ICBAS COMPLEX

ICBAS COMPLEX

BY ANA FRANCISCA COSTA, ANA MARGARIDA SOUSA, DIANA MAUDSLAY, INÊS FERNANDES, JOÃO HENRIQUES

The ICBAS complex houses two faculties: the Faculty of Pharmacy and the Faculty of Biomedical Sciences. The main reason we chose this building was its location and the relationship it has with its surroundings. The faculty is located in the center of the city of Porto and is in direct dialogue with the city's consolidated building and, more indirectly, with Vila Nova de Gaia, since it faces it. On the other hand, and despite not having aroused our interest from the start, the fact that the building dialogues with a pre-existence also caught our attention, by the way they contrast with each other.

Briefly, the new building is composed of three elongated volumes marked by a strong horizontality and another more subtle and partially buried volume that connects the first three volumes to the pre-existence building through a square on its roof.

Despite the apparent simplicity of the implantation, these volumes are interconnected in different ways, at different heights, and create a great diversity of living and circulation spaces, both exterior and interior, as well as exterior but covered spaces that contribute to a spatial richness that we seek to portray in this work.

The simple and orthogonal lines of the buildings give rise to a succession of contrasting spaces: bright and dark, wide and conditioned, open and closed. From this it was possible for us to develop a dynamic of highlighting their contrasting qualities, which produce dramatic photographic effects that make use of color, the characteristic luminosity of the space, and also of its perceptual strengths.

Our journey begins with the discovery of the place and its connection with its surroundings. Between framings and refuges where a new detail and a new connection is always discovered, such as the way the connection between the new building and the pre-existence was treated, enhancing the architectural solution found.

From shadow to light, between the old and the new. This is how the space at the 7 entrance of this college is de ne. An incessant search to connect the city with the space, through occasional framings, like
a frame that frames a work of art.

The camera allows us to travel inside and outside, helping us develop a more attentive look at the peculiarities of the building and everything that encompasses it. Thus, we wandered through the corridors and transition spaces in order to capture the places where its students, teachers and employees interact and socialize on a daily basis. The goal would be to show, through the photogra a, how these spaces are used, in a year as disparate as the one we are in, capturing the essence and ambience of the college today.

Along the way we found several singularities, especially the contrast in the appropriation of spaces, whether this was done by people or objects. It is at this point that we notice the impact of today in the occupation of spaces: empty, dark, silent places, lacking human presence.

The fact that the building has a rhythmic composition made us want to represent the various perspectives created by the volumes. In addition, we wanted to show the path that connects them.

As already mentioned, the environment in ICBAS presents the absence of human presence. Empty chairs, dark places, unoccupied rooms and corridors is the main view one has of the building, thus highlighting the objects that constitute the space. The little movement that exists was captured through the use of long exposure images and photomontages. These images are intended to show how it would be certain places of this college if they had their normal presence of people, who cross interact and bring life and color to these now unpopulated spaces.

PORTO (CENTRO) CAMPUS

PERCEPTION

PERCEPTION

BY ANNE RÖSSGER, ELISE LOTTE BASTERT, SALLY YAZJI, PIERRE THOMAS, JULIEN JARRIGE, JOÃO HENRIQUE FERNANDES FARI

CAMPO ALEGRE CAMPUS

POÉSIE LINÉAIRE: EXPLORATION DE L’OMBRE ET LA LUMIÈRE

POÉSIE LINÉAIRE: EXPLORATION DE L’OMBRE ET LA LUMIÈRE

BY AUDREY MARQUES, THOMAS CHEN, VIOLETTE CAIREY-REMONAY, ZOÉ MAILLARD

PHOTOGRAPHIC PROJECT ABOUT THE FACULDADE DE CIÊNCIAS DA UNIVERSIDADE DO PORTO

Initially, we focused on the study of Hélène Binet’s work, to guide us in this practice.
Her work began with the use of different scales, and her poetic language around light inspired us. These lines of thoughts were the guide- lines on which we based the creation of this book. We made the choice to work with black and white, a binary vocabulary of color. We thought it was well suited to capture and highlight the straight geometry of the Faculty of Science. Furthermore, this choice allows us to lter parasitic information from the environment that would jump out too much with a high impact of color. Because we want to focus on the deep meaning of the photographs. We want to identify different atmospheres through the accentuation of geometry or the symbolic content of the photograph, without being impacted by the temporality emitted by the use of color, the effect of time. This use of black and white accentuates the work carried out on the poetics of light, with its play on light and shadow. And it highlights the vertical and horizontal lines of the building.

