Papers by Marta Sena Augusto
Astrágalo. Cultura de la Arquitectura y la Ciudad
Como se conforma um projecto de arquitectura? Qual é o papel do princípio compositivo no processo... more Como se conforma um projecto de arquitectura? Qual é o papel do princípio compositivo no processo de um projecto? Como se deduz um princípio compositivo da problemática projectual? De que modo este princípio organizador da forma, que contém todo o desenvolvimento morfológico potencial, define os elementos que entram na composição, o seu comportamento e a sua relação com os outros elementos?; De que modo contribui para a coerência das partes individuais no todo e fazê-las permanecer dentro da mesma família formal?; como se desenvolve morfologicamente um princípio compositivo até chegar à composição final? e como se avalia e valora um princípio compositivo? Estas são as questões principais abortadas neste ensaio que trata o princípio compositivo dentro do processo de projecto arquitectónico. O objectivo do princípio compositivo é analisado com apona analogia da uma composição musical onde o tema principal vem esclarecido e reforçado com as várias variações ao tema que conformam a inte...
10 Variations of an Architectural Design Theme Analogy between Compositional Principle and Musical Theme in the Design of the ‘Napoleon and the Myth of Rome*’Exhibition Project. Athens Journal of Architecture - Volume 8, Issue 4, October 2022 – Pages 379-404. e-ISSN: 2407-9472. , Oct 3, 2022
The essay “10 variations of an architectural design theme” analogizes the morphological developme... more The essay “10 variations of an architectural design theme” analogizes the morphological development of an architectural compositional principle with the variations of a musical theme. The case study is the design of the temporary exhibition “Napoleon and the myth of Rome” in the archaeological complex of Trajan’s Markets - Museum of the Imperial Fora. This temporary exhibition, with more than 100 works - including sculptures, paintings, prints, medals, gems, etc. - some from the same period as those in the permanent exhibition, has to dialogue with the archaeological complex and the permanent collection from its own identity. The team of architects who designed the installation of the temporary exhibition chose to start from a clear compositional principle that throughout the exhibition path loses, gains, sublimates, or simplifies elements as it adapts to the specifics of the space, program, lighting, and permanent collection pieces location, in order to discern the temporary exhibition from the permanent collection. Through this case study, we can see how each of the variations, in architecture as in music, reinforces and helps to achieve higher comprehensibility of the main theme.
San Juan de Mata, Eremita urbano. Multidisciplinary approaches to the experiences and landscapes of seclusion and solitude.Editores: Rolando Volzone, João Luís Fontes, Diana Martins. pp. 329-352. ISBN: 978-989-781-582-9, 2022
The Stylites spent their life of prayer and penance on a platform located at the top of a column.... more The Stylites spent their life of prayer and penance on a platform located at the top of a column. This position on the column reflects the isolation of the monk. This current was initiated by Saint Simeon Stylites the Elder who, after several attempts at asceticism for the prayer that were interrupted by the pilgrims who came to visit him, thought that it was impossible to escape in the world horizontally and decided to undertake a vertical exit.
The hermitism in the city has presented itself, sporadically, in different ways. A particularly significant situation was identifying inside a cell built at the beginning of the thirteenth century, in the complex of S. Tomasso in Formis in Rome where Saint John of Matha lived. The cell is inserted in a singular knot of the city, a nevralgic point where one of the first gates of Rome is located, in the intersection of important urban structures: the roadways, the Servian wall and the Claudio aqueduct. The cell was built under the aqueduct Claudio that leans on the arch of Dolabella and Silano.
The objective of this research is to demonstrate the relevance of this singular positioning of the cell inside of the urban mesh and on its own complex, which allows John of Matha to perform the vertical anachoresis as set by Simeon Stylites, centuries before. The present contribution intends, therefore, to deepen in the biographical study of John of Matha but also the knowledge of the stratification of the cell within the complex, through cartography, drawings and historical engravings, bibliography and direct knowledge of the complex.
Eremitorio pop-up. In Architectures of the Soul. Multidisciplinary approaches to the experiences and landscapes of seclusion and solitude.Editores: Rolando Volzone, João Luís Fontes, Diana Martins. pp. 329-352. ISBN: 978-989-781-582-9, 2022
In a world characterized by the constant interconnection and interaction of people thanks to new ... more In a world characterized by the constant interconnection and interaction of people thanks to new technologies, reflection and recollection need to find their place, in time and space. In order to approach ermitism in the 21st century, it is essential to understand it from this perspective and with this double component.
