Le studio portugais LIKEarchitects a fait une installation éphémère de lumières LED rouges pour les jardins de la résidence présidentielle. L’installation « Conste.llation » comportent des arcs rouges qui se rejoignent à différents endroits des jardins pour créer une certaine unification. Des photos signées Fernando Guerra.
Glowing red arches straddled bushes, pathways, fences and fountains in the gardens of the Portuguese presidential residence earlier this year, as part of an installation by Porto studio LIKEarchitects (+ slideshow).
Named Constell.ation, LIKEarchitects‘ month-long intervention comprised several clusters of slender arches, which were made by filling red corrugated tubes with LED lighting.
The clusters were scattered around the grounds of the Portuguese Presidential Residence in Lisbon, a building that now functions as a museum but whose gardens had not before been accessible to the general public.
“The project was in the centre of an exceptional moment in the history of the presidential museum, allowing visitors the opportunity to perambulate on the presidential gardens and offering an unusual experience of an illuminated marvellous world,” said Diogo Aguiar of LIKEarchitects.
The bowed forms resonated with arched openings on the facades of the surrounding palatial architecture. They emphasised existing routes around the grounds, but also helped to define new ones.
“The arch – a primordial element in architecture – has the inherent power to create space and, at the same time, to build a physical relation between two places,” said Aguiar.
The installation was in place from December through to January, so the red colour of the arches created an association with Christmas. It also helped the structures stand out against the greenery.
Photography is by Fernando Guerra.
Here’s a project description from LIKEarchitects:
Constell.ation
Portuguese studio LIKEarchitects designed an ephemeral lighting installation for the gardens of the Presidential Portuguese Republic Residence. The project, which intended to activate a space that usually is closed to general public, was in the centre of an exceptional moment in the history of the Presidential Museum, allowing visitors the opportunity to perambulate on the Presidential gardens and offering an unusual experience of an illuminated marvellous world.
The reinterpretation of lightning elements associated with Christmas, has found in the multiplication of lighting arches – which usually embrace the city streets – the opportunity to form an whole intervention composed with different moments, in different places, which intended to hold a continuous diffusion within the different levels of the classical garden, celebrating the Nativities without recurring to common places associated this special festivity.
Materialised by a network of contiguous arches in red corrugated tube, illuminated by a LED lighting system, Conste.llation delicately dances on the gardens, connecting spaces and crafting unexpected routes. The arch – a primordial element in architecture – has the inherent power to create space (under, inside, etc.), and, at the same time, to build a physical relation between two places (between, inside, etc.) being related also to the idea of connection and unification.
Implemented in little constellations, the arches construct diverse frameworks, creating illuminated frames fulfilled by the natural and edified surroundings. The proposal establishes relations between platforms in different levels, between the edified, the green bushes and the water from the fountains, giving a new sense of continuous temporality to the gardens of the Palace.
Willing to occupy the monumental scale of the presidential gardens, Constell.ation is a temporary intervention that builds on an ordinary material, taking it of from its the original context and transporting the visitors to an uncommon place, where temporary and eternal mix together, developing a new atmosphere where reality communicates with the feeling of a fantasy world.
Constell.ation is a gestural proposal that recurs to light as a vehicle to evoke a poetic visual language shaped by calligraphies and sketches in the landscape, which are noticed by the soft rhythms of the light nuances. Different parts of the gardens were invaded by an intense red colour that explores introspected moments within the garden, increasing visitors’ curiosity.
The red colour, of Christmas and also of the corrugated tube, gets relevance, even during the day, because of it complementarily with the green of the gardens, obtaining an enormous chromatic contrast, capable of enlarging the presence of the installation to the passers-by. The special moments created punctuate the history of the place and feature a global scale to the intervention, which is completely visible since Praça Afonso de Albuquerque.
Architects: LIKEarchitects
Design team: Diogo Aguiar, João Jesus, Teresa Otto and Álvaro Villa, Tania Costa Coll
Location: Portuguese Presidential Residence, Lisbon, Portugal
Date: December 2013 – January 2014
Client: Museum of the Presidency of the Portuguese Republic
Main materials: corrugated tube
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installed at Portuguese palace appeared first on Dezeen.
A raw concrete interior is contained behind the white limestone facade of this townhouse in Lisbon by ARX Portugal (+ slideshow).