This place exhibits a straight architecture that is frozen in space. These guidelines are in contrast to the organic forms of the environment. Indeed, the Faculty of Science is located in a large park where vegetation is present. This parti- cularity of the place offers a counterexample to our line thoughts: in the strong geometry of the building, we encountered small imperfections such as air vents or technical ducts. These building components are neces- sary for the proper functioning of the latter and bring life in this rigidity. They appear as the organs of the building.

Its environment reveals a diversity of space, biodiversity and architecture. When dense vegetation comes into contact with the right architecture of the buildings, strong tones are accentuated on the image. The black and white showcases all the human constructions, all the buildings of the site. The relationship between two colors conveys the idea that everything is straight, ortho- gonal, geometric, in order, and in simple and pure shapes.

The walk was an important drive for our thoughts. We want to share with you this walk, where the out- door area is unveiled like a space lled with rich details and surprises. The orthogonal ensemble is part of a more chaotic natural en- vironment, which cannot be described simply by two colors. For this reason, we have chosen to punctually bring color to our photographs, in order to reveal all the diversity present in the outside space of the faculty.

This change concerning colors is a desire to illustrate the complex relationship that the site emits, between a building with strong lines and dense vegetation. When we en- counter the organic and intricate forms of the park, the use of color becomes important in order to illus- trate the dense vegetation.

THE ENGINEERING TONES: COMMUNITY, TRANSPARENCY, SYMMETRIES

THE ENGINEERING TONES: COMMUNITY, TRANSPARENCY, SYMMETRIES

BY CATARINA SANTOS, MARIA JOÃO FARIA, MARIA LUISA MESQUITA

This visual narrative intends to portray photographically the Faculty of Engineering of the University of Porto, located in the Asprela pole and its direct/indirect relations between the exterior and the interior. It is a college of irregularly regular plan, because from its asymmetrical axis we can notice symmetries in the two wings that compose it. Firstly, the main building, with its 7 annexes, which face the street (creating, almost, a feeling of a wall for those who pass by). On the opposite side, the various engineering departments, apparently independent, are interconnected.

UPTEC IN WAITING: BETWEEN REALITY AND VIRTUAL

UPTEC IN WAITING: BETWEEN REALITY AND VIRTUAL

BY GIOVANY BICALHO, RENATO RIBEIRO, TÂNIA MARQUES

UPTEC is the meeting point between different disciplines, contexts and specialists. It is a space to risk, provoke, share, build and learn. UPTEC is a place for open-minded and highly qualified people to dream, create and develop a better future for us all." Due to the context currently experienced in Portugal and the world, with the SARS-CoV-2 virus, countless professionals and students, in confinement, have been forced to roll up their sleeves and find ways to continue working outside their offices and colleges which results in empty, seemingly abandoned buildings where only the necessary people roam. The idea of the present work seeks to document what this "meeting place" is, when there is almost no one to meet. How a space that is made to receive is felt, when there is nothing to give. In this way, the group chose to show their vision and feeling of the space during their visits to UPTEC, following a route idea that emphasizes the richness of spaces in this park of science and technology, consisting of two blocks in "L", which embrace and circumscribe, along with the new urban park and the landscape around the Hospital of São João, a wide meeting place.
Between reality...
Here we observe the occasional movements, which, to be sure, were once more agitated, of students, professors, and workers, who pass by on foot, far away, or in vehicles, from cars, buses, and even ambulances. UPTEC then borders the School of Health and this break between the two realities cannot fail to be noticed. First of all, it is evident that it is posterior to the School of Health, trying to seek altimetric relations with the latter, but the biggest difference consists in the idea of open space that UPTEC makes itself felt, opening up to the outside, not only as is evident in the courtyard, which maintains a strong visual relationship with the building thanks to its sheets of glass, but also on the façade parallel to the School of Health, where several openings can be seen, seeking a contained relationship with the outside, almost as if out of respect for the neighboring building, which closes in on itself, even resorting to the use of grids. These spaces of convergence become the most interesting spaces of this implantation. To emphasize this confrontation of worlds, the group decided to adopt Maros Krivy's false panoramic technique, forcing the breakdown of these two worlds, and even identifying a third one, in the background, the Asperela neighborhood. This, together with the Faculty of Psychology and Science of Education are in total confrontation with the park. If on one side the technology is highlighted by the existence of drones made from scratch, which are able to fulfill the idealized purposes, on the other side there are huge garbage bags on the edges of a very worn-out road. Here too, the photographer's technique reveals great astuteness, as the parts function not only as one, but mainly separately, almost as if they were pieces of a puzzle and could move from place to place. We are then forced, thanks to a white gate that hides a vacant lot, to return to the courtyard. We then decide to go around the building, finding ourselves in what looks like the back of the building, but where the main entrance is. This is marked by glass panels similar to those facing the courtyard, which makes us notice the transversality of that point. Looking up we notice an appealing balcony, and quickly want to enter and find out how to get there. Upon entering, we are confronted with a different reality.
different reality. The cold outside, enhanced by the glass and the concrete paneling, dissolves in the warmth of the wood in orange tones, which are replicated in the corridors of the east wing. And this is exactly why the group went to the right. Forced to climb the cold emergency staircase, where an interesting skylight appears, there we find a corridor without natural light and with room doors on both sides. At the end we see the long awaited balcony. We feel that it is a meeting space, that promotes a good break between colleagues, and that if in a pandemic context we saw 4 colleagues, how many would not see each other in a normal situation? Entering the West wing, we feel such a strong relationship with the courtyard, thanks to its long corridor facing outwards. New doors of new companies appear. New rooms, which present themselves in the same way - empty - in waiting.