The Holy See presents at the Venice Biennale of Architecture a pavilion composed of 10+1 chapels, commissioned to architects of the international panorama. With this pavilion, the Vatican seeks to continue the dynamic of approaching the faith through art - in this case architecture, as it has already been in the art biennials of 2013 and 2015. This time, Vatican has proposed an architectural exercise to create spaces capable of responding to the new needs of spiritual recollection, giving a contemporary response, that is, for any time and any place. From this perspective, the 10 chapels - the eleventh one is dedicated to the Ignar Asplund Forest Chapel - are presented as places of pop-up meditation that can be located anywhere in the world.
This work reviews the pavilion by visiting the 11 chapels, documenting and analysing them as points of recollection for the instantaneous reflective isolation that the 21st century seems to demand.
Micronarrazioni. Una riflessione sull’architettura generatrice di spazi pubblici per la partecipazione e la socializzazione in rivista Urbanistica Dossier online n. 15. Costruire lo spazio pubblico. Tra storia, cultura e natura. INU Edizioni. 2018, pp. 145-149. , 2020
The modern city, largely carrying the supremacy given to means of transportation as a primordial ... more The modern city, largely carrying the supremacy given to means of transportation as a primordial element of urban design and for the legacy of functionalist principles has reached a point where public spaces expel people instead of attracting them and are, therefore, antisocial.
In this communication we will present a set of works/installations by the Portuguese architect, Isabel Barbas, which illustrate a reflection on the participation of user action in the construction of public space.
These works/installations evoke the architecture's ability to generate spaces for action and socialization.
They are made up of unexpected elements that appear in space and in the daily routine. These elements pursue the breaking of collective behavior patterns, stimulating reflection and individual expression. They aspire to provoke in the user an action that introduces new possibilities and new imaginaries on the social space.
These works/installations have the characteristic of acquiring meaning only when they’re activated by the public. Then the work disappears as something stable in itself; in its place an easy compromise is established between its user who thinks and experiments on a space and a collective who observes it. When this happens, the immediate physical environments are transformed into emotional spaces.
Sena Augusto, M. (2020). Dieci anni di MUDE: il museo-paguro. Rassegna di Architettura e Urbanistica, n. 159, Macerata: Quodlibet. pp. 61-65. ISSN 0392-8608., 2020
In the westernmost capital of Europe, as has been happening at international level, the architect... more In the westernmost capital of Europe, as has been happening at international level, the architectural heritage has been returned to life as a space of contemporary cultural creation through minimal architectural intervention and the affective dimension of its reunion with the population.
At MUDE - Museu do Design e da Moda, the minimal architectural intervention has converted an abandoned construction site into an affective and creative one for artists, creators and visitors.
After multiple vicissitudes with the location of its representative headquarters and having been the first museum to open doors before the start of the renovation works of the building - through a temporary occupation that lasted 7 years - what makes the MUDE unique in the world is the fact that, in the last 3 years of closed doors, continues to function actively and grow, through the synergies it calls, with national and international institutions and creators, and the temporary occupation other spaces and schedules in the city.
We talked to Joana Carvalho, one of the architects responsible for the project of the first installation of MUDE to understand the genesis of this museum “work in progress” founded.
Reuso 2019. Patrimonio in divenire. Conoscere, valorizzare, abitare, 2019
Recientemente, diversos estudios confirman la relevancia de los factores culturales como definito... more Recientemente, diversos estudios confirman la relevancia de los factores culturales como definitorios de la arquitectura popular por delante de los territoriales - climatología o recursos naturales disponibles - que durante décadas han sido señalados como tales. Esta importancia se hace patente en las situaciones límite - tanto temporales como geográficas - en las que se aprecia claramente como los cambios culturales conllevan mutaciones evidentes en la arquitectura popular dentro del mismo territorio.
La toma del reino de Sevilla por parte de la corona de Castilla en el siglo XIII supuso una auténtica revolución cultural para su población, generando drásticos cambios en su forma de vida y por lo tanto en el principal soporte de la misma: la casa popular.
La amplitud y conservación de su caserío y los numerosos estudios realizados, convierten a Carmona en un excepcional campo de estudio sobre la casa popular y sus implicaciones culturales. Este trabajo analiza las diferentes tipologías de casa popular que se localizan en Carmona, centrándose en los procesos de adaptación de la casa almohade y la generación de nuevos tipos a partir de la tradición mudéjar.
