Hasta La Ideas

The living room of this apartment renovated by Portuguese architect Tiago Filipe Santos opens onto a tiered courtyard garden.

Named Arroios Apartment, the residence occupies a long narrow space on the ground floor of a typical Lisbon apartment block.

Behind the living room, open doorways lead through to a dining room and kitchen behind, while bedrooms are arranged in a row beyond.

The white walls that enclose the courtyard match those inside the apartment, creating the impression that this external space is just another room.

You can see more projects from Portugal here, including an apartment with a yellow wall of storage and a house with a huge hole in the roof.

Photography is by Invisible Gentleman.

Here’s a short description of the project sent by the photographer:

14| arroios apartment

TYPOLOGY

The apartment is part of a typical Lisbon old building.

It’s long proportion produces a set of spaces on which the presence of natural light is the main challenge.

COURTYARD/GARDEN

The apartment is refurbished having the courtyard/garden as a central area that is totally open to the living room and adjacent spaces.

The courtyard is the main source of natural light for the apartment.

CONTINUOUS SPACES

The continuity and flow between the common spaces of the apartment (living room, dining room and kitchen) is clearly felt by the absence of doors be- tween these spaces.

Transitions are felt by in-built furniture or by the memory of ancient doors.

ROOMS

The 3 bedrooms are redesigned and functionally more adequate to modern needs. The master bedroom becomes a suite with the private bathroom and the in-built closet.

CLOSETS AND MULTIPLE STORAGE AREAS

Closets and unexpected areas of storage are in-built as a solution that optimizes space and takes close attention to every “dead” area in the apartment.

MODERN GLAZING

New windows area brought in to improve the acoustic and thermal conditions of the apartment.

HEATING

In-built natural gas heating system improves the thermal efficiency of the apartment.

EXTERIOR NATURAL WOOD DECK

The exterior natural wood deck is the perfect place for long afternoons and late evenings with friends and family.

COURTYARD/GARDEN POSSIBILITIES

The remaining area of the courtyard is open to be used for a green lawn or blue pool.

Architect: Tiago Filipe Santos
Function: housing
Localization: Arroios, Lisbon Portugal
Client: private
Year: 2010/2011
Built area: 90 sqm
Garden area: 45 sqm

Dezeen Wire: British curator and writer Beatrice Galilee has been named as the chief curator for the third edition of the Lisbon Architecture Triennale, which will take place between October 2013 and January 2014.

Galilee was senior curator of the Communities section at this year’s Gwangju Design Biennale, which is still in progress, and was the European curator of the 2009 Shenzhen Hong Kong Bi-City Biennale of architecture and urbanism. She is also director of London exhibition and event space The Gopher Hole,

Here are some more details from Lisbon Architecture Triennale:

Galilee, London-based curator, writer, critic and lecturer of contemporary architecture and design, is the successful candidate of an international Open Call launched in Spring this year. The Triennale received an exceptional calibre of applications and proposals from around the world with extremely high standards of critical intelligence and originality.

The jury, including Joseph Grima (Editor-in-chief of Domus magazine and former Director of Storefront for Art and Architecture), Beatriz Colomina (Professor of Architecture and Chair of the Ph.D. programme at the School of Architecture and Founding Director of the Program in Media and Modernity, Princeton University), José Mateus (President of Lisbon Architecture Triennale Association), Delfim Sardo (Critic, Curator and Chief Curator of the 2nd edition) and Manuel Henriques (Executive Director of Lisbon Architecture Triennale) was unanimously convinced that Galilee’s proposal and profile stood out as exceptional in the context of the Triennale’s proposed objectives.

Two years before the event, Galilee will start working alongside the team of the Lisbon Architecture Triennale and the invited international co-curators on the concept for 2013 and examine plurality in contemporary spatial practice.

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This medical research centre in Lisbon by Indian architects Charles Correa Associates has a curved stone form with circular cut-aways.

The Champalimaud Centre for the Unknown comprises two buildings, the first containing research laboratories and treatment rooms, and the second housing an auditorium and exhibition area.

A central pathway crosses the site between the buildings, leading towards two monolithic stone sculptures and an outdoor amphitheatre.

Above the pathway, a glass tubular bridge connects the two buildings together.

Photography is by José Campos.

More projects in Portugal on Dezeen »

More stories about medical buildings on Dezeen »

Here are some more details from Charles Correa:

The Champalimaud Centre for the Unknown

What makes me most proud about this project is that it is NOT a Museum of Modern Art.

On the contrary, it uses the highest levels of contemporary science and medicine to help people grappling with real problems; cancer, brain damage, going blind.

And to house these cutting-edge activities, we tried to create a piece of architecture. Architecture as Sculpture. Architecture as Beauty. Beauty as therapy.

And we have also attempted to use NATURE as therapy. The WATER around us. The SKY above. The healing presence of RAIN FORESTS. All these are therapies for the patients.

Of course we have a very special site. One of astonishing Beauty – and great historic Memory.

Norbert Schulz has written eloquently about what he calls the GENUS LOCI, the essential meaning of a site – and Architecture’s unique responsibility to express, to release, that meaning, A musician can play the same Chopin concert one evening in Tokyo and the next in Brazil and the third in Paris – with every note exactly the same.