ASPRELA CAMPUS

FUNDAMENTALS . EXPLORATION . PLASTICITY . FEP THE PENCIL THAT DRAWS THE INVISIBLE

FUNDAMENTALS . EXPLORATION . PLASTICITY . FEP THE PENCIL THAT DRAWS THE INVISIBLE

BY ANTONIO MIGUEL LOPES, JOANA GONÇALVES, MIGUEL PINTO, TERESA MACIEL

The Faculty of Economics has been located, since 1974, at the Asprela Campus of the University of Porto, in the Northeast area of the city. It was, after the Faculty of Medicine, the first faculty to be installed in this University Campus. FEP occupies two buildings - the main building and the post-graduation building - set in a park of about 45000 m2.
The main building, designed by Architect Alfredo Viana de Lima, is a landmark in the history of modern architecture, and is characterized by a serene monumentality, that is, an impression of classical solidity that extends throughout the interior.
The building is recognized for its formal coherence and architectural quality, developing around the articulation of horizontally inclined volumes and interior courtyards. It combines geometric composition with the articulation of contrasting forms, alternating dense blind volumes with large glazed spans and horizontal elements with vertical elements. A vertical obelisk, by sculptor José Rodrigues, marks the main entrance to the building.
The Postgraduate Building, designed by architect Camilo Cortesão, was inaugurated in 2006. It is organized in three bodies connected on the upper floor by a gallery. The central body, where the main entrance is located, consists of two volumes organized on both sides of the gallery, opening to a patio that establishes the relationship with the main building. The two other bodies are elongated constructions, distributed by corridors perpendicular to the gallery.
The exterior space is clad in a vegetation cloak, stays, and circulation spaces. The vegetation is in the form of meadow, with the presence of various species of trees with a clear predominance of poplars, but including lichen trees, American oaks, wild plum trees, and birch trees, among others.
The interpretation of this space, which by its richness in terms of plasticity, texture, materiality, and light games, strongly felt in the ambulation and appreciation of the building, launch the three main motives for the construction of our narrative.
For this, it was important to relate the work of the photographer Alexandre Delmar entitled Seis Topogra as, in partnership with Luís Ribeiro da Silva for the production of the drawings that, allied to the photograph, appear as cues in which the drawing reveals the skeleton of the photographic composition. In this new analytical perspective, it was easy for us, future architects, to identify and underline the intrinsic relationship between drawing and photography, but also with architecture. And thus use drawing as the link from the real to the image, from architecture to photography, from three-dimensionality to the sheet of paper.
The levels of abstraction are intertwined as our four looks are cooked, but in a way they are related because innocence is also a form of coherence. In this perspective, the critical but also poetic interpretation of the spatial composition intersects the technical precision and the strong imagery, sometimes objectifying, other times dematerializing the volatile space. A compromise that results, on the one hand, in an enhancement of the abstract and optical qualities of the interior of buildings, adopting a vision close to certain formal concerns of contemporary landscape and interior space photography and that can be seen, for example, in the work of Lynne Cohen.

CI.CLO 2019

Visual Spaces of Change (VSC), a transdisciplinary research project with a significant component of Contemporary Photography, combined with complementary research in Space Syntax and Information Technologies, will be present at the Porto Ciclo'19 Photography Biennial, from May 16 to July 2.

This collaboration materializes through the operationalization of a curatorial project associated with a set of activities that cross the universes of photography and editorial in two complementary strands: (i) Display of Contemporary Photography projects (CPP) communicated through video projection and photography in several public spaces and collective use located in the Metropolitan Area of Porto (AMP), and (ii) Exhibition of alternative publications for the dissemination of authors and works with particular focus on Architecture, City and Territory Photography.

