FROM THE ATMOSPHERE TO THE IMAGE NEIGHBORHOOD OF MIRAGAIA

FROM THE ATMOSPHERE TO THE IMAGE NEIGHBORHOOD OF MIRAGAIA

BY ANA JORDÃO, BÁRBARA OLIVEIRA, IVO ROBERTO, JOÃO FIGUEIRAS, ANA COSTA

Miragaia, the neighborhood where color predominates, the difference stands out and the landscape qualifies, an atmosphere marked by history that gives this place a unique identity. The picturesque and poetic character characteristic of Miragaia led us to wander through its streets, under a watchful eye and discovery. If, on the one hand, a large part of the neighborhoods in Porto are made up of more homogeneous buildings and with strong design relationships between them, Miragaia is differentiated by the successive feelings it provokes in those who walk through it. Each corner is a surprise, each house is different from the next and beyond the vision as a primary sense, the textures and colors of the buildings stand out when viewed up close, referring to a haptic sense, very characteristic of this neighborhood. In addition to this, what makes Miragaia such a unique neighborhood are its inhabitants whose strong sense of hospitality, good disposition and sense of mutual help sew and unify the neighborhood, giving it even more authenticity. Although "the real Venice", as many of its inhabitants are called, today finds itself in a scenario of transformation and partly given over to tourism, Miragaia still has a charisma that is recognizable, not only for its architecture, but also by the daily experience of those who inhabit it. People come and go, but the essence remains and the place remains, or what remains of it.

DISTANCE FROM NON-PLACES; IN A CRY OF SILENCE

DISTANCE FROM NON-PLACES; IN A CRY OF SILENCE

BY JOANA MARIANO SANTOS, MARIANA CABRITA FERREIRA, NATACHA DE SÁ, RICARDO SOUSA MONTEIRO

The silence of the day-to-day disorder in the delivery of man to civilization, right at the dawn of the cold morning.
Waking up, more than dreams and inner utopias, forgotten or faded.

The cars that go, at the pace of those who do not realize that the world is passing by, nor the yellow van is able to stop it, we cannot be invisible and small.

At a time when everything is simple and confusing from the rich man's blanket, to the poor man's car distances, worlds and colors.

"In the city the big houses close the view, hide the horizon, push our gaze away from the whole sky, make us small because they take away what our eyes can give us and make us poor because our only wealth is to see! "

Then there are our searches for lost times, perhaps capable of escaping the circumstance, (like the presence of the past in the present), a possible double projection of man.

Then you have to understand that it is not the physicist who makes the city, but relationships, the city drinks from memories, distances or events.

The falling asleep of the dream, perhaps because of the rigorous reality.

The scream breaks the city, some scream for freedom, some scream for wanting only the real.

VILA DO CONDE

VILA DO CONDE

BY ALEXANDRA NUNES DE OLIVEIRA FONSECA

Those who travel by train or subway inevitably stares outside the window, observing the images of the landscape that rapidly fade away, while getting lost in their thoughts. Photography is used here not only as a means of artistic expression, but also, as a tool that aids in the study of the transformation of the territory. In this essay, I intend to study a place where the new urbanity dialogs with nature and the pre-existence. The objective of this essay is to build the memory of Vila do Conde's old railway line, documenting its existence and at the same time an attempt to recreate the images and the atmosphere lost in the memory of the "I" passenger always in confrontation and contrast with the material reality, as well as, the atmosphere of the current place.

THAT WHICH IS WITHIN AND OUTSIDE

THAT WHICH IS WITHIN AND OUTSIDE

BY DANILO TOLENTINO LEITE FERREIRA

“It is a bridge [...] that is nothing more than a connection between the rural and the urban. [...] It marks the entry into the city and the appointment of a time in the passage from one place to another. ”

The above excerpt is part of the descriptive memorial for the Metro Station project: Parque Maia (2001-2007), authored by the architect João Álvaro Rocha. It is an object purposely inserted in that place as a structure that marks. The “building bridge”, in the words of the architect, inhabited infrastructure, consists of a metallic body and sealed in glass, as a kind of cocoon in visual contact with the live grove, the national one that passes below and the horizon, subtly announced, of the city. Glass, an extremely important element for this project, attenuates the strength of the structure, protects from the intense noise caused by the flow of automobiles. Above all, it allows its surroundings to invade the interior of the station, confusing "What is inside and what is outside". By revisiting Guido Guidi's countless studies on the changing landscape and the relationship established between internal and external environments; the precision of Gabriele Basilico when registering poetically architectures that move between macro and micro scale, the present work proposes to try such an exercise. In a visual narrative, he investigates the materiality of this “inhabited bridge” and how the limits of an architecture designed to be inhabited and transform a landscape are established. The bridge between two banks of a cinced site.

MARQUÊS METRO STATION

MARQUÊS METRO STATION

BY SARA ALVES, BENITO LARRAIN, SALOMO ZELTNER, MARÍA RIAL, ANTONIA PASCAL

The metro is not a place of synchrony, despite the regularity of the schedules: each one interpretes its own definition of what a space is or is not. Spaces are never what they're meant to be. Inside these places, individuals manage their own space and their own time. They are clever when they have to encounter other individuals, they adapt to the spaces and create new ones with their automatic movements. They know where to stand and where to wait. They also know, by an unexplainable instinct, how to move and how to act. Therefore, subconsciously, they know how to build new places.

ANOTHER READING OF ARCHITECTURE THROUGH THE PHOTOGRAPHIC LOOK: THE VISUAL NARRATIVE IN THE METRO STATIONS OF THE CITY OF PORTO

ANOTHER READING OF ARCHITECTURE THROUGH THE PHOTOGRAPHIC LOOK: THE VISUAL NARRATIVE IN THE METRO STATIONS OF THE CITY OF PORTO

BY PAULA CAMILO

Music House

Homonymous with the most significant work and debated project from the “Porto 2001 European Capital of Culture” initiative, the Casa da Música Metro station reveals itself as the reflection of the architect to whom we owe its authorship, Eduardo Souto de Moura. Recognizing the dimension and presence of Rem Koolhas' work, he sought a discreet and uninvolved design,  capable of serving the interface of dense urban flows that characterize the peripheries of the Rotunda da Boavista. The patio roofing so characteristic of this work responds to a previous railway occupation and to a dense and accelerated territory. The simple line reveals itself to be calm, serene and capable of making this station a refuge for the urban fabric of this area. The dichotomy between the surface and the underground seeks to enhance the architecture which, through the natural light entrances so characteristic that can be seen on the pier, causes a naturally tense space and devoid of interaction to the point of bringing calm to those waiting for the next carriage. The configuration of this first large Metro station in the City of Porto reveals the way the city itself wants to live: recognizing the bustle, it depends and needs moments of serenity illuminated either by the sun or by the stylized lines of Eduardo Souto de Moura.