Slotted in amongst a row of traditional Lisbon townhouses, the five-storey residence was designed by local studio ARX Portugal with the same tall and narrow proportions as its neighbours.
The facade of the building is an arrangement of white limestone blocks, broken up by a grid of protruding piers and narrow windows.
“Just as most of Lisbon’s old buildings, it is a flat elevation whose expressiveness comes from its rhythmic nature and the light-and-shade effects produced with the backing-up of its surfaces,” said the architects.
Contrastingly, the rear facade is made up entirely of windows, fronted by steel balconies that overlook a secluded garden.
Walls, ceilings and staircases inside the house are bare concrete. “The precision of the design as well as the inclusion of two doors in most rooms endows the five small floors with a sense of a generous space and gives its dwellers a strong feeling of fluidity and freedom,” added the architects.
The main street-level entrance to the house leads onto the storey above the garden, which primarily encompasses a garage and living room.
The dining room and kitchen are located on the floor below and open out to the paved terrace and lawn.
The first and second floors accommodate bedrooms and bathrooms, while an office occupies the uppermost floor.
There’s also a small roof patio, featuring a small bench and a solitary tree.
ARX Portugal has used bare concrete in the construction of several residences in Portugal. Others include a top-heavy house with a glazed lower storey and a house with gaping chasms that drop down to basement courtyards.
Photography is by Fernando Guerra.
Here’s a project description from the architects:
House in Lisbon
The concept for this house emerges from a reflection on the identity of Lisbon architecture, a recurring type of 6-metre-wide and 15-meter-long deep house, ending in a small garden in the back. It is a 5-storey building with two radically different elevations: one “public” in white lioz limestone (the most used in Lisbon) and the one in the back, in glass, connected by an interior world in exposed concrete, punctuated by birch wood elements.
The elevation obviously follows on the Lisbon tradition, stressed further by the windows’ rhythmic structure, opened in a span system created by horizontal strips and vertical bars – characteristic of the city architecture.
Just as most of Lisbon’s old buildings, it is a flat elevation whose expressiveness comes from its rhythmic nature and the light-and-shade effects produced with the backing-up of its surfaces. This apparatus brings the elevation a sense of time, expressed by the change in the shadows throughout the day: from a more subtle morning light – with no direct sunlight – to the strong contrasting afternoon shadows.
Besides a straightforward concern in aligning the elevation with the surrounding lines, the design stresses an obvious contrast between the block-type bottom, and the more dematerialised crest.
If on the one hand the ground floor responds defensively to the narrowness of the street, combined with the fact that neighbours park their cars in front of doors and windows, on the other hand the top comes out much lighter and dematerialised: it is a space at once interior and exterior – a top patio allowing the transition between the lower building, to the south, and the higher one, to the north. Nevertheless, despite its intimate nature, the space allows a view over the surrounding landscape and to the far-off Christ the King statue to the south, along the street line.
On the back elevation we have explored the extreme transparency which extends the interior onto the exterior and opens up the view to the garden – where a splendid Linden tree takes centre stage – leading the eyes from the top floors over Lisbon’s hills, the Tagus river, and the South Bank. Radically opened to the exterior, the generous morning light that floods in directly is balanced by the grey concrete making up all the surfaces.
Inside, the precision of the design, as well as the inclusion of two doors in most rooms, endows the five small floors with a sense of a generous space, and give its dwellers a strong feeling of fluidity and freedom.
The constructive research for this project provides an example in which the whole structure shapes the space and becomes architecture in itself: the whole concrete structure, built with only 3 planes – two gables and a transversal plan – is set forth and designed to define the essential house space.
At once a natural and staged space, of both contemplation and living experience, the garden is expressed as an archeological site, where all layers of time, since the house was built, are present. Here, one can still see the ancient techniques that have raised thick stone walls (often recovered from other buildings), later brick overlays, mortar or paint, as well as the stones from the demolished house that have become pavement.
Location: Lisbon, Portugal
Project: 2010-2011
Construction: 2012-2013
Gross construction surface: 436 m2
Architecture: ARX Portugal, Arquitectos Lda. (José Mateus, Nuno Mateus)
Work Team: Isabel Gorjão Henriques, Miguel Torres, Joana Pedro, Sofia Raposo, Rodrigo Gorjão Henriques, Paulo Rocha
Structures: SAFRE, Projectos e Estudos de Engenharia Lda.