This program will be implemented in various public spaces and collective use, seeking to generate a dynamic of interaction with exhibitions in cultural organizations, professional associations, universities and other alternative spaces of artistic production. During the official biennial period in 2019, the highlights are the exhibitions at S. Bento and Aliados Metro Stations, and the exhibition at the Order of Architects and Municipal Library Almeida Garrett. The material that is intended to be brought to the public through the contemporary photography projects exhibited in these spaces constitute 'visual narratives' that intentionally interfere with the territory, provoking real and virtual encounters between contrasting landscapes of the AMP, offering angles and perspectives on this territory that raise a new look at its cultural, environmental and architectural heritage.

The activities proposed under this partnership are oriented towards an understanding of the processes of interrelations between Architecture, Art and Image, identifying the points of articulation of the ethical and aesthetic dimensions of these universes. The photographic projects that it is proposed to install in several public and collective spaces for temporary exhibitions are the copyright objects through which the aim is to broaden the debate around the cross-cutting themes of the VSC and Cycle'19 themes . This project aims at exploring how photography is a medium that can align artistic practice and academic research, while at the same time positioning itself critically before these universes. The strategy proposed to promote this approach intends to explore the potential of the photographic image as a critical and inquisitive instrument used to reinforce and expand communication and interaction capacities among agents involved in creative, cultural and artistic processes.

More info:
ciclo-bienal.org

SÃO ROQUE DA LAMEIRA

SÃO ROQUE DA LAMEIRA

BY EVA SENDAS DA TORRE, FILIPA CARVALHO, JOANA VIEGAS SANTOS

The confrontation with an alien reality, the contrast between living in a neighborhood and living in that space are driving agents of our journey, that is, we dress the skin of those people who live with it and who make it not just another Porto Social Neighborhood, but the neighborhood of São Roque da Lameira. In this one, we wanted to be part of this space, in order to make known its habitation that makes it so special.
Our gaze as a space meter, attentive to every corner, every projected shadow, every sign of poverty / wealth that continually contrasts, defined our path and captivated our perspective of life and history that overflow it.
All these experiences associated with a narrative that goes from the outside to the inside, from the general to the most timid detail, characterize and build the proper space that is the São Roque da Lameira neighborhood.
The arrival, the departure, the routine, expressed during this journey and its integration in the space that emerges were part of us and we are part of it, capturing and, in turn, appropriating, from the most impacting gesture to the smoothest movement that defines it.

THE INFLUENCE OF THE COMMON SPACE: BAIRRO SIDÓNIO PAIS

THE INFLUENCE OF THE COMMON SPACE: BAIRRO SIDÓNIO PAIS

BY ANA LETYCIA ARAÚJO, JOSCELINE ADBULLA, LUÍSA BASCELAR, NELSON LAUREANO, REGINA OLIVEIRA, VITOR MAGALHÃES, ANA LETYCIA ARAÚJO , JOSCELINE ABDULLA

The new public spaces tend to pay more attention to the young and middle-aged public, where the elderly are often more neglected. An inclusive public space should provide inspiration, theoretical and practical knowledge on how to design public space to meet the needs of people of all ages. This newspaper is the result of an intervention, based on architectural proposals already seen, which aims to present an inclusion design methodology and proposals for the near future.

As young architects concerned with the political and social implications of space, we are particularly interested in the public space and the role it can play in communities. In a contemporary society with dominant institutions, the public space is the most important place for the convergence of people of all ages. However, it appears that this inclusive potential is not being properly realized.

For this reason, we make a reading of what is the current space of Bairro Sidónio Pais, starting by building a discourse of images that shows the reality of the public space of that area. Then, we make a series of proposals for the revitalization of the small square that is there, and, however, other proposals for the revitalization of the main façades close to that place are added, in order to show how the public space can influence, and therefore re directly to improve what is semi-private or private space. Therefore, our inspiration with this speech is to help improve the understanding between a temporal passage with directions for the near future, in spatial practice, in addition to providing an innovative perspective on space and oppositions to aging.

SOCIAL CONSIDERATION: REQUALIFICATION OF RAMALDE`S NEIGHBORHOOD

SOCIAL CONSIDERATION: REQUALIFICATION OF RAMALDE`S NEIGHBORHOOD

BY ANA MARGARIDA CALHEIROS, DIOGO CUNHA, GONÇALO CARQUEJA COELHO, JOÃO LING, NICOLE AMORIM

The neighborhood of Ramalde proves to be an area in need of requalification of the space in order to achieve social requalification. The way of life in this place reflects a process of sociocultural de-characterization and there is a break in sociability and the relationship between neighbors and solidarity.