Santo Ovídio

Part of an extremely important urban axis such as Avenida da República, the work of Rogério Cavaca proves to be able to respond to the challenges proposed by the city of Vila Nova de Gaia, more properly the area of ​​Santo Ovídio. An architectural piece that ends an incessant automobile flow, placing it under the roundabout that makes up its name and initiates another flow, on a larger scale, as they are the access to the highways and which continue the linear gesture originating from the Porto D. Luís I. Composed by simplicity and straightforwardness, we are faced with two entry points arranged in a which makes the roundabout an inherent element of this project, managing to create an underground space where the such a characteristic and even disturbing movement of this roundabout gives us some freedom. However, the gloom of its pier makes us look for light and frenzy, which takes us abroad, and in the meantime, between the gloomy and bright, we find moments of serenity composed of differences in levels that isolate us both movement and peace. We do not become isolated, but at the very least we become abstracted.

Maia Park

Designed by João Álvaro Rocha, this station is characterized by its autonomy as a Metro infrastructure from Porto. Located at the gates of the City of Maia, it establishes the connection between the rural and the urban, asserting itself as a bridge in a territory where the hierarchy and design strategy are not present and seeks, through of its lightness and simultaneous presence in the urban landscape, to enter the City. Its perpendicularity with the axis created by Nacional 14 creates a moment of tension between the structure and the territory, giving due meaning to the work as an urban connection structure, without wanting to overlap in relation to the territory itself. Surrounded by a contrasting green landscape with the set of buildings, the station gains autonomy by assuming itself as a structure and, before becoming a building, this work values ​​the concept and function of the bridge, where nothing is more relevant than its own structure that is revealed through its transparency and vigorous materiality. Whoever walks through it feels an integral part of the City, taking shelter but simultaneously at the gates of the city. Everything here is clear and evident, present and essential.

DÉJÀ VU - A MEMORY OF THE PRESENT

DÉJÀ VU - A MEMORY OF THE PRESENT

BY LEONARDO MOTTA CAMPOS (AoLeo)

Déjà vu, a reminder of the present appears as an adaptation of Manoel de Barros' poetry, showing the transition of time in bodies and places, in order to reveal in its visuality through layers of meanings. Under the design of elaborating a contemporary poetic archeology, the artistic project appropriates old postcards from the city of Porto to use them as a temporal-imagery layer, under the cartographic function that guides the encounter and confrontation of forgotten and transformed sites for the action of building and rebuilding the urban space.

7ª CONFERÊNCIA INTERNACIONAL SOPHIA JOURNAL LANDSCAPES OF CARE: THE EMERGENCE OF LANDSCAPES OF CARE IN UNSTABLE TERRITORIES

1. Armin Linke, Lake Assal, extraction of salt, Djibouti, Africa, 2012. Courtesy Armin Linke and Vistamare / Vistamarestudio, Pescara / Milano.
2. Armin Linke, Kawah Ijen Volcano, Biau (Jawa Timur), Indonesia, 2016. Courtesy Armin Linke and Vistamare / Vistamarestudio, Pescara / Milano.

7ª CONFERÊNCIA INTERNACIONAL SOPHIA JOURNAL - LANDSCAPES OF CARE: THE EMERGENCE OF LANDSCAPES OF CARE IN UNSTABLE TERRITORIES

28 DE SETEMBRO DE 2022
AUDITÓRIO FERNANDO TÁVORA – FAUP

PT/ENG

No dia 28 de Setembro de 2022 terá lugar, no Auditório Fernando Távora - FAUP, a 7ª Conferência Internacional Sophia Journal Landscapes of Care: the emergence of landscapes of care in unstable territories.

A conferência será transmitida ao vivo online englobando uma série de debates e videoconferências.

O objetivo deste evento é o de promover uma reflexão e debate em volta do universo da Arquitectura, Arte e Imagem, abordando várias questões transversais ao mundo da Fotografia e da Arquitectura, explorando como a imagem pode ser um meio para atravessar fronteiras e deslocar limites entre diferentes áreas disciplinares. 

7ª Conferência Internacional Sophia Journal
Landscapes of Care: the emergence of landscapes of care in unstable territories 

For this 7th Sophia Journal International Conference Landscapes of Care: the emergence of landscapes of care in unstable territories we focused on the emergence of landscapes of care in unstable territories. These territories may be, but are not exclusive to: the desert, the icy lands, the rainy forests; territories within uncertain boundaries, e.g. between land and water; territories inhabited by native communities; territories that dramatically alter their configuration due to extreme weather conditions and scarce resources, or which natural resources are violently exploited and violated. Such territories hold vital information about patterns of resistance, flexibility, transformation and metamorphosis, enlightening the problems of vulnerability and resilience in the unforeseen future while opening up new perspectives of design, including new ways of poetically inhabiting the world as a place of encounter between species (following Haraway’s motto “staying with the trouble” and Guattari’s demand: “We need new social and aesthetic practices, new practices of the Self in relation to the other, to the foreign, the stranger”), protecting the ecosystems and understanding architecture, more than the distribution of spaces, as the distribution of the sensible.

ORGANIZAÇÃO

COMISÃO EXECUTIVA
Pedro Leão Neto (FAUP)
Susana Ventura (FAUP / CEAU)
Andreia Alves de Oliveira (Independent / PhD)

PROGRAMA
Susana Ventura
Andreia Alves de Oliveira

ARTISTAS CONVIDADOS E ORADORES
Elsa Brès

ORGANIZAÇÃO E PRODUÇÃO
Diana Senra
Sara Lino

COMUNICAÇÃO
FAUP / CEAU and Sophia Journal / scopio Editions

DATA
28 de Setembro 2022 | FAUP

LOCAL
A Conferência será realizada em simultâneo presencialmente e online na FAUP - Auditório Fernando Távora.