Principio de composición: sobre su finalidad en el proceso de proyecto arquitectónico. Astrágalo. Cultura De La Arquitectura Y La Ciudad, 1(30), 173–186. https://doi.org/10.12795/astragalo.2022.i30.10 ISSN: 2469-0503, 2022
How is an architectural project formed? What is the role of the compositional principle in the pr... more How is an architectural project formed? What is the role of the compositional principle in the process of a project? How can a compositional principle be deduced from the design problematic? How does this organising principle of form, which contains all the potential morphological development, define the elements that enter into the composition, their behaviour and their relation with the other elements?; how does it contribute to the coherence of the individual parts in the whole and make them remain within the same formal family?; how is a compositional principle developed morphologically until it reaches the final composition? and how is a compositional principle evaluated and valued? These are the main questions addressed in this essay that deals with the compositional principle within the architectural project process. The aim of the compositional principle is analysed using the analogy of a musical composition in which the main theme is clarified and reinforced by the different variations on the theme that make up the whole composition. The system of elements and rules of the compositional principle is comparable to the rules and pieces of a game. The process of developing the compositional principle is linked to trial and error supported by important cognitive mechanisms such as selective attention. Finally, the criteria for evaluating the appropriateness of the compositional principle to the design problem are analysed.
Marta Sena. KOSMIKADO. In DIVISARE: Roma ISSN: 2532-523X, 2022
KOSMIKADO PlayArchitecture are sets of modular mini-models proportioned according to the golden r... more KOSMIKADO PlayArchitecture are sets of modular mini-models proportioned according to the golden ratio that can be joined together in various ways. Each composition archived, is a new spatial system and an original decorative object.
In the compositional process, the player's attention is directed towards the continuity of the path and the feeling of the imagined spatial experience.
The KOSMIKADO PlayArchitecture modules were created as an answer to the question "what would be the difference between an architecture game and traditional construction games?". An architecture game should be as anchored to a place as architecture itself. Since it cannot be designed in a specific place, each KOSMIKADO module synthesises and depicts the atmosphere of a specific city. There are 3 models already available: Rome, Bilbao and Lisbon...Cities with identities, full of contrasts and in transformation, which make possible the work of abstraction and synthesis proper to architectural creation.
The name KOSMIKADO comes from the union of cosmos - which comes from the Greek kósmos meaning "order", and also "world", "universe" - and the Japanese word mikado - which etymologically means random and gives its name to the game that consists of dropping a few sticks on the table and using this random configuration to play.
KOSMIKADO comes in a cardboard box with 8 modules - 4 white pieces and 4 black pieces - and is on sale in the shops of some museums in Rome, such as MAXXI, Macro, Palazzo delle Esposizioni and the Bilbao Museum of Fine Arts.
Exercíses. In: Heynen, H., Rauta, a. (Editors) - Proceedings Of Four Eaae-Enhsa Subnetwork Workshops On Architectural Theory - Hasselt (2006), Trondheim (2007), Lisbon (2008), Fribourg (2009), Thessaloniki 2009. pp. 307-317. ISNB: 978-2-930301-40-2, 2009
From the Hut to the Totem: An Archetypal Analysis of the Holy See's Eleven Chapels at the Venice Architecture Biennale, 2022
At the 2018 Venice Biennale, the Holy See participated with eleven chapels in the woods designed ... more At the 2018 Venice Biennale, the Holy See participated with eleven chapels in the woods designed by eleven teams of notable architects from all over the world, allowing us to monitor the global vision of worship spaces today. In this essay, we analyse the architectural reflections of the different invited architects in the light of the two main archetypes of architecture: the primitive hut and the totem pole. The great difference between the two archetypes is in the subjective temporality of space. In the hut archetype, temporality takes us back to the beginnings of architecture, and within this group we have divided the chapels into two subgroups: those belonging to the inward hut archetype, which delimits an interior space isolated from the environment, and those that follow the outward hut archetype, which delimits an interior space that establishes a direct relationship with the exterior. The chapels that follow the totem archetype, on the other hand, have the characteristic of renouncing the delimitation of their own spatiality and, through the insertion of an element, are able to generate a field of imprecise boundaries and transform a portion of the environment into a place of prayer and meditation.1
Books by Marta Sena Augusto
Marginalia alla formazione di un architetto, 2023
Marginalia, plurale di marginalium (dal latino margo - margo, marginis: «margine») è il termine g... more Marginalia, plurale di marginalium (dal latino margo - margo, marginis: «margine») è il termine generale usato per definire le note, commenti, disegni e considerazioni critiche su aspetti secondari di una questione di vasta portata, fatti a margine di un libro, e che permettono una lettura non lineare del testo. Nel medioevo i marginalia spesso venivano trasferiti su quaderni comuni in modo che potessero essere consultati da altri lettori.