When we analyze the study area, we are faced with a lack of qualified leisure spaces for residents, and we believe we can use this gap to think about the potential of our intervention. With this intervention project, we intend to create areas of inclusion and social dynamics that promote the interaction between inhabitants of the neighborhood and others outside, in an attempt to appease the Ramalde area and promote the growth of culture and comfort.

This project provides for three intervention sites, as well as the routes that unite them, with the creation of three distinct character spaces. The first, located at the edge of the neighborhood, is the design of an amphitheater that integrates organically into the land. The second is the redesign of a children's leisure area, in order to take advantage and qualify a space that we believe already exists for this purpose - but that we were able to verify has not achieved this use. The third proposal is the creation of a garden of aromatic herbs and fruit trees that is common to the community, being located in the center of the neighborhood.

The proposal recognizes the impact generated by the circumstance of public space in a context of medium density of construction that fluctuates between residential and industrial spaces. The purpose of the project is linked to the ordering of different functions at the scale of their qualities, being organized in three levels: leisure, interaction and sustainability.

TRANSFORMATION AND STAY MIRAGAIA NEIGHBORHOOD

TRANSFORMATION AND STAY MIRAGAIA NEIGHBORHOOD

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

Miragaia's distinctive picturesque and poetic character took us to wander through its streets with a glance attentive and of discovery, fostered by successive feelings that provoked us. Every corner it's a surprise, each house is different from the next, and the vision, as a primordial sense, highlights the textures and colors of the surrounding buildings, referring for a haptic sense, very characteristic of this neighborhood. Despite “the real Venice” like many of its inhabitants call it, meet today in a transformation scenario and partly delivered 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. If in a first phase of approaching the neighborhood, we intend to explore the authentic Miragaia, full of interactions and historical essence that has not yet been lost, in a second phase, we explore ruin and transformation patents to the neighborhood in contemporary times, as well as the relationship of people with this new urban context created. In a third and final phase, we carried out a set of assemblies with which we intend show the contrast ratio between the present and a utopian future. The introduction of the text element, through of poems and quotes that accompany photography, in addition to bringing the format closer to that of a newspaper, gives it a certain haptic and approximation character to the human experience of the neighborhood, narrating it.

Miragaia is currently characterized by the introduction occasional elements that create ruptures in the middle urban, interfering in this continuous contact with the past and history, and redefining the need of tradition in an architectural, cultural development and urbanistic. The overlap of a temporal stratum utopian that we propose in the assemblies made gives you an almost palimpsychic character, in an overlap of fragments inspired by Mies van der's montages Rohe and the Lisbon Vertigo group. The montage induces a rhetoric about space built in transformation, bringing connections instantaneous meaning and new temporalities. The dialectical method of assembly through juxtaposition of different contemporary buildings thus relate to the memory of the city that does not is the conscious memory of our memories, but the unconscious and deep memory that arises when we find something that interests us. Miragaia, where people come and go, but the essence remains and the place remains.

IMPROVEMENT EVOLUTION OF THE SACHE PROJECT

IMPROVEMENT EVOLUTION OF THE SACHE PROJECT

BY CAROLINA BRÁS, CATARINA TEIXEIRA, JOÃO SANTOS, RUTE MENDES, TOMÁS BEAUCHAMP

The Bairro de Aldoar, located in the vicinity of Parque da Cidade do Porto, arises from the need to address the serious problem of lack of housing, with quality and fair prices, for large sectors of the Portuguese population. Within this framework, the "Solidarity and Friendship" cooperative, SACHE, stands out. This cooperative, founded in Porto in 1978, was born out of the effort and grouping of figures linked to Fine Arts and Architecture. In this way, the architect Manuel Correia Fernandes is called upon to intervene, in charge of designing the whole complex, from its urban insertion, to the interior organization of the fires, which is built in phases.

Through the analysis of the different phases of the project, it is possible to perceive the unitary character that the architect Manuel Correia Fernandes seeks to establish in the set. When walking through the various spaces in the neighborhood, the reddish planes, earth tones, contrasting with the green and organic elements of the vegetation, which grew over the complex, stand out. Effectively, the brick is the unifying element of the entire composition, being one of the main and identifying characteristics of the Bairro de Aldoar. On the other hand, the passage of time in buildings and in the elements that compose them is notorious.