SCOPIO EDITIONS: OFFICIAL PUBLISHER OF THE CONFERENCE LANDSCAPES OF CARE: THE EMERGENCE OF LANDSCAPES OF CARE IN UNSTABLE TERRITORIES
The former editions of these international conferences proved to be an important forum for debate and reflection about Architecture, Art and Image, namely Photography on Architecture, whose work can be accessed freely through sophia journal platform and in book format at FAUP’s library, also being sold in many bookshops as AEFAUP and others alike, as well in scopio network bookstore.
The upcoming 7th edition of Sophia Journal International Conference Landscapes of Care: the emergence of landscapes of care in unstable territories intends to yield a significant collection of diverse Texts and Visual Essays, in order to offer a rich reflection through different perspectives addressing contemporary photography and visual practices that focus on how architecture understood in a wide sense can help to heal a broken planet.

7TH SOPHIA JOURNAL INTERNATIONAL CONFERENCE LANDSCAPES OF CARE: THE EMERGENCE OF LANDSCAPES OF CARE IN UNSTABLE TERRITORIES

1. Armin Linke, Lake Assal, extraction of salt, Djibouti, Africa, 2012. Courtesy Armin Linke and Vistamare / Vistamarestudio, Pescara / Milano.
2. Armin Linke, Kawah Ijen Volcano, Biau (Jawa Timur), Indonesia, 2016. Courtesy Armin Linke and Vistamare / Vistamarestudio, Pescara / Milano.

7TH SOPHIA JOURNAL INTERNATIONAL CONFERENCE LANDSCAPES OF CARE: THE EMERGENCE OF LANDSCAPES OF CARE IN UNSTABLE TERRITORIES

28th of SEPTEMBER 2022
Auditório Fernando Távora – FAUP

PT/ENG

On the 28th of September 2022, the 7th Sophia Journal International Conference  Landscapes of Care: the emergence of landscapes of care in unstable territories will take place in Auditorium Fernando Távora, FAUP. 

The live conference and the videoconferences program will be broadcasted live online, encompassing: a series of videoconferences and; roundtables.

The objective of this event is to promote the reflection and debate on the universes of Architecture, Art and Image, addressing various issues transversal to the worlds of Photography and Architecture, exploring how the image can be a means to cross borders and shift boundaries between different disciplinary areas. 

7th Sophia Journal International Conference

Landscapes of Care: the emergence of landscapes of care in unstable territories 

For this 7th Sophia Journal International Conference  Landscapes of Care: the emergence of landscapes of care in unstable territories we focused on the emergence of landscapes of care in unstable territories. These territories may be, but are not exclusive to: the desert, the icy lands, the rainy forests; territories within uncertain boundaries, e.g. between land and water; territories inhabited by native communities; territories that dramatically alter their configuration due to extreme weather conditions and scarce resources, or which natural resources are violently exploited and violated. Such territories hold vital information about patterns of resistance, flexibility, transformation and metamorphosis, enlightening the problems of vulnerability and resilience in the unforeseen future while opening up new perspectives of design, including new ways of poetically inhabiting the world as a place of encounter between species (following Haraway’s motto “staying with the trouble” and Guattari’s demand: “We need new social and aesthetic practices, new practices of the Self in relation to the other, to the foreign, the stranger”), protecting the ecosystems and understanding architecture, more than the distribution of spaces, as the distribution of the sensible.

TEAM

EXECUTIVE COMMITEE
Pedro Leão Neto (FAUP)
Susana Ventura (FAUP / CEAU)
Andreia Alves de Oliveira (Independent / PhD)

PROGRAMMING
Susana Ventura
Andreia Alves de Oliveira

INVITED AUTHORS / KEYNOTE SPEAKERS
Elsa Brés

ORGANIZATION AND PRODUCTION
Diana Senra
Sara Lino

COMMUNICATION
FAUP / CEAU and Sophia Journal / scopio Editions

DATE
28 September 2022 | FAUP

PLACE
The Conference will be held simultaneously in person and online at FAUP - Auditório Fernando Távora

SCOPIO EDITIONS: OFFICIAL PUBLISHER OF THE CONFERENCE LANDSCAPES OF CARE: THE EMERGENCE OF LANDSCAPES OF CARE IN UNSTABLE TERRITORIES 
The former editions of these international conferences proved to be an important forum for debate and reflection about Architecture, Art and Image, namely Photography on Architecture, whose work can be accessed freely through sophia journal platform and in book format at FAUP’s library, also being sold in many bookshops as AEFAUP and others alike, as well in scopio network bookstore.
The upcoming 7th edition of Sophia Journal International Conference Landscapes of Care: the emergence of landscapes of care in unstable territories intends to yield a significant collection of diverse Texts and Visual Essays, in order to offer a rich reflection through different perspectives addressing contemporary photography and visual practices that focus on how architecture understood in a wide sense can help to heal a broken planet.

Ciclo AAI - Conferências, Debate e Aulas abertas - ”Interstícios Urbanos e Estruturas Ficcionais nos Desenhos de Ana Aragão”

Ciclo AAI - Conferências, Debate e Aulas abertas
”Interstícios Urbanos e Estruturas Ficcionais nos Desenhos de Ana Aragão”

Convidados: Ana Aragão (Artista)

Apoio institucional da U. Porto / FAUP / FBAUP / CETAPS

16 de Março | 15h00 - 17h00 | (quarta-feira) - Auditório da Biblioteca - FAUP 

Irá realizar-se no Auditório da Biblioteca da FAUP no dia 16 de Março, pelas 15:00, mais uma sessão do ciclo de Conferências, Debates e Aulas abertas Arquitectura, Arte e Imagem (AAI), com a moderação de Pedro Leão Neto e aberta a toda a comunidade académica da U. Porto, com especial enfoque para os alunos das unidades curriculares de Fotografia de Arquitectura, Cidade e Território (FACT) do 2º Ciclo e de Comunicação de Projeto de Arquitectura (CAAD I e II) do 1º Ciclo da FAUP. 