Electrical, telecommunications and security planning: Energia Técnica – Gabinete de Engenharia, Lda
Contractor: Manuel Mateus Frazão
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by ARX Portugal appeared first on Dezeen.
Lisbon Architecture Triennale: Portuguese artist Marta Wengorovius teamed up with architect Francisco Aires Mateus to create this small wooden library that can be used by only one person at a time.
On show as part of the Lisbon Architecture Triennale, the reading cabin comprises a shed-like structure containing nothing but a single bookshelf and a raised seating area.
Daylight filters in through a skylight that punctures the gabled roof.
Marta Wengorovius invited 20 guests to choose books for the library, creating a collection of 60 volumes.
“Sharing this itinerant project creates a community between people who read the books, the guests who chose the books and the people who will read the books wherever the cabin shall pass,” she said.
Visitors can reserve time slots to occupy the library, whether it be an hour or a whole day.
The cabin first opened in Paredes and has since moved to Lisbon. The artist plans to relocate it each year, translating the books into different languages for foreign countries.
Francisco Aires Mateus designed the structure. His studio also recently completed a pair of waterfront cabins in Grândola, Portugal.
Other buildings designed specifically for a single inhabitant include a micro home by Renzo Piano and a travelling performance venue.
See more stories from the Lisbon Architecture Triennale »
Photography is by João Wengorovius.
Here’s a project description from Marta Wengorovius:
Um, Dois e Muitos (One, Two and Many)
The project is an itinerant library that aims to be a compass of reflection concerning the themes: “One”, “Two” and “Many”. The 60 books in the library relate to: “One” (every single one chosen), “two” (every single one two chosen) and “many” (every single one many chosen).
The books were chosen by 20 guests invited to collaborate with the artist and to be part of this project. With the intersection of these various books there is a desire to produce a sort of manifest, a synthesis to enlighten our roots, and searching some earth (roots?). I believe that the truthful ones cross our past and present, and give flowers throughout the ages, enlightening the time that goes by.
The library was planned to be in one different place per year. If exhibited in a foreign country the books will be translated to the native language of the country.
This art project had its first opening on December 2012 as part of the public art project in Paredes, north of Portugal.
Using Instructions
The Reading Cabin is to be used by one person at a time. The books can be read inside the cabin and requested to the entity where the Library is located. Sharing this itinerant project creates a community between people who read the books, the guests who chose the books and the people who will read the books wherever the cabin shall pass. The cabin was designed by Francisco Aires Mateus.
A Project by: Marta Wengorovius
In collaboration with: Francisco Aires Mateus and Ana Almada Pimentel
Photographs: João Wengorovius
Construction: Cenário Perfeito
Graphic design: barbara says…
The post One, Two and Many
by Marta Wengorovius appeared first on Dezeen.
An austere concrete pavilion in Lisbon with a staggered corridor and a hidden courtyard will host events and exhibitions during the Lisbon Architecture Triennale, which kicks off next month (+ slideshow).
Designed by Portuguese architect João Quintela and German architect Tim Simon, the Kairos Pavilion is a permanent structure built from prefabricated concrete blocks that slot together without any adhesives or fixings.
A single large window punctures every elevation of the rectilinear structure, each leading into a corridor that lines the perimeter. This walkway steps both up and down, transforming from a sunken shelter into a raised viewpoint.
The highest points of the walkway offer views down into the centre of the pavilion, where a square courtyard functions as a stage for exhibitions, speakers or musical performances.
The floor of this space is also set down by 20 centimetres to accommodate a shallow pool of water, forming a mirror that reflects an image of the sky above.
The architects describe the project as an experiment with scale, light and time. “It’s an investigation about proportions and the relationship between the small scale of the isolated module and the large scale of the whole building itself in relation with the context,” they said.
Named Kairos, the building first opened in 2012 and has been used to host projects and talks by architects such as Alberto Campo Baeza, Aires Mateus and Pezo von Ellrichshausen. It will also feature in the Lisbon Architecture Triennale 2013, which runs from 12 September to 15 December – more details in our earlier story.