The first phase, of 1988, concerns the construction of the large gallery block, which encompasses a total of 54 dwellings, located in the northern part of the land.
In 1993, the construction of the second phase begins, characterized by the construction of 127 houses, on direct access half floors and with private patios facing the interior. This intervention phase, the largest, is organized into four groups, with two blocks each, which are distributed across the land in parallel with each other.
The third phase, carried out in 1998, may, in a way, be considered as an expansion of the previous one, with the construction of 64 dwellings distributed over three groups, similar to that of the previous blocks.

Through assemblies, it is intended to explore the various times and phases of the project, as well as the evolution of the architect, from the design point of view. The assemblies made then present a set of images from the past and the present, mixing two times, in order to show the evolution of the project, from its construction to total appropriation. The passage of time is an anchor of this approach, which explores the contrast between the past and the present, reflecting itself in several situations: aged, dry and darkened wood, in contrast to varnished wood; the discoloration of the brick, which at times appears broken; the dirtiness of the concrete, the invasion of nature, which breaks through the built, among others. The exploration seeks, at the same time, different scales, covering not only the set, but also the detail of different elements, such as the windows and the serpentine character of the expansion joints of the brick planes. On the other hand, other assemblies appear, throughout the newspaper, capable of exemplifying the improvement of the project by the architect, who seeks, from phase to phase, to improve issues and elements. Finally, in 2011, the construction of 32 more houses started, thus composing a set of two blocks. This enterprise is developed with the objective of finishing and completing an urban front, constituted by the set opened in 1998, giving a better urban integration to the whole set.

ANTITHETIC UTOPIA: A REINTERPRETATION OF THE BAIRRO DO LORDELO

ANTITHETIC UTOPIA: A REINTERPRETATION OF THE BAIRRO DO LORDELO

BY ANA MARGARIDA ANTUNES, HUGO OLIVEIRA, JOÃO SANTOS, MIGUEL CARVALHO

Since the beginning of mankind, architecture has been present, from the primitive hut, Egyptian buildings, Greek temples, arch and Roman theater, Renaissance palaces and churches criticized by the Baroque that would follow, the Neoclassicism of the century. XIX, even to the most paradigmatic architecture, the one so influenced by the Modern Movement.

Aldo Rossi says that architecture is not thought without the context of the city, just as the design of the city is not thought without architecture. The city is a collective work built over time, an accumulation of layers, cultures and knowledge, translated into buildings of various characteristics, distinguishing themselves among them by the historical period in which they were built. Despite the wide range of architecture that we see in today's cities, the city is mostly composed of houses and so-called 'exceptional buildings', hospitals, schools, museums, among others. As they are buildings with a greater functional character, they need to assume different languages ​​and proportions than the rest of residential buildings.

Therefore, our intention is based on the desire to reverse the city's configuration and hierarchy. Starting from images of a mere set of social housing blocks, and imagining different scenarios that are based on the presence of exceptional architectures, side by side with what we call a conventional construction, the Lordelo neighborhood, in Porto. We intend to provoke, through each photomontage individually, the image of a city characterized by the added buildings, in which the building of exception would be, in this case, the housing block previously photographed.

FROM CONTRAST TO COMMUNITY LIFE INTERVENTION IN BAIRRO GUERRA JUNQUEIRO

FROM CONTRAST TO COMMUNITY LIFE INTERVENTION IN BAIRRO GUERRA JUNQUEIRO

BY ANA CATARINA PINHAL, BEATRIZ COSTA, DANIELA SANTOS, JESSICA GUITA, MARIA ANTÓNIA SABINO, STÉPHANIE DIJCK

The choice of the Guerra Junqueiro neighborhood arises from the desire to document a neighborhood in its contrast with reality, to which it is subjected in time. This neighborhood is possibly one of the strongest examples in the city of Porto, of that same contrast. Designed in 1936, and with great support from the Porto city council, the Guerra Junqueiro neighborhood started out as a small residential neighborhood whose purpose was to accommodate a new expanding city, while being able to respond to the dawn of modernization that it was intended for a city, which until then was lacking in order and plan. Even today, it reflects the bourgeois society that originally inhabited it, due to the continuous and single-family houses existing on Rua Guerra Junqueiro. When observing the same, it is possible to denote several architectural currents, such as Modernism, Traditionalism and Ruralism. However, with the passage of time, and with the development and increase of the city, the neighborhood is now a physical memory of that bourgeois society that sees its nucleus now dissolved, reinterpreted and provoked. The neighborhood reveals its prestige when, in 1938, the installation of the Kadoorie Mekor Haim Synagogue, the largest in the Iberian Peninsula, takes place.