Questo quaderno raccoglie e organizza alcune note marginali a un lungo percorso di ricerca sull'apprendimento e la didattica della progettazione architettonica cercando di scoprire, nominare e conoscere gli aspetti cognitivi e psicologici sottostanti alla esecuzione di un progetto di architettura.
A CASA SEM NOME UMA CASA POPULAR TRADICIONAL NA PROVÍNCIA DE SEVILHA LIVRO ELETRÓNICO COMPLETO, 2020
Na Andaluzia Ocidental encontramos uma tipologia de casas entre paredes meeiras com logradouro tr... more Na Andaluzia Ocidental encontramos uma tipologia de casas entre paredes meeiras com logradouro traseiro, amplamente documentada. Neste mesmo contexto, na província de Sevilha, localiza-se uma outra tipologia relacionada com a anterior, mas muito menos documentada e muitas vezes englobada em tipos genéricos. O objetivo principal deste trabalho é realizar um estudo monográfico desta última tipologia baseado nos trabalhos de catalogação dos Planos Especiais de Proteção dos Conjuntos Históricos em que está localizada, tendo como caso de estudo uma mostra transversal deste território formada pelos Conjuntos Históricos de Carmona - na campina - Cazalla de la Sierra e Lebrija - na várzea do rio Guadalquivir. Trata-se de uma casa entre paredes meeiras, organizada por: um primeiro corpo de fachada normalmente de dupla nave com corredor central - pátio de passagem onde se localiza a escada de acesso ao piso superior e anexos encostados à parede meeira - corpo intermédio, também de dupla nave - e ao fundo um logradouro com anexos ligados à atividade agropecuária. A passagem através dos corpos construídos é efetuada pelo saguão, no corpo da fachada, e por um corredor, no corpo intermédio, garantindo a independência das assoalhadas da casa e permitindo o acesso limpo dos animais ao logradouro. A investigação centra-se nesta casa, carente de reconhecimento próprio, imersa ou confundida entre as casas dos agricultores, que nem sequer tem nome.
In Western Andalusia there is an extensively documented typology of houses between party walls with stockyard at the back. In this context, a typology closely related to the previous one, but much less documented, is located in the province of Seville, - often encompassed in generic types. The main target of this work is to develop a monographic study of this typology, using the catalogue of buildings included in the Special Protection Plans of Historical Centers, taking as case study a transversal sample of the territory formed by the historic villages of Carmona –in the countryside-, Cazalla de la Sierra –up in the mountains- and Lebrija, -in the Guadalquivir valley. It is a house between party walls organized with a construction volume at the façade - normally with two structural bays -, halfway patio for circulation - where the stair is located as well as some auxiliary constructions attached to a party wall -, intermediate body - also with two structural bays- and a stockyard at the back with auxiliary constructions for agricultural purposes. The circulation through the different construction elements is made through a hallway in the body of the façade and a corridor in the intermediate body, saving from easements to the adjacent rooms and allowing even a clean access of animals to the stockyard. The investigation develops the study of this house, which is lacking of own recognition, is immersed or confused with the houses of farmers, and does not even have a name.
En el umbral de la arquitectura: Fundamentos para el primer curso de proyecto. Editorial Académica Española. ISBN: 978-620-0- 36149-3, 2020
On the threshold of architecture In Portugal, there were two circumstances that significantly cha... more On the threshold of architecture In Portugal, there were two circumstances that significantly changed the profile of first-year architecture students from 2008 onwards. The first was the entry into force of Decree-Law 64/2006 which opened access to higher education to those over 23 years of age, without a secondary school diploma. The second was Law no. 31/2009, which restricted the competence to draw up architectural projects to holders of a valid registration with the Architects' Association, granting a transitional period of five years to all those who, until then, had legally drawn up architectural projects without being architects. Between 2008 and 2013, the students who entered the ISMAT architecture course through the +23 programme were students without the previously required foundations who brought new challenges to teaching. By exploring the fundamentals of architecture on three levels - thinking, language and architectural creation - this paper describes the construction of a first project exercise capable of dealing with the specificities of this student profile.