Esta sessão terá como convidada a Arquiteta e Artista Plástica Ana Aragão que irá propor uma viagem em volta dos seus projetos sobre cidades e arquiteturas imaginárias, bem como dos seus processos de trabalho, memórias, histórias e outras temáticas relacionadas com os seus projetos artístico e a investigação que realiza acerca da representação do espaço urbano e arquitetura. 

 Teremos assim a oportunidade de ouvir, em primeira mão, a autora falar sobre alguns dos seus trabalhos e perceber como através do desenho cria cidades e arquiteturas imaginárias que nos podem levar a indagar de forma crítica e poética a arquitetura e o espaço urbano da contemporaneidade. No desenhos de Ana Aragão coabitam o passado e o presente através de diversos não-lugares e outros espaços utópicos e distópicos, bem como das suas arquiteturas inventadas, espaços de abandono, ruína ou de uma riqueza multifacetada, onde diversas geografias complexas de múltiplos signos, escalas e sentido se combinam. 

Através da realização destas conferências / debates pretende-se contribuir para a criação de um espaço de exploração, debate e reflexão de ideias em torno de novos caminhos de investigação sobre o espaço público, com um enfoque em dinâmicas emergentes de transformação urbana e a utilização da imagem com especial incidência pela fotografia como instrumentos de pesquisa e comunicação. Estas sessões públicas, abertas a todos os alunos da U. Porto, permitem que diversos fotógrafos ou autores possam expor e explicar os seus trabalhos de fotografia, com especial incidência nos que exploram de forma significativa as temáticas de espaço / arquitetura e da fotografia como um instrumento de indagação do real, como documento e ficção. 

Estas sessões são públicas e abertas à sociedade civil, bem como à comunidade académica, nomeadamente a todos os alunos da U. Porto, permitindo que diversos autores possam falar dos seus projecto, com especial incidência nas temáticas de fotografia e arquitectura que são de grande interesse para o projeto CONTRAST - rede alargada de instituições de ensino superior ligadas à formação em fotografia que tem como principal objectivo promover o pensamento, o debate e a divulgação de atividades relacionadas com esta prática -, bem como do projeto de investigação Visual Spaces of Change (VSC), AAC n.º 02/SAICT/2017 (refª POCI-01-0145 - FEDER - 030605), co-financiado pelo Fundo Europeu de Desenvolvimento Regional e por fundos nacionais através da Fundação para a Ciência e a Tecnologia (FCT, I. P.). 

Estas sessões são abertas a toda a comunidade académica e a entrada é gratuita. 

Enquadramento 

A organização destas conferências / debates é da responsabilidade da organização do grupo de investigação Arquitetura, Arte e Imagem (AAI / CEAU / FAUP) e o Laboratório de Arquitectura, Arte, Imagem e Inovação (AAi2 Lab), no âmbito do projecto VSC e Contrast. 

O objectivo geral destas actividades tem sido o de promover uma ampla reflexão sobre o contributo das imagens na compreensão da realidade e na construção de imaginários, entre o documento e a ficção, entre a reprodução e a manipulação, entre o analógico e o digital. Estas actividades têm vindo a integrar diversas acções ligadas ao universo da imagem contemporânea, mais especificamente à fotografia, permitindo também a participação de grupos e cidadãos exteriores à academia, abrindo desta forma as universidades à sociedade civil e a outras instituições. 
No universo da Imagem, a Fotografia é objecto de particular interesse, sendo explorada e analisada de forma crítica como um instrumento de registo e investigação numa perspectiva Inquisitiva, Curatorial e Comunicativa. O espaço privilegiado para esse registo e investigação fotográfica é o da Arquitectura, entendida como um universo amplo que integra simultaneamente os níveis macro e micro da transformação do Território e da Cidade e as suas múltiplas Vivências.  

Com o apoio institucional da Faculdade de Arquitectura da Universidade do Porto (FAUP), da Reitoria da U. Porto e da scopio Editions, este 2º Ciclo de debates AAI – Arquitectura, Arte e Imagem estará muito ligado à exploração da fotografia como instrumento de reflexão sobre a transformação do espaço público.  
 
Biografias 

 
Ana Aragão 

Ana Aragão (Porto, 1984) é arquitecta formada na Faculdade na Faculdade de Arquitectura do Porto (FAUP, 2009). Bolseira da FCT, frequentou o Doutoramento no Departamento de Arquitectura da Universidade de Coimbra (2011-2014, não concluído). Com atelier no Porto desde 2012, dedica-se exclusivamente ao desenho, explorando o tema imaginários urbanos e “arquitecturas de papel”. Alguns dos seus recentes projectos incluem a participação na representação portuguesa na Bienal de Veneza de 2014 (Projecto “Homeland”), de 2021 (Pavilhão Italiano), a sua selecção pela Luerzer's Archive como uma das "200 Best Illustrators Worldwilde” (2014), colaborações com a ARTWORKS, Tapeçarias Ferreira de Sá, Centro Cultural de Belém, Casa da Memória de Guimarães, entre outras. Algumas das suas exposições individuais recentes são “FUTURE FRAMES” (Jofebar, Matosinhos, 2016), “Imaginary Beings” (Macau, 2017) “Vertical Reclamation of Individual Spaces” (residência artística e exposição individual, Macau, 2019; A’parte Galeria, Porto, 2019), “Como decorar um poema” (Fundação Altice, Porto, 2018), “S.M.L.X.L” (Sociedade Nacional de Belas Artes, Lisboa, 2019), “Galeria X” (Reitoria da Universidade do Porto, 2020, Porto), "No Plan for Japan” (Museu do Oriente, Lisboa, 2021, até 13 de Fevereiro de 2022). Tem obras nas colecções do CCB, Fundação Oriente Macau e Fundação do Oriente Portugal.   
 

Pedro Leão Neto 

Investigador e professor na FAUP desde 2007 nas áreas da Comunicação de Projeto de Arquitetura e Fotografia, sendo coordenador do grupo de investigação Arquitectura, Arte e Imagem (AAI), director da associação cultural Cityscopio e fundador e coordenador editorial da scopio Editions.  

Foi curador de várias exposições de fotografia de arquitectura em Portugal e no estrangeiro, e responsável pela organização de cursos, debates e seminários internacionais em torno do universo da Arquitectura, Arte e Imagem, e é Editor-in-chief da publicação Sophia Journal, uma revista indexada e centrada no universo AAI. É autor e editor de mais de 30 livros e Investigador Principal (PR) do projeto de investigação VSC "Espaços Visuais da Mudança" financiado pela agência pública portuguesa - FCT. 