BAIRRO DO BONFIM: BEFORE, NOW AND AFTER

BAIRRO DO BONFIM: BEFORE, NOW AND AFTER

BY AMANDA CAVALCANTE, ISMAEL MOURA E SOUSA, LAURA BARROS

The neighborhood of Bonfim is part of the parish of Bonfim was created on December 11, 1841, this neighborhood was once considered one of the largest industrial centers in the city of Porto, and is still considered today as a commercial district that lives off commerce and the arts contemporary and modern that mark your daily life.

During the 19th century, factories and industries gave way to a greater number of residential, commercial, catering buildings, structures devoted to education and health, small and large institutions, small tourism companies that grew in line with growth of the city and the active life of the inhabitants. In 2014 this neighborhood was considered "one of the coolest in Europe" by the British magazine "The Guardian".

In the first part of this project, the intention was to register the essence of the neighborhood, in order to explore its experience, and its inhabitants and how this routine interferes in its space both in a more conceptual way, comparing with the period of tension and isolation to which we are currently subjected.

This work is updated in a sequence of contemporary photographs in which the fences are graffiti-covered walls, urban infrastructure, decaying enclosures and the gardens are green patches in small urban parks surrounded by asphalt and sidewalk passages or sand areas. The most recent photographs, in black and white, represent the isolation that the neighborhood currently lives, the population and all those who frequent it and give life to it. The scenes are occupied by casual elements and punctuated by traces of time passing, abandonment and decay.

Taking into account the words of Bruno Zevi, we decided to look at these scenarios in a more in-depth way, which consequently made us question and understand the role of architecture in these moments of tension and how people use it through the use of our imaginary, as well as the analytical review of needs and the observation of the response of spaces and the behavior of its users.

The relations between people, their habits, their daily work and leisure activities, are added to a physical structure composed of geography, road structure, architecture, monuments and works of art in the city, and this whole set of certain shape represents the history and culture of a particular place. Thus, based on a certain immediacy, whether in the restriction of physical contact, in the use and appropriation of spaces, relationships become merely visual and remote where the exterior has become empty, but the interior continues to harbor life.

The human being intervenes in different ways in the world in which we live, perceptible through small signs, small marks and small details of everyday life, or through large constructions or actions. To be or not to be, to open or close, actions that refer to an interpretation of the movement, of what happens in a certain building or in any other architectural space, such as the Bonfim neighborhood. These actions call into question the functioning of the architectural object itself and that in a way characterize it.

The elements that constitute the architecture of this neighborhood, contrast sharply with the conditions of housing and isolation that are imposed on us today, producing in its extremes only residual elements of the experience and occupation of outer space as presented in the newspaper in less saturated tones. Such antagonistic decisions are based on a careful reading of the surrounding context that require different attitudes. By exhibiting in parallel, the before and after of this Neighborhood, leads us to believe in the existence of a moment of fusion between both, the now. This moment of fusion becomes noticeable only by looking closely and making us question: what if that blind was open instead of closed? If people take ownership of spaces such as balconies, if life happened inside or outside buildings and not necessarily through traffic. The manifestation of the exceptional circumstance adjusted to the eyes of those who see such decisions, becomes an expressive theme of the ordered composition, leading to a perception of the implantation, disposition and appropriation of the buildings that reflect moments that do not agree between external logic and interior need.

"Bonfim's charm owes a lot to its elegant villas from the early 20th century." The Guardian Magazine
"The coexistence of the two realities must be frankly expressed under the subtle agreement between order and circumstance, inside and outside, private and public functions, producing rhythms and tensions when looking outside." VENTURI, Robert Complexity and Contradiction in Architecture, 1966, p.48

The Bairro do Bonfim is divided into two parts, south and north, being the most deprived south zone and with a more hermetic urban and housing situation. On a first visit to the neighborhood, it was possible to notice this disharmony between the two areas, a difference in the way it is inhabited, and even by the people who inhabit it with regard to the social level, narrower streets of older buildings between two to three floors that refer to an older architecture of the 20th century, and with more precarious and humble conditions, streets where the experience is simpler and more welcoming and on the other hand buildings of a more contemporary and urbanistically more developed character.

Today, when walking through the streets of the Bonfim neighborhood, one can perceive the silence of the residents, the merchants and the young people who make that neighborhood the coolest place (according to the British magazine The Guardian), it is important to mention that despite the current and apparent crisis that faces, the neighborhood is still the coolest, but loses life and color. There is a permanent aspect in the neighborhood, even if the habit of the population changes, the architecture remains the same for a certain time, until it undergoes an intervention of nature itself, or of the human being depending on the way it interprets it.