Other concrete pavilions featured on Dezeen include a ribbed structure at the University of Porto and a playground pavilion in Dallas, Texas.
See more pavilions on Dezeen »
See more concrete architecture and design »
Photography is by Diana Quintela.
Read on for more information from the design team:
KAIROS Pavilion, Lisbon, Portugal
Synopsis
KAIROS is a project created in 2012 by the architects João Quintela and Tim Simon in partnership with the company’s prefab concrete Gracifer and with the Lisbon Architecture Triennale’s support as an answer to an inhibitor and unsustainable social and economic context, with the aim of encouraging, generating and presenting exhibitions in which Space appears as the central theme.
It’s a pavilion – non-profit project – that intends to receive site-specific installations proposed by architects and artists. These projects should be created as an original work developed for this space exploiting its characteristics and dialoguing with the ambiences through their own and personal research.
Following this concept, and moving away from the institutional circuit of museums and galleries, the space is intended to be public, free and open to all the participants and proposals that want to integrate the exhibition’s calendar and by this generate the meeting and interaction between different and multidisciplinary projects.
The invitation to participate and submit proposals in KAIROS Pavilion is open to architecture, fine arts, performance, theatre, music and other artistic languages in which the participants feel that fits inside this concept contributing to approach creators and public.
Project
To the linear and chronological time ‘CHRONOS’ opposes ‘KAIROS’, an undefined and symbolic time which cannot be measured except by its quality.
The building wants to put two apparently irreconcilable times in dialogue. Since the very ancient periods buildings aspire to the idea of the ‘eternal’ through a spatiality and materiality able to resist time. The great temples and cathedrals, completely made out of natural stone, continue to coexist with the contemporaneity. Concrete constructions represent undoubtedly the legacy of modernity and they recover as well this symbolic idea of eternity.
This confront between the temporary and the eternal is something worth researching through a general view to the possibilities that our time can offer us. This prefab solution is capable to deal simultaneously with these two aspects as it allows us working with a durable and resistant material dialoguing with continuous Time, through a modular construction and an easy assembly or disassembly.
KAIROS, created by João Quintela and Tim Simon, appears as a result of a spatial research referenced in history through the use of Matter, Light and Time. The Matter of the Concrete, the Light of the Sun and the Time built from both. It’s an investigation about proportions and the relationship between the small scale of the isolated module and the large scale of the whole building itself in relation with the context.
The space is built by a very easy and primitive constructive system of overlapping and joining pieces, taking advantage of their own weight without using any glue or screws. It’s a square plan building with an inside square patio. Thus, there exists a perimeter all around that consists in a path developed both on the lower and upper level, generating two similar spaces with completely antagonistic ambiences. One is covered and black while the other is exterior and bright.
The inner patio is defined by the mirror created through the water inside which reflects the sky and duplicates the space. This becomes the central element, inaccessible and contemplative, able to freeze time and build an intimate moment, a dialogue with the past. Becomes the most significant space and acquires symbolism due to his impossible conquer.
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and Tim Simon appeared first on Dezeen.
Portuguese studio LIKEarchitects used hundreds of metal paint cans to build this temporary Andy Warhol museum inside a shopping centre in Lisbon.
The miniature museum occupied the atrium of Lisbon’s Colombo Shopping Mall for a period of three months earlier this year and was used to display 32 original artworks by the late American pop artist.
The LIKEarchitects team was keen to avoid the neutral white walls of typical gallery spaces and instead opted to build a space using some of the everyday household objects that Warhol fetishised in his paintings.
“Campbell’s Soup Cans is a well-known artwork that is based on the idea of sublimating everyday objects, regardless of their original function, and transforming them into tangible icons of the collective imaginary,” architect Diogo Aguiar told Dezeen.
“This premise by the artist was very important to our conception phase, when we had the idea of constructing a museum using familiar components, more specifically cylindrical cans,” he added.
Using 1500 cans, the architects built a sequence of four rooms and organised them thematically. Entrances were positioned at both ends, so shoppers could easily stroll right through.
Eight rows of cans generated the height of the installation and the lowest three rows were filled with sand to give stability to the walls.
Other temporary galleries we’ve featured on Dezeen include SO-IL’s snaking white tent for the New York Frieze Art Fair and a gallery for landscape paintings at an Amsterdam nature reserve. See more galleries »
Photography is by Fernando Guerra.