LEÇA DA PALMEIRA LIGHTHOUSE: EXTERIOR

LEÇA DA PALMEIRA LIGHTHOUSE: EXTERIOR

BY MARTA FERREIRA

Marta Ferreira’s photography project Leça da Palmeira lighthouse adopted a documentary photography methodology that took the lighthouse as its subject and artistic matter, moving away from traditional main stream photography reportage. We are presented with a visual narrative incorporating a subjective point of view, a ‘personal report’ that makes us aware of the significant relation between this architecture and the context where it is built and how this liaison creates a unique place.

The photography project explores Leça da Palmeira lighthouse through a promenade architecturale[1] that allows us to experience the formal characteristics of the lighthouse-complex, as well as its interior and exterior spaces and surroundings in a novel way. It is a journey that involves movement and displacement, something that moves away from the characteristics of the fixed image - photography -, coming much closer to cinema, art capable of representing a space in a time and movement closer to reality. Marta constructs this journey organizing the space in an integrated and imaginative way that not only allows for the viewer to consider a new reading and spatial consciousness of that place, but also unifies the spaces of the edifice and its relation with the surroundings, taking advantage of the potential of a fixed point of view, i.e. the location, direction and sense of the photographer's eye when creating the photographic image. Marta´s vantage points are the result of a careful selection that delimits what is shown and what remains invisible, and in this way each of her images helps to build a direction, a differentiated gaze towards the Leça lighthouse-complex and the whole series of images build a path, even if predetermined and more abstract than a set of moving images.

Marta´s photographic project comprises diverse visual sequences, which take us, along the pages, through an interesting journey made up of a perceptive and poetic chain. The visual narrative reveals the lighthouse architecture in different ways exploring significantly the edifice´s perceptive experience, where the natural light is captured in a way that allows sensing the atmosphere of the lighthouse[2] and thus serves to awaken our imagination and emotion for the edifice and that place.

It starts with an impressive bird eye view towards the north, from the lighthouse most upper level, and continues the promenade with diverse images from ground view, sometimes in diptychs, other times alone in the page, where it is possible to understand the richness of the different relations that the lighthouse establishes with the sea, the rocks, and the other buildings that surround it, including Álvaro Siza´s Tea house. Then, the photography series goes on through an incredible sea trip with the Coast Guards team and Fleet Captain Rui Pedro Lampreia, which allowed to perceive the lighthouse when you approach it from the sea, as well as to observe the cost line and how it has been transformed, capturing unique perspectives just possible to make from the sea, as is for example the set of chiminea’s of the oil complex of Leça da Palmeira.

Also, the contour and the poetics of some of the photographs are also quite revelatory of the multifaceted richness of the lighthouse-complex, with different spaces of work and the strong relation with the natural context of the edifice. Note how the images of the four last spreads are able to masterfully communicate the interplay of the rocks with some parts of the building, as well as the unique places from where you can perceive the sea and its horizon and the geometric lines and opening interplay of the lighthouse building.

[1] What is of interest here is the notion proposed by Flora Samuel when she defines promenade architecturale as being simultaneously an experimentation of the space in movement while we walk about the building and a network of ideas (that sustain the work of architecture). See Flora Samuel, Le Corbusier and The Architectural Promenade, Birkhäuser Architecture, 2010.

[2]. “”There is always more to a photograph than the picture. It conveys because of our fantastic sense of imagination [sic].” Pallasmaa’s argument for the sort of poetic image discussed by Gaston Bachelard strikes a chord: all spaces have an atmosphere, so presumably do all photographs.” in Marc Goodwin, “A Hinge: Field-testing the relationship between photography and architecture”. https://www.researchcatalogue.net/view/30884/32382.

LEÇA DA PALMEIRA LIGHTHOUSE: INTERIOR

LEÇA DA PALMEIRA LIGHTHOUSE: INTERIOR

BY MARTA FERREIRA

Marta Ferreira’s photography project Leça da Palmeira lighthouse adopted a documentary photography methodology that took the lighthouse as its subject and artistic matter, moving away from traditional main stream photography reportage. We are presented with a visual narrative incorporating a subjective point of view, a ‘personal report’ that makes us aware of the significant relation between this architecture and the context where it is built and how this liaison creates a unique place.

The photography project explores Leça da Palmeira lighthouse through a promenade architecturale[1] that allows us to experience the formal characteristics of the lighthouse-complex, as well as its interior and exterior spaces and surroundings in a novel way. It is a journey that involves movement and displacement, something that moves away from the characteristics of the fixed image - photography -, coming much closer to cinema, art capable of representing a space in a time and movement closer to reality. Marta constructs this journey organizing the space in an integrated and imaginative way that not only allows for the viewer to consider a new reading and spatial consciousness of that place, but also unifies the spaces of the edifice and its relation with the surroundings, taking advantage of the potential of a fixed point of view, i.e. the location, direction and sense of the photographer's eye when creating the photographic image. Marta´s vantage points are the result of a careful selection that delimits what is shown and what remains invisible, and in this way each of her images helps to build a direction, a differentiated gaze towards the Leça lighthouse-complex and the whole series of images build a path, even if predetermined and more abstract than a set of moving images.

Marta´s photographic project comprises diverse visual sequences, which take us, along the pages, through an interesting journey made up of a perceptive and poetic chain. The visual narrative reveals the lighthouse architecture in different ways exploring significantly the edifice´s perceptive experience, where the natural light is captured in a way that allows sensing the atmosphere of the lighthouse[2] and thus serves to awaken our imagination and emotion for the edifice and that place.

It starts with an impressive bird eye view towards the north, from the lighthouse most upper level, and continues the promenade with diverse images from ground view, sometimes in diptychs, other times alone in the page, where it is possible to understand the richness of the different relations that the lighthouse establishes with the sea, the rocks, and the other buildings that surround it, including Álvaro Siza´s Tea house. Then, the photography series goes on through an incredible sea trip with the Coast Guards team and Fleet Captain Rui Pedro Lampreia, which allowed to perceive the lighthouse when you approach it from the sea, as well as to observe the cost line and how it has been transformed, capturing unique perspectives just possible to make from the sea, as is for example the set of chiminea’s of the oil complex of Leça da Palmeira.