The interior / exterior relationship and the interaction between man and space is influenced by the way man acts, is idealized and expressed as an individual and as an eminently social being. According to the subject, these plans end up undergoing changes according to the needs, interests and objectives underlying the man, which aim to guarantee the comfort of man in his living and spatial experience. For this, it is essential to consider that space and man are inseparable, being in constant dialogue, both inside and outside.

"For an interpretation to make sense, it must illuminate a permanent aspect of architecture, that is, it must demonstrate its effectiveness in explaining all the works, regardless of the fact that it is more or less comprehensive than the total aspects of it." Bruno Zevi, in Saber ver Arquitetura, p. 138

"The only privilege of architecture, among all the arts, whether creating houses, churches or interiors, is not to host a comfortable cavity and surround it with defenses, but to build an interior world that measures space and light according to the laws of a geometry, mechanics and optics that are necessarily implicit in the natural order, but that nature does not serve. " ZEVI, Bruno, Saber ver Arquitetura, p. 138

(RE) QUALIFYING THE EXISTANT

(RE) QUALIFYING THE EXISTANT

BY ADRIANA PINTO, INÊS MATOS, MARIA JOÃO FARIA, RAFAEL RODRIGUES

The neighborhood under study is located in Bom Sucesso, in a strategic area both from the commercial point of view and from the point of view of accessibility. It consists of six buildings arranged in parallel, but out of phase, blocks that Gonçalo Sampaio street divides into two distinct parts. A neighborhood is almost always seen in a pejorative way, but here the fitting with the context is done so fluidly and openly that the expression of this group becomes clear ... so clear that the relaxation of those who pass by is visible. However, it is possible to find spaces that can be improved. It was time and necessity that changed this neighborhood, looking only at the present and without a vision for the future. Certain achievements that at first seemed essential and beneficial proved to be obstacles to the feeling of well-being. As an example, we have the construction of a park in the right wing, which, meanwhile, was demolished and the construction of a railing in the playground in the left wing, in an attempt to prevent the entry of animals. In addition, it appears that the neighboring areas are devalued and, therefore, transformed into parking, which assumes that there was no proper planning for these areas. In the suggested route, both on the left and right wing, we show the neighborhood's environment through important landmarks to understand the experiences and the forms of appropriation of those spaces. The proposed interventions include improving the leisure areas, revaluing the playground area and integrating a picnic area next to the cruise. In addition, we tried to incorporate a vertical garden to qualify the built areas and we designed juxtaposed patios along the west side of some housing blocks. Thus, we will try to give a more adequate answer to the needs of the inhabitants and the qualification of the neighborhood.

IS THE NEIGHBORHOOD MINE? HOW THE GENERATIONS IN THE BAIRRO DO CERCO DE PORTO SHAPED THE WAY OF LIVING OF ITS POPULATION

IS THE NEIGHBORHOOD MINE? HOW THE GENERATIONS IN THE BAIRRO DO CERCO DE PORTO SHAPED THE WAY OF LIVING OF ITS POPULATION

BY JESS GUITA , MARIA SABINO, NATALIA JUAN DIAZ, STÉPHANIE DIJCK

The choice of the Bairro do Cerco do Porto arises from the desire to explore the architecture and public space of this social neighborhood and how it was appropriated by the people who live in it. We are therefore interested in studying this appropriation of space, as well as the architecture of the neighborhood, trying to visually communicate how both reflect different realities and times of intervention.
In this neighborhood, where the evolution that it has undergone is notorious, it is interesting to capture the contrast between the two versions of the buildings that were built at different times. The first phase, built in the early 60s, and a second phase that continues to be rebuilt until today, consequently generates an impact on the lives of the several generations that live in this neighborhood.
This contrast is perceived not only in the difference in the versions of the buildings, but in the way of living and appropriating the place. The first moment of Bairro do Cerco is accessible and with warm colors, the community environment was valued, and against that reality its second moment arises, where the buildings close themselves in neutral colors, so that they do not social spaces are promoted. The new colors, new materials, new sensations and new technologies brought to this neighborhood the expectation of a life with more security and better conditions, which ended up not being met.
In the present work, the entrance doors of each building were explored as an identity element of the place and its evolution. The intention of the photographic series is to build a visual narrative that corresponds to a "promenade architecturale" through which we are getting closer and closer to the building, in order to see the impact of life in this space. That is, the appropriation of human beings in their social neighborhood. It is interesting to understand, as we truly enter the neighborhood, how the space belongs to its occupants so that later, in a broader and more distant view, it is possible to identify these human marks, which at first glance would go unnoticed.