Here’s some more information from LIKEarchitects:
The Andy Warhol Temporary Museum
The Temporary Andy Warhol Museum is a cultural space within a commercial space. It was designed to host the exhibition ‘Andy Warhol – Icons | Psaier Artworks and the Factory’, which was opened between April 11 and July 11, in Colombo Shopping Mall, in Lisbon, and included a total of 32 original works by the American artist.
The museological space avoids the idea of having neutral white exhibition spaces and relates to the exhibited artworks through the creation of a strong visual context that uses the artist’s imaginary. The museum recreates an environment that is both pop and industrial, through an unusual materiality resulting from the use of metal paint cans. The expository structure, set in the central plaza of the mall, features an abstract exterior that is extremely appealing and assumes an iconographic character with clear links to the Pop Art.
The interior was designed as an enclosed introspective space, entirely defined by continuous walls, benefiting from a transparent cover in plastic screen. This cover has the dual function of allowing light to enter from the exterior and assuring the visual relationship between the two confronting spaces (museum/shopping mall). This solution captures the curiosity of visitors, calling for a visit to all those wandering in the higher galleries of the commercial space.
A fluid succession of four exhibition rooms, thematically organised, results in a new pathway that challenges the organic symmetry and rationality of the shopping mall main square. The two entrances to this small museum, one in each extremity, are located at strategic points in order to maximise the attention and flow of the people walking around its perimeter.
Like the Andy Warhol’s artwork the museum reflects the consumer society, but in a literal way, through the raw aluminium sheet of cylindrical cans. Other strands, which were patent in the work of Andy Warhol, were also fundamental in the creation of the architectural space – the repetition (silkscreened) or the idea of sublimating everyday objects, regardless of their original form or function, and transform them into tangible icons of the collective imaginary.
Used as a constructive element, the metallic paint can is the modular element which determines the metric of entire project, defining dimensions and drawing the voids – doors – that allow the entrance in the space.
The structural stability of the building was solved by filling the first three rows of cans with sand – foundations – guaranteeing the stability of the walls and giving greater strength to the cans which are more accessible to the public.
Having received more than 100,000 visitors, the Temporary Andy Warhol Museum sought to contribute to the dissemination and promotion of art, free and accessible to all visitors.
Architects: LIKEarchitects
Location: Centro Colombo, Lisbon, Portugal
Project Year: 2013
Team: Diogo Aguiar, Teresa Otto, João Jesus and Laura Diaz
Curatorship: Maurizio Vanni
Production: SOTART
Principal Use: Museum
Area: 75m2
Dimensions: 15.5m x 12.70m x 3.30m
The post The Andy Warhol Temporary Museum
by LIKEarchitects appeared first on Dezeen.
Bold primary colours punctuate this stark concrete extension to a secondary school outside Lisbon by Portugese architect CVDB Arquitectos (+ slideshow)
Braamcamp Freire Secondary School, located in the Pontinha area just outside Portugal’s capital city, was originally built in 1986 as five prefabricated units.
CVDB Arquitectos restructured the dispersed units into a single building by connecting them with new corridors, creating what they call a “learning street”.
The school is now arranged around a central courtyard, created by joining up the existing buildings.
A series of punctured concrete walls support a new set of classrooms on one side of the courtyard and provide a sheltered area where pupils can gather.
The facades combine exposed in situ concrete and prefabricated concrete elements in order to minimise building and maintenance costs.
The windows have been recessed into the facade to create a series of vertical concrete louvres, each painted red, yellow or blue to add a flash of colour to the exterior.
Splashes of primary colours also punctuate the main staircase and selected interior walls, including the blue wall of sound absorbing concrete blocks.
The school hall is lined in vertical timber studs and acoustic panels.
We’ve featured a number of schools on Dezeen, including a gabled extension to an English boarding school and a Vietnamese school with open-air balconies – see all schools on Dezeen.
Other buildings in Portugal we’ve published lately include a home on a golf course complex outside Lisbon and a bright white building in the monastery town of Alcobaça – see all Portugese architecture.
See all schools »
See all buildings in Lisbon »
Photographs are by Invisible Gentleman.