Also, the contour and the poetics of some of the photographs are also quite revelatory of the multifaceted richness of the lighthouse-complex, with different spaces of work and the strong relation with the natural context of the edifice. Note how the images of the four last spreads are able to masterfully communicate the interplay of the rocks with some parts of the building, as well as the unique places from where you can perceive the sea and its horizon and the geometric lines and opening interplay of the lighthouse building.

[1] What is of interest here is the notion proposed by Flora Samuel when she defines promenade architecturale as being simultaneously an experimentation of the space in movement while we walk about the building and a network of ideas (that sustain the work of architecture). See Flora Samuel, Le Corbusier and The Architectural Promenade, Birkhäuser Architecture, 2010.

[2]. “”There is always more to a photograph than the picture. It conveys because of our fantastic sense of imagination [sic].” Pallasmaa’s argument for the sort of poetic image discussed by Gaston Bachelard strikes a chord: all spaces have an atmosphere, so presumably do all photographs.” in Marc Goodwin, “A Hinge: Field-testing the relationship between photography and architecture”. https://www.researchcatalogue.net/view/30884/32382.

THREE LIGHTHOUSES IN FOZ DO DOURO

THREE LIGHTHOUSES IN FOZ DO DOURO

BY JORGE MARUM

This series tries to represent a possible narrative about the North, South and Felgueiras lighthouses and the public space surrounding them. I understand these 3 lighthouses not only as an equipment/infrastructure to support navigation delimited by enclosed space, but also as equipment that are architectural objects in the sense that they integrate public space and promote social activity. They are navigation and coastal protection infrastructures, but at the same time, the piers are also public space. The narrative tries to represent 3 different urban realities in articulation: the lighthouses, the piers and the human appropriation (terrestrial and maritime).

ALMA

ALMA

BY EDU SILVA

This visual narrative isn’t another epic tale about the portuguese coastline and its heroic seamen. Those days are long gone as well as those seamen, whom are either dead or dying. Globalization and the European Union came, saw, and conquered it all. Fishing boats were dismantled and strict fishing quotas were imposed, while at the same time a massive multiplatform campaign promoting tourism in Portugal began to be implemented and disseminated, both on a nacional and international scale. And while tourism is now a booming sector in this country, labors such as fishing or sargassum harvesting are becoming dying arts. These new dynamics altered the fabric of the social landscape of the portuguese coastline, changing the morphology of this territory not only in the physical sense, but also gradually turned a once great nation of seamen into a fleet of waiters and nondescript caretakers willing to tend to the needs of the tourists (foreign and domestic alike). 

The truth of the matter is that in this admirable and innocuous new world, there is no place for heroes and danger anymore. All that’s left are the old tales about the portuguese coastline, stories that still make us daydream about a place that once was the starting point to adventure. 
Indeed, this is a difficult conjuncture to make a living off the sea. But there are still a few people who are bold enough to resist the tides of change and dare to fight for their right to live yet another day in this fabled place. 

This visual essay is dedicated to the last inhabitants of the late and once great portuguese coastline.

BAIRRO DA BOUÇA: INTERIORITY AND SPACE

BAIRRO DA BOUÇA: INTERIORITY AND SPACE

BY SARA LINO

For this photography project several authors and their work were studied and many of these creators were considered fascinating to delve in. The theoretical work was divided in two main chapters: photographic and literary / theoretical references. In both I studied Portuguese and foreign authors. When it came to photography, my main references awere Hélène Binet, Stephen Shore, Gabriele Basilico, Duane Michals e Paulo Catrica. Others are Ed Ruscha, Ezra Stoller, Julius Shulman, Richard Pare, Ines D’orey, André Cepeda and Luís Barbosa.

Hélène Binet, in her works, unequivocally, represents the modern movement in photography. Her projects became great sources of inspiration for the images I later produced. Through light and shapes, her poetic images challenge our eyes. The aesthetic of her works, the way she represents spaces, and seeing her images, motivated me very much and I believe it is possible to sense how her aesthetics influenced my work. “ As a photographer you are confronted with a dilemma: what is the soul of the room? The architectural identity of the room or the phenomenon created by the window and the room and their interaction?”20 Other than that, her projects inspired me to experiment with black and white as she manifests that black and white is capable of turning an image into much more, unfolding and communicating other dimensions of space.

A VISUAL APPROACH TO THE ARCHITECTURAL SPACE

A VISUAL APPROACH TO THE ARCHITECTURAL SPACE

BY JOÃO PAULOS

The objective of this work is to develop a case study in which one tries to apply what has been studied in this thesis through a photographic project on two stations in the Metro do Porto network. Based on a space research exercise, the intention is to conclude the registration process, using photography, of these metro station spaces, usually transit spaces, or short stays. It is intended, with these captures, to account for the different dynamics of these spaces, as well as the various types of appropriation that, given the different locations, happen in each one of them.

The city is constantly evolving, constantly moving. It is made of it. Flows, diverse audiences and speed. The metropolitan system further emphasizes and highlights these characteristics. With the introduction of this transport network throughout the city, it is also necessary to build several spaces - public - that come to change and / or create new ways of being in the city. “The metropolitan, for example: instead of 'burying' it alive, we can give such a character to a station that its shape suggests the nature of the city that exists above it; (...) ”. The Porto metro is mostly characterized by surface stations, which implies an even more careful and thoughtful urbanization plan, so that the city can continue its growth and evolution, without barriers, without limits.

This series of photographs presented below intends to show, not only the public spaces that this network introduced in the city's network, but also to account for the appropriation, the rituals, the life that exists in these spaces. In fact, these records will portray the shape of the work, but mainly they will portray the way these spaces are appropriate. Supported “in the architectures” that were developed there, life in these spaces allows itself to be infected by its surrounding and later work erected there, and vice versa. “It is possible to outline a path in such a way that the flow itself becomes sensorially evident: divisions, narrowing, ramps and curves would allow a kind of contemplation of the traffic by itself. All of these techniques are intended to increase the visual range of those who travel. ”Architecture, too, is contaminated by these rituals, and often overcome by them. People take ownership of these spaces that were designed for them, but often not in the way that architects designed. In addition, the place where this architecture is inserted comes to influence these modes of appropriation, that is, depending on their urban positioning, users will have a tendency to experience these places in different ways, resulting in different stories.