I nuovi spazi pubblici del MANN in Giulierini, P. (curatore). Museo Archeologico Nazionale di Napoli: museo vivo, caposaldo dell'identità collettiva, Quaderni MANN n3. Pozzuoli: Naus. ISBN: 978-88-7478-075-4, 2022
Research and definition of architectural design guidelines for the improvement of the connections... more Research and definition of architectural design guidelines for the improvement of the connections of the spaces of the National Archaeological Museum of Naples with the public spaces of the historical, architectural and infrastructural realities of the urban context of reference.
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Papers by Marta Sena Augusto
The hermitism in the city has presented itself, sporadically, in different ways. A particularly significant situation was identifying inside a cell built at the beginning of the thirteenth century, in the complex of S. Tomasso in Formis in Rome where Saint John of Matha lived. The cell is inserted in a singular knot of the city, a nevralgic point where one of the first gates of Rome is located, in the intersection of important urban structures: the roadways, the Servian wall and the Claudio aqueduct. The cell was built under the aqueduct Claudio that leans on the arch of Dolabella and Silano.
The objective of this research is to demonstrate the relevance of this singular positioning of the cell inside of the urban mesh and on its own complex, which allows John of Matha to perform the vertical anachoresis as set by Simeon Stylites, centuries before. The present contribution intends, therefore, to deepen in the biographical study of John of Matha but also the knowledge of the stratification of the cell within the complex, through cartography, drawings and historical engravings, bibliography and direct knowledge of the complex.
The Holy See presents at the Venice Biennale of Architecture a pavilion composed of 10+1 chapels, commissioned to architects of the international panorama. With this pavilion, the Vatican seeks to continue the dynamic of approaching the faith through art - in this case architecture, as it has already been in the art biennials of 2013 and 2015. This time, Vatican has proposed an architectural exercise to create spaces capable of responding to the new needs of spiritual recollection, giving a contemporary response, that is, for any time and any place. From this perspective, the 10 chapels - the eleventh one is dedicated to the Ignar Asplund Forest Chapel - are presented as places of pop-up meditation that can be located anywhere in the world.
This work reviews the pavilion by visiting the 11 chapels, documenting and analysing them as points of recollection for the instantaneous reflective isolation that the 21st century seems to demand.
In this communication we will present a set of works/installations by the Portuguese architect, Isabel Barbas, which illustrate a reflection on the participation of user action in the construction of public space.
These works/installations evoke the architecture's ability to generate spaces for action and socialization.
They are made up of unexpected elements that appear in space and in the daily routine. These elements pursue the breaking of collective behavior patterns, stimulating reflection and individual expression. They aspire to provoke in the user an action that introduces new possibilities and new imaginaries on the social space.
These works/installations have the characteristic of acquiring meaning only when they’re activated by the public. Then the work disappears as something stable in itself; in its place an easy compromise is established between its user who thinks and experiments on a space and a collective who observes it. When this happens, the immediate physical environments are transformed into emotional spaces.
At MUDE - Museu do Design e da Moda, the minimal architectural intervention has converted an abandoned construction site into an affective and creative one for artists, creators and visitors.
After multiple vicissitudes with the location of its representative headquarters and having been the first museum to open doors before the start of the renovation works of the building - through a temporary occupation that lasted 7 years - what makes the MUDE unique in the world is the fact that, in the last 3 years of closed doors, continues to function actively and grow, through the synergies it calls, with national and international institutions and creators, and the temporary occupation other spaces and schedules in the city.
We talked to Joana Carvalho, one of the architects responsible for the project of the first installation of MUDE to understand the genesis of this museum “work in progress” founded.
La toma del reino de Sevilla por parte de la corona de Castilla en el siglo XIII supuso una auténtica revolución cultural para su población, generando drásticos cambios en su forma de vida y por lo tanto en el principal soporte de la misma: la casa popular.
La amplitud y conservación de su caserío y los numerosos estudios realizados, convierten a Carmona en un excepcional campo de estudio sobre la casa popular y sus implicaciones culturales. Este trabajo analiza las diferentes tipologías de casa popular que se localizan en Carmona, centrándose en los procesos de adaptación de la casa almohade y la generación de nuevos tipos a partir de la tradición mudéjar.