Here’s some more information from the architects:
CVDB Arquitectos
Secondary School ES/EB3 Braamcamp Freire
Lisboa, Portugal
The Braamcamp Freire Secondary School is located at the edge of the historical centre of Pontinha, Lisbon. The site has approximately 17,380 sq m and borders an accentuated topography. The school is part of Pontinha’s urban fabric with the exception of its north boundary which faces an unconstructed valley.
The School was originally built in 1986, with five standardised prefabricated pavilions – a central one with a single storey and four two storey pavilions. These pavilions were organised along an east-west axis, connected by covered walkways. The existing school included a gym as well as an outside playground at a lower level and very disconnected from the buildings.
The rehabilitation project of the building was part of the Portuguese “Modernisation of Secondary Schools Programme”, which has been implemented by the Parque Escolar E.P.E. since 2007. The Programme’s objective is to reorganise schools spaces, to articulate their different functional areas and to open these schools to their local communities.
The project proposes to restructure the dispersed pavilion typology into one single building, to connect all the pavilions through interior circulation spaces. The new buildings are built to work as a link in between the existing pavilions.
The programme is structured as a learning street and a continuous path throughout the various building levels and floors. These pathways consist in a succession of several interior spaces, offering different informal learning opportunities. The learning street therefore articulates the various programmes of the school. The pathways are punctuated with social areas which actively contribute to interactions between students, the various educational programmes and the school community.
The school is structured around a central open space, a “learning square” that expands the “learning street” as an outside social central space of the school. The square’s relationship with the playground areas provides a strong relationship with the existing natural landscape and topography. The Square is open as an amphitheater connecting it to the playgrounds in the northern part of the school grounds.
This amphitheater is below the new classrooms building supported by a series of punctured concrete walls allowing students either to walk through them or to use them as places to sit, talking and playing. The facades of the school are essentially constituted in exposed in situ concrete and prefabricated concrete elements, to minimize maintenance costs. The concrete panels were carefully designed to respond adequately to each façade’s solar orientation.
In the interior spaces, adequate resistant materials were chosen for an intensive use and very low maintenance costs. The multipurpose hall has timber studs and acoustic panels. The circulation spaces walls are mainly done with concrete acoustic blocks. The social spaces present themselves as niches in bright colours.
Project: ES / EB3 Braamcamp Freire
Location: Pontinha, Lisboa, Portugal
Client: Parque Escolar, EPE
Total built area: 15,800 m2
Project and construction period: 2010 – 2012
Above: ground floor plan – click for larger image
Design Team: CVDB Arquitectos
Cristina Veríssimo, Diogo Burnay, Tiago Santos, João Falcão, Rodolfo Reis, Joana Barrelas, Adam Pelissero, André Barbosa, , Ângelo Branquinho, Ari Nieto, Guilherme Bivar, Hugo Nascimento, Inês Carrapiço, Irune Ardanza, José Maria Lavena, Leonor Vaz Pinto, Luigi Martinelli, Miguel Travesso, Silvia Amaral, Silvia Maggi
Above: upper floor plan – click for larger image
Landscape design: F&C Arquitectura Paisagista
Structure, foundations and services: AFA Consult
Above: section – click for larger image
The post Braamcamp Freire Secondary School
by CVDB Arquitectos appeared first on Dezeen.
Long known for its exemplary soaps and shaving supplies, Portugal’s grooming culture is being given new life in Antiga Barbearia de Bairro, a heritage shaving line from creative group 100ml. Marked by spot-on design and vibrant colors, the packaging alone might be a tenable selling point. Beyond the branding,…
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This home on a golf course complex in Belas on the outskirts of Lisbon consists of five smaller houses connected by interior passages.(+ slideshow)
Designed by CHP Arquitectos, the residence is located on one of many plots of land dotted around the course.
Each plot on the site was sold individually so every villa is designed by a different architect, resulting in a variety of styles and designs.
Alfonso Fernandes of CHP Arquitectos explained the inspiration for the project: “Our design is based on the main aspects of traditional Portuguese architecture, with special attention to the balance and harmony between each building.”
Fernandes told Dezeen the firm used the Portuguese villages of São Gregorio and Monsaraz as inspiration: villages with clusters of white houses, tucked closely against one another.
CHP Arquitectos wanted to design a building with various small volumes connected by passageways that generate courtyards, making it possible to edit and carefully frame views both internally and externally.