To give shape to this story, we chose to choose the stations of Verdes, in Moreira da Maia, and of General Torres, in Vila Nova de Gaia. The choice of these two structures is mainly due to the great differences they reveal in relation to their urban insertion. Although the two stations formally present themselves in a very similar way, through a typology of architecture that is repeated by the various surface stations of the metro network, the two end up being understood in a completely different way. The Verdes station is located on the outskirts of the city of Porto, next to the airport and in an industrial area, however, its surroundings are predominantly green and rural. General Torres is located in the center of Vila Nova de Gaia, on its main avenue, supported by the railway station of the same name, bounded by roadways and residential and commercial buildings. This means that, each one of them, given the flows and the structures that surround them, end up also having different courses, paths and passengers.

This sequence of photographs is intended to set up a visual narrative that supports what was portrayed, both in this document and in the work of the two photographers in study. Now, we intend to expose a visual report, capable of disseminating the experiences that occur in these very different places, immersing the viewer in a trip through these metro stations, stimulating his critical sense towards the represented architecture, and inducing him at a time of introspection about your reality. The narrative, which follows, is based on the following points: the appropriation of space by its users; the similarities, but at the same time appear as differences, between the two seasons; the same type of architecture used in two different contexts and an exploratory and artistic look at Porto's metro stations, through views and a visual strategy that refers to exactly this confrontation between the periphery and the center and that is reflected in the architecture of these spaces.

Topophilia

TOPOPHILIA

BY PETER BRAUNHOLZ

This project is about poetry of space, found in rural regions all over of the European continent. From 2015 to 2018 Peter Braunholz worked in all european countries and traveled from village to village, more than 20,000 miles in total. The displayed images are from Spain, Germany, Norway, Sweden, France, Portugal and Italy.

 There are no people in the photographs, yet immanent in all of them is a sense of human presence. As we compare these images, we feel that the series also questions how people live all over Europe, how people from different regions take possession and comprehend spaces differently, and how culture transforms spaces in the way the economic and cultural logic drives our lives.

 The work is also related to Arthur Danto´s idea of art as "The Transfiguration of the Commonplace" (Harvard University Press, 1981). Peter Braunholz has chosen common small town spaces away from traffic routes as the motifs for his work. He puts the focus not only on their material, but also on their immaterial quality. Therefore his work serves as an example for Danto’s ideas that art gives obvious things an oddness – it defamiliarises – and artworks have immaterial as well as material constituents.

 You will find more images from the series and of Peter Braunholz's work on his website. The series contains 70 selected photographs in total. A greater selection has been published in the monographic book "Photographic Realities" by Kehrer Publishing, Germany.

SHORT BIOGRAPHY

 Peter Braunholz (b. 1963) is a photographic artist based in Frankfurt, Germany. His work has received numerous international awards and has been shown worldwide. Today he focuses on the volatile and often model-like identity of common space.



LINKS


http://www.peterbraunholz.de
https://www.instagram.com/peter.braunholz/

Exposição | Fendas Intemporais | Lançamento da Scopionewspaper # 6

Fendas Intemporais | Lançamento da Scopionewspaper # 6 ”Exposição de Artur Leão e Jiôn Kiim”

No dia 09 de dezembro 2021 ao dia 16 de dezembro 2021, decorreu a exposição ‘Fendas Intemporais’ de Artur Leão e Jiôn Kiim com curadoria de Miguel Leal, que surge no âmbito da colaboração entre o i2ADS(FBAUP e a Scopio CEAU/FAUP. A abertura da exposição no dia 09 de dezembro foi também pretexto para o lançamento da Scopionewspaper # 6.

Os conteúdos da exposição estão online na plataforma VSC e a experiência expositiva está registada puramente para efeitos de investigação, sendo objeto de análise no contexto do projeto de investigação VSC em curso.

Este projecto é desenvolvido pelo grupo de investigação Arquitectura, Arte e Imagem (AAI) do Centro de Estudos de Arquitectura e Urbanismo (CEAU) da Faculdade de Arquitectura da Universidade do Porto (FAUP) e pelo laboratório Lab2PT (Escola de Arquitectura) e pelo Centro ALGORITMI (Escola Superior de Engenharia) da Universidade do Minho. 

Consulte aqui Scopionewspaper # 6 de maio de 2021 

Nesta exposição, escolheu-se não uma revisitação direta do projeto fotográfico publicado, mas antes a criação de uma nova situação adaptada ao espaço e ao contexto. Numa montagem simétrica, ao cimo das escadas, abrem-se duas portas para um mundo em ruínas, como que invertendo a relação entre interior e exterior, entre construção e ruína. No meio, em suspensão um cristal colorido e luminoso anuncia outros fantasmas que pairam nesses lugares fora do lugar.

A publicação está à venda na Livraria do i2ADS. 

Artur Leão

Concluiu o Mestrado em Artes Visuais. Práticas Artísticas e Investigação na Escola Superior Artística do Porto (ESAP). Integrou as exposições "Do Not Touch Fresh Paint"! (2018) no Espaço MIRA; e "Playlist #25" (2018), um projeto curatorial de Nuno Ramalho no Café Candelabro. O projeto "Fendas Intemporais" foi seleccionado para ser exibido na Estação de Metro dos Aliados no contexto da "Bienal de Fotografia do Porto, 2019" integrado no projecto de investigação "Visual Spaces of Change". É cofundador do projeto musical "Benthik Zone" e segue uma estratégia artística que implica viajar por territórios imaginários de um futuro distante e, noutras ocasiões, por instâncias e momentos do passado explorando vários materiais e meios. Atualmente, utiliza a fotografia, o desenho e a poesia como meio privilegiado de expressão para documentar e redescobrir o mundo, concentrando-se mais em temas como a metamorfose dentro do universo da mitologia clássica.