In the compositional process, the player's attention is directed towards the continuity of the path and the feeling of the imagined spatial experience.
The KOSMIKADO PlayArchitecture modules were created as an answer to the question "what would be the difference between an architecture game and traditional construction games?". An architecture game should be as anchored to a place as architecture itself. Since it cannot be designed in a specific place, each KOSMIKADO module synthesises and depicts the atmosphere of a specific city. There are 3 models already available: Rome, Bilbao and Lisbon...Cities with identities, full of contrasts and in transformation, which make possible the work of abstraction and synthesis proper to architectural creation.
The name KOSMIKADO comes from the union of cosmos - which comes from the Greek kósmos meaning "order", and also "world", "universe" - and the Japanese word mikado - which etymologically means random and gives its name to the game that consists of dropping a few sticks on the table and using this random configuration to play.
KOSMIKADO comes in a cardboard box with 8 modules - 4 white pieces and 4 black pieces - and is on sale in the shops of some museums in Rome, such as MAXXI, Macro, Palazzo delle Esposizioni and the Bilbao Museum of Fine Arts.
Books by Marta Sena Augusto
Questo quaderno raccoglie e organizza alcune note marginali a un lungo percorso di ricerca sull'apprendimento e la didattica della progettazione architettonica cercando di scoprire, nominare e conoscere gli aspetti cognitivi e psicologici sottostanti alla esecuzione di un progetto di architettura.
In Western Andalusia there is an extensively documented typology of houses between party walls with stockyard at the back. In this context, a typology closely related to the previous one, but much less documented, is located in the province of Seville, - often encompassed in generic types. The main target of this work is to develop a monographic study of this typology, using the catalogue of buildings included in the Special Protection Plans of Historical Centers, taking as case study a transversal sample of the territory formed by the historic villages of Carmona –in the countryside-, Cazalla de la Sierra –up in the mountains- and Lebrija, -in the Guadalquivir valley. It is a house between party walls organized with a construction volume at the façade - normally with two structural bays -, halfway patio for circulation - where the stair is located as well as some auxiliary constructions attached to a party wall -, intermediate body - also with two structural bays- and a stockyard at the back with auxiliary constructions for agricultural purposes. The circulation through the different construction elements is made through a hallway in the body of the façade and a corridor in the intermediate body, saving from easements to the adjacent rooms and allowing even a clean access of animals to the stockyard. The investigation develops the study of this house, which is lacking of own recognition, is immersed or confused with the houses of farmers, and does not even have a name.
The hermitism in the city has presented itself, sporadically, in different ways. A particularly significant situation was identifying inside a cell built at the beginning of the thirteenth century, in the complex of S. Tomasso in Formis in Rome where Saint John of Matha lived. The cell is inserted in a singular knot of the city, a nevralgic point where one of the first gates of Rome is located, in the intersection of important urban structures: the roadways, the Servian wall and the Claudio aqueduct. The cell was built under the aqueduct Claudio that leans on the arch of Dolabella and Silano.
The objective of this research is to demonstrate the relevance of this singular positioning of the cell inside of the urban mesh and on its own complex, which allows John of Matha to perform the vertical anachoresis as set by Simeon Stylites, centuries before. The present contribution intends, therefore, to deepen in the biographical study of John of Matha but also the knowledge of the stratification of the cell within the complex, through cartography, drawings and historical engravings, bibliography and direct knowledge of the complex.
The Holy See presents at the Venice Biennale of Architecture a pavilion composed of 10+1 chapels, commissioned to architects of the international panorama. With this pavilion, the Vatican seeks to continue the dynamic of approaching the faith through art - in this case architecture, as it has already been in the art biennials of 2013 and 2015. This time, Vatican has proposed an architectural exercise to create spaces capable of responding to the new needs of spiritual recollection, giving a contemporary response, that is, for any time and any place. From this perspective, the 10 chapels - the eleventh one is dedicated to the Ignar Asplund Forest Chapel - are presented as places of pop-up meditation that can be located anywhere in the world.
This work reviews the pavilion by visiting the 11 chapels, documenting and analysing them as points of recollection for the instantaneous reflective isolation that the 21st century seems to demand.