Alfonso explained, “We could hide ourselves from the surroundings that we didn’t want to see, and turn towards the surroundings we found more interesting.”
The family home is centered around a social core with all other functions distributed around it within the different volumes.
The social core hosts a large living room and access to the garage by a central staircase, which is protected by sucupira wooden panelling that also incorporates a sofa.
“The sofa divides the living room in two distinct areas, an everyday TV room with direct relation to the fireplace, and a social area to the far side of the sofa, 50 centimetres below,” Alfonso explains.
The living room spills out onto two large courtyards and a pool
Next to the family bathroom is a children’s playroom, leaving the other two blocks on the west wing of the house for bedrooms, with the master bedroom and dressing room spreading over 20 square metres of the house.
One of the requirements of the client was for the house to have a lot of wardrobe storage space. This is built into the walls and disguised with white panels.
The long passageways between blocks provide opportunity to frame particular views.
Where blocks overlap, to avoid looking out onto white walls, shrubs have been planted to create small pockets of greenery.
Other houses in Lisbon that we have featured on Dezeen include a house that costs the same amount to manufacture as a family car, and a narrow townhouse with green walls.
Photography is by Francisco Nogueira.
Here is a description from the architects:
House in Belas, Lisbon
Architecture: Construir Habitar Pensar Arquitectos with Carolina Queimado
The design intends to express a contemporary look onto the main aspects of traditional Portuguese architecture, with special attention to the balance and harmony between each building.
The house consists of five different bodies, linked through passages. Spaces between each body create a series of relationships, distances and views are generated, providing a rich and diverse atmosphere.
The social areas are located in the core of it all, benefitting from the surrounding environment, and allowing a simple and functional distribution throughout the house.
Above: roof plan – click above for larger image
Above: ground floor plan – click above for larger image
Above: section – click above for larger image
Above: section – click above for larger image
The post House in Belas by
CHP Arquitectos appeared first on Dezeen.
A suspended ceiling folds erratically around the uppermost apartment of a Lisbon block that Portuguese architect Jorge Mealha has refurbished.
The walls of the apartment also comprise a series of angled planes, which converge awkwardly with the faceted ceilings to surround lower level living rooms and a mezzanine deck above.
These folding walls are repeated in the building’s access corridors as well as inside some of the seven other apartments in the building.
Decorative white shutters hinge across windows throughout the block, while existing pine floors have been retained and restored.
We’ve published a few other white-rendered buildings by Jorge Mealha on Dezeen, which you can see here.
Photography is by João Morgado.
More explanation from the architects can be found below:
This project concerns the rehabilitation of an old building, presumably built at the end of the XIX century, but that was only registered in 1906.
A cost-controlled operation, proposed by the owner, Santa Casa da Misericórdia de Lisboa, intended to rehab this building that was at risk of collapse.
The project seeks to preserve as much as possible of the original elements of the building – floors and walls – proposing a reformulation of the existing subdivision, which was characterized by having too cramped spaces, resulting in the creation of eight apartments, two of which are duplexe.
Taking advantage of the need for the introduction of a lift, the entrance lobby is redesigned, suggesting a path that bypasses the volume – released from outer walls – required for the placing of this equipment.
The new design of the atrium that extends its original dimension, emphasises the perspective on the existent ladder, which is maintained, allowing for a better natural lighting and offering a few scale games and cross perspectives.
Whenever possible, the strategy was to preserve the existing floor – pine wood – assuming the amendments in the areas where due to its degradation it has been replaced.
The walls and ceilings are plastered and painted white.
Some elements are finished with stone or birth.
The shutters of the windows were restored and painted white, while maintaining the original.
Access doors to the apartments are also maintained, leaving marks of previous interventions and wood working as notes of color and texture on the stairs.
The external walls and elements are painted in white in their entirety in order to allow the design of its parts to he read by the incident light throughout the day.
Author: Jorge Mealha
Project Team: João Sítima (Site Works Leader), Rita Melancia (Project Leader), Teófilo Raposo, Gonçalo Silva, Pedro Hormigo, Ricardo Manaia
Local: Calçada do Lavra, 11 – 11A, Lisbon
Project: 2006 – 2008
Building: 2010 – 2011
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