Jiôn Kiim

(Busan, Coreia) vive e trabalha no Porto. Possui um Diploma em Belas Artes do HfBK Dresden e um BFA em Desenho Industrial da Hongik Univ. em Seul. A sua prática é transdisciplinar e engloba vários meios de comunicação, sendo o desenho o instrumento nuclear, esta resulta da junção das suas experiências de vida contemporânea com fenómenos sociopolíticos. Em 2017-2018, colaborou com a scopio Editions e desenvolveu uma pesquisa fotográfica nos projetos "Terrain Vague; post-Fordist society" e "Fendas Intemporais". O seu trabalho tem surgido em locais e publicações como On The Surface: photography conference | MAAT(Lisboa), Ci.CLO Bienal 19, Anuário '20 | Galeria Municipal do Porto/ aSede, Galeria Dentro e Palacete Pinto Leite (Porto), Revista Dose #6, Centro de Memória (Vila do Conde), Salão Sophie Charlotte (Berlim), GnRation (Braga), ZAWP (Bilbao), Art Space O (Seul), Motorenhalle, Ex14 e Oktogon (Dresden), entre outros.

Miguel Leal

Vive e trabalha no Porto. Artista Plástico e professor na Faculdade de Belas Artes do Porto (FBAUP). Membro integrado do i2ADS, colabora há vários anos com os projetos da Scopio. Mais info: http://ml.virose.pt

Visual Spaces of Change 
Visual Spaces of Change propõe uma estratégia de comunicação visual baseada no desenvolvimento de projetos de fotografia contemporânea que reflitam sobre as diferentes dinâmicas de mudança urbana para abrir novos horizontes de intervenção pública no espaço público. Estes projetos são concebidos como “narrativas visuais” destas dinâmicas, interferindo intencionalmente com o território metropolitano numa representação auto-reflexiva do seu próprio processo de mudança, reduzindo a distância entre os objetos de investigação (paisagens, lugares, espaços públicos e coletivos) e as suas representações.

Visual Spaces of Change - VSC

© Chloé Darmon e Diana Senra.

NOVA COLEÇÃO DE PEQUENOS LIVROS (LITTLE BOOKS) - ARQUITETURA, ARTE E UTOPIA - U. PORTO ALUMNI LITTLE BOOKS

NOVA COLEÇÃO DE PEQUENOS LIVROS (LITTLE BOOKS) - ARQUITETURA, ARTE E UTOPIA - U. PORTO ALUMNI LITTLE BOOKS
A SER LANÇADA BREVEMENTE

UMA INICIATIVA CONJUNTA DO GRUPO AAI / CEAU / FAUP COM CETAPS / FLUP COM CHANCELA U. PORTO PRESS e SCOPIO EDITIONS

PT/ENG

Com base nas dissertações dos estudantes finalistas, foi criada uma nova colecção de pequenos livros de Arquitectura, Arte e Utopia - U. PORTO Alumni Little Books - que tem o apoio da U.Porto Press associada à Scopio Editions. O objectivo é o de publicar pequenos livros (book zines) provenientes do trabalho de dissertação dos alunos finalistas das Faculdades da U. Porto, seleccionados pela qualidade desse trabalho e proximidade dos temas abordados em relação às áreas de Arquitectura, Arte e Utopia.

A colecção é uma iniciativa conjunta do grupo de investigação Arquitectura, Arte e Imagem (AAI) integrado no Centro de Estudos de Arquitetura e Urbanismo (CEAU) da Faculdade de Arquitectura da Universidade do Porto (FAUP) e do Centre for English, Translation and Anglo-Portuguese Studies da Faculdade de Letras da Universidade do Porto (CETAPS/FLUP). Constituída por publicações Little Books com um formato especificamente concebido para o efeito, a coleção está estruturada através dos temas de interesse de cada uma das obras relacionadas com Arquitectura, Arte e Utopia, tendo como base a selecção dos trabalhos finais do Mestrado escolhidas anualmente e editadas de acordo com o novo layout da colecção.

As obras serão colocadas nas bibliotecas das Faculdades, num local específico para esta colecção. Estas publicações serão, uma vez terminadas, o mote para promover múltiplos actos de reflexão, que podem provir de várias iniciativas como palestras e debates em torno dos temas desenvolvidos e ligados a estratégias pedagógicas integradoras, estimulando / promovendo a iniciação da investigação dos estudantes que terminam o 2º ciclo de estudos.

A colecção começa com os seguintes quatro Little Books de Antigos Alunos:

Chloé Darmon
MULHERES NO ESPAÇO PÚBLICO | ARQUIVO, FOTOGRAFIA E IMAGEM

Diana Aires Senra
HETEROTOPIAS VISUAIS | O REVELAR DO RIZOMA URBANO

Pedro Gonçalves de Barros
MEMÓRIA | TERRITÓRIO | DESENHO

Raquel Lagoa
FRAGMENTOS DE CIDADE | IMAGENS DE ARQUITETURA

Aluna finalista da FAUP e colaboradora da Scopio Editions é premiada em concurso internacional de fotografia

© Chloé Darmon

Aluna finalista da FAUP e colaboradora da Scopio Editions é premiada em concurso internacional de fotografia

No dia 25 de Novembro 2021, no dia internacional da eliminação da violência contra as mulheres, Chloé Darmon, a aluna finalista da Faculdade de Arquitetura da Universidade do Porto (FAUP) e colaboradora da Scopio Editions, foi premiada na segunda edição do concurso internacional de fotografia "Nuestras Arquitectas", organizado por várias entidades argentinas e espanholas.

Este concurso tem como objetivo "ajudar à visibilização e ao reconhecimento dos contributos das arquitectas com o fim de difundir e socializar as obras arquitectónicas realizadas por mulheres em nossa sociedade." Composto por 4 categorias : Pioneiras; Consagradas; Revelações; Arquitetas em acção!. O Grande Prémio; e por fim o Prémio do Público, novidade desta segunda edição.

O júri atribuiu o primeiro prémio do público e uma menção honrosa na categoria pioneiras a Chloé Darmon com a fotografia do projeto da Torre-Miradouro (1969), da arquiteta pioneira Maria José Marques da Silva, primeira mulher a diplomar-se no Curso de Arquitectura na Escola de Belas Artes do Porto em 1943 e do arquiteto David Moreira da Silva.

Mais informações em : https://nuestrasarquitectas.wordpress.com/2021/10/26/concurso-de-fotografia-nuestras-arquitectas-2021/