In this communication we will present a set of works/installations by the Portuguese architect, Isabel Barbas, which illustrate a reflection on the participation of user action in the construction of public space.
These works/installations evoke the architecture's ability to generate spaces for action and socialization.
They are made up of unexpected elements that appear in space and in the daily routine. These elements pursue the breaking of collective behavior patterns, stimulating reflection and individual expression. They aspire to provoke in the user an action that introduces new possibilities and new imaginaries on the social space.
These works/installations have the characteristic of acquiring meaning only when they’re activated by the public. Then the work disappears as something stable in itself; in its place an easy compromise is established between its user who thinks and experiments on a space and a collective who observes it. When this happens, the immediate physical environments are transformed into emotional spaces.
At MUDE - Museu do Design e da Moda, the minimal architectural intervention has converted an abandoned construction site into an affective and creative one for artists, creators and visitors.
After multiple vicissitudes with the location of its representative headquarters and having been the first museum to open doors before the start of the renovation works of the building - through a temporary occupation that lasted 7 years - what makes the MUDE unique in the world is the fact that, in the last 3 years of closed doors, continues to function actively and grow, through the synergies it calls, with national and international institutions and creators, and the temporary occupation other spaces and schedules in the city.
We talked to Joana Carvalho, one of the architects responsible for the project of the first installation of MUDE to understand the genesis of this museum “work in progress” founded.
La toma del reino de Sevilla por parte de la corona de Castilla en el siglo XIII supuso una auténtica revolución cultural para su población, generando drásticos cambios en su forma de vida y por lo tanto en el principal soporte de la misma: la casa popular.
La amplitud y conservación de su caserío y los numerosos estudios realizados, convierten a Carmona en un excepcional campo de estudio sobre la casa popular y sus implicaciones culturales. Este trabajo analiza las diferentes tipologías de casa popular que se localizan en Carmona, centrándose en los procesos de adaptación de la casa almohade y la generación de nuevos tipos a partir de la tradición mudéjar.
In the compositional process, the player's attention is directed towards the continuity of the path and the feeling of the imagined spatial experience.
The KOSMIKADO PlayArchitecture modules were created as an answer to the question "what would be the difference between an architecture game and traditional construction games?". An architecture game should be as anchored to a place as architecture itself. Since it cannot be designed in a specific place, each KOSMIKADO module synthesises and depicts the atmosphere of a specific city. There are 3 models already available: Rome, Bilbao and Lisbon...Cities with identities, full of contrasts and in transformation, which make possible the work of abstraction and synthesis proper to architectural creation.
The name KOSMIKADO comes from the union of cosmos - which comes from the Greek kósmos meaning "order", and also "world", "universe" - and the Japanese word mikado - which etymologically means random and gives its name to the game that consists of dropping a few sticks on the table and using this random configuration to play.
KOSMIKADO comes in a cardboard box with 8 modules - 4 white pieces and 4 black pieces - and is on sale in the shops of some museums in Rome, such as MAXXI, Macro, Palazzo delle Esposizioni and the Bilbao Museum of Fine Arts.
Questo quaderno raccoglie e organizza alcune note marginali a un lungo percorso di ricerca sull'apprendimento e la didattica della progettazione architettonica cercando di scoprire, nominare e conoscere gli aspetti cognitivi e psicologici sottostanti alla esecuzione di un progetto di architettura.
In Western Andalusia there is an extensively documented typology of houses between party walls with stockyard at the back. In this context, a typology closely related to the previous one, but much less documented, is located in the province of Seville, - often encompassed in generic types. The main target of this work is to develop a monographic study of this typology, using the catalogue of buildings included in the Special Protection Plans of Historical Centers, taking as case study a transversal sample of the territory formed by the historic villages of Carmona –in the countryside-, Cazalla de la Sierra –up in the mountains- and Lebrija, -in the Guadalquivir valley. It is a house between party walls organized with a construction volume at the façade - normally with two structural bays -, halfway patio for circulation - where the stair is located as well as some auxiliary constructions attached to a party wall -, intermediate body - also with two structural bays- and a stockyard at the back with auxiliary constructions for agricultural purposes. The circulation through the different construction elements is made through a hallway in the body of the façade and a corridor in the intermediate body, saving from easements to the adjacent rooms and allowing even a clean access of animals to the stockyard. The investigation develops the study of this house, which is lacking of own recognition, is immersed or confused with the houses of farmers, and does not even have a name.