to take into account the needs of FBAUP students and, therefore, it should be something multifunctional that, in addition to having an exhibition character, as well as a space where you can work, rest, sit or even eat.

In this way, the work begins with a revisit to the spaces of the faculty, mainly to that which is the focus of the project. Here are some references to wooden structures, a natural material that makes sense to be used, taking into account the concepts that served as a motto. Because they have an architectural character and convey the idea of plasticity, color and movement, Kazimir Malevich's works served as a basis for the design of the multifunctional structure. Thus, a bigger and more complexed structure exists, that has different areas for various activities; and others smaller, for being more simple, start to separate for the main structure, therefor, blending in the nature and atmosphere that lives in FBAUP.

REVEALED PERSPECTIVES

REVEALED PERSPECTIVES

BY ANA CATARINA SILVA, BÁRBARA MACHADO, RITA CARVALHO, TÂNIA SILVA, MARCELO VALENTE

Em continuidade à exploração desenvolvida no território da FAUP, pretendemos seguir a vontade já enunciada nas fotografias desenvolvidas. Não poderia ser de outro modo.

Uma nova forma para a mesma ideia.

Procuramos a abstração da nossa, já tão conhecida FAUP. Um novo modo de ver, um novo modo de ser visto. Pretendemos roubar-lhe alguma evidência. O que esconde? O que revela? Neste distanciamento, a FAUP desmaterializa-se. Deixa de ser volume. Deixa de ser cheio. Resta o vazio.

De noite, a FAUP desenha-se de um modo diferente. Os volumes dissipam-se. Linhas horizontais flutuam junto das estrelas. Dentro delas, janelas indiscretas de vida.

Se, durante o dia vemos de dentro para fora, de noite, vemos de fora para dentro. O mundo pinta-se de negro, o interior incendeia.

Propomos intervir nos espaços exteriores da faculdade, no seu vazio. Sem o encher. As estruturas assumem-se como caixas de luz. Durante o dia, reduzem-se ao metal das treliças e superfície translúcida, que formam um oco ocupado pelo sol. De noite, é a luz interior que expande para o exterior.

Um espaço feito por vazio. Um vazio feito de luz. Nas suas paredes,  fotografias filtradas pela permeabilidade da luz do sol.

Locais de intervenção:

• Piscina Seca, estrutura remete ao desenho das janelas de alçado

• Pátio da Árvore, estrutura remete à forma do lanternim da biblioteca

• Jardim Carlos Ramos, estrutura remete ao desenho do pavilhão

PER.ME.Á.VEL

PER.ME.Á.VEL

BY ANA ANDRADE , BEATRIZ GONÇALVES , JÉSSICA TEIXEIRA , RUI RAMOS , SOFIA SANTOS

The word permeable is our primary motivation to conceive this structure. Our objective is to continue the dialog between interior and exterior, transparency and opacity, already approached on our previous work. Through Japanese architecture references, we aim to shape an organic structure that leads the observer to a path defined by plays of masses and void. Through a wavy slatted wood structure, we propose to frame different moments of the path, offering it logics of transparency and opacity. The work of Kengo Kuma and the way he frames the landscape in houses like the Bamboo House and the Lotus House help us understanding this intention. As so, the preexistence in our organic unit, a central nucleus surrounded by benches, participate in the composition.

THE LABYRINTH. THE ECCENTRIC VISION ON THE FACULTY OF PHARMACY, UNIVERSITY OF PORTO AND INSTITUTE OF BIOMEDICAL SCIENCES ABEL SALAZAR

THE LABYRINTH. THE ECCENTRIC VISION ON THE FACULTY OF PHARMACY, UNIVERSITY OF PORTO AND INSTITUTE OF BIOMEDICAL SCIENCES ABEL SALAZAR

BY ANA CAROLINA VALE, LEILA CACILDA CARDOSO ALMEIDA , SABRINA CAMARGO, SOFIA PINTO

Lost, without any guide, bewildered between floors of long pathways, claustrophobia and isolation, represent some of the first sensations experienced while roaming through the physical space of the faculty.

The monumental characteristic of the building, its density and its presence in the context were aspects that led us to want to know the faculty. However, those were not the ones that left a mark in our experience there. It was the spaces that resulted from the constant repetition, ambiguous transitions, neutrality and bottleneck perspectives of the interior, resulting from the extreme order that composes the building. 

Claustrophobic spaces which provoke the desire of escaping, the anxiety of wanting to leave that place, serve as premise for a project that aims to explore a mental space through physical ones.  A purpose which is also present in many arts, such as literature, cinema and even history.

Nevertheless, the grandiosity that impressed us in the beginning, rapidly provoked the transcendence from reality to much more sensitive means associated with a mental chaos. Consequence of our perception of spatial successions, with no logic, which imprisons us in an endless cycle.

Something that takes us to a dissociation of the real route, as if we find ourselves in an imaginary world, similar to Alice who wanders aimlessly, deciding along the way. The diverse places succeed one another to some less used, where mysterious compositions of objects are arranged in dark places as unknowns that will never be answered. Characterizing a spatial experience we envisage as a labyrinth. 

(INTER)AÇÕES, PROJECTO 2º SEMESTRE

(INTER)AÇÕES, PROJECTO 2º SEMESTRE

BY MATILDA PERDICOÚLIS, NUNO ARAÚJO

‘(inter)AÇÕES’ intends, while drawing a path throughout the space of the Faculty of Engineer of Porto University, the implementation of an installation that reflects the dynamic and personal experience of the ones who systematically use this space.  This installation consists on a metallic structure, where the picture taken by us in this space is exposed and, above it, we open the way for freedom and all the possible scenario variants, — through reflex — for the ones who take the place of the photographer of the exposed picture.

The photography narrative — and, of course, the location of all the integrant pieces of our installation — is integrated both in the exterior and the interior of the Faculty.  It is frequent, in our narrative, the presence of a recurring element, indirectly repeated by reflexes and other allegoric visual moments.  The multiplicity of options of possible interactions in the same space and the dynamism reflected on the glass of the installation is absolutely strong.

 Another facet of the narrative is the simultaneous nature of the present and the absent.  This happens in the interior of the Faculty, in momentarily empty spaces (e.g. classrooms, corridors) that combine the silence with the chaotic movement — intrinsic to the character of School — in them implicit.

The fact that the exposed photographs are black and white, allows the exercise to an even bigger contrast between them and the reality they represent.  Side by side, the manipulated reality — the photograph — and the instant and moldable one, accordingly to the unexpected scenario — the reflex.  A tonal dichotomy.

As a strategically positioned installation, ‘(inter)AÇÕES’ explores the dynamics of spatial appropriation in this Faculty, when in use or when unoccupied — what, due to the context of the pandemic, has been a recurring issue.

When adhering to the experiment of our installation, the possibilities of portraying a place, a moment, a unique experience, become infinite.