But not the Architect. For a building is rooted in the soil on which it stands, In the climate, in the technology, in the culture – and the aspirations! – of the society that uses it. This is why the same building cannot be repeated anywhere and everywhere in the world.

And of course what makes this site very special is that it is the place from which 500 years ago Vasco da Gama and the other great navigators went forth on their voyages of Discovery – a perfect metaphor for the discoveries of contemporary science today.

This is why more than 50% of the site has been given back to the city of Lisbon for its citizens to celebrate that history – without in anyway compromising the privacy of the medical activities, and vice versa. The site plan is a yang-yang pattern of interlocking spaces.

Lastly, I am proud that this project tries to express the essential nature, the Genus Loci, of this site without resorting to erratz versions of traditional architecture.

No, we have used throughout a Contemporary voice to express not only the truth about this site – but also to celebrate a very crucial moment (arguably the DEFINING moment) in the history of this nation.

Project: Champalimaud Centre for the Unknown
Location: Portugal, Lisbon
Client: The Champalimaud Foundation
Purpose: Translational Centre for Brain, Eye-sight and Cancer research

Design Architect: Charles Correa Associates
Design Team: Charles Correa, Sachin Agshikar, Manas Vanwari, Dhaval Malesha
Laboratory and Clinical design: RMJM
Architect of Record: Glintt

Services: Vanderwell
Structure: LNM
Bridge design: Joerg Schlaich
Lighting: DPA
Landscape: PROAP
Signage: Studio Dambar

Area: 50,000 sq. mt.
Budget: 100 million Euros

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Maggie’s Centre Cheltenham by MJP Architects	Maggie’s Centre Gartnavel by OMA	GKK Dental Ambulatory by Xarchitecten

Portuguese studio Jorge Mealha Arquitecto have completed a house in Lisbon, Portugal, featuring clusters of rectangular volumes and courtyards.

Called House in Paço de Arcos, the building sits on a sloping site and the volumes have been arranged in such a way to maximise the amount of sunlight that enters the interior.

A central glazed walkway connects two parts of the structure.

The house is finished primarily in white.

Photographs are by Fernando Guerra, courtesy of the architects.

More residential architecture on Dezeen »
See more projects in Portugal »

The following information is from the architects:

House in PaÁo de Arcos

Located at Alto do Lagoal in PaÁo de Arcos, a neighborhood of Lisbon facing the sea, this house has been built on a sloping site and proposes as main strategy an arrangement of several solids in order to attenuate the overall mass due to the functional program requested by the client.

This arrangement of different solids and voids, uses large plain surfaces and some in-between tensioned spaces to let light draw or reflect on the objects, emphasizing geometry and proposing a changeable reading of form and space during the day.

Some surfaces, covered by metal screening/shading devices, create large smooth textured plans on two facades of the house hiding windows and enhancing form, acting also as a kind of diaphragm device to filter the views between interior and exterior.

Also act as a passive sunshade control between internal and external spaces.

Some circulations, as the staircase and main corridor are built in white painted 10mm metal sheet slightly detached from the walls, leaving opportunity for light, caught by the long skylight to pass in between and spread to the lower floors.

The external envelope, a ìin situî concrete structure, integrates a double row masonry of perforated ceramic blocs as external walls, including inner rigid thermal insulation panels.

External walls finishes are in cement plaster painted.

Windows are in standard natural aluminum color profiles integrating double thermal glass.

In the interior, the walls main finish is plaster painted in white except in the bathrooms where the walls are covered in white/grey natural striped marble.

The circulation areas floors, corridors and staircases are in plain or folded 10mm thickness metal plates, painted with white mate epoxy enamel.

The bedrooms floors are finished in industrial wood parquet whit colorless wax varnish finish.

Social areas are covered with polished white stone and kitchen in brilliant black ceramic sandstone.

Architect: Jorge Mealha

Design Team: Arch. Jo„o SÌtima, Arch. LuÌs Banazol, Arch. Pedro Pereira, Arch., Marcelo Dantas

Location: Alto do Lagoal, PaÁo de Arcos, Lisbon, Portugal

Client: Margarida e AntÛnio Lemos

Use: Single Housing

Site Area: 907 m2

Building Gross Area: 388,50 m2

Floor Net Area: 302 m2

Landscape Area: 629 m2

Coverage Ratio: 30,6 %

Gross Floor Ratio: 77,74 %

Project Year: Sept. 2003-March 2004

Construction: 2006-2010

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House in Tróia by Jorge Mealha Arquitecto	House in Meco by Jorge Mealha Arquitecto	Black & White House by AGi architects

Our behind-the-scenes look at the making of Aston Martin’s upcoming short films

Like many brands, where car manufacturers once relied on lifelong customers, changing market factors (globalization as a whole, the Internet, etc.) has empowered buyers to venture beyond local car lots to find an automobile that truly speaks to their needs and desires. While Aston Martin‘s reputation for luxurious motoring may be enough, at nearly a century old, the manufacturer hopes to engage a new generation of drivers with its series of interactive films centered around their new Rapide. (See the full story on the four-door sports car on CH here.)

To check out how Aston Martin’s Marketing Director Markus Kramer and his staff are creating something beyond a cliché TV commercial, I recently traveled on the brand’s invitation to Lisbon where the team was busy shooting the trio of 90-second videos. The creative mind behind the project, James Temple of digital agency R/GA explained that the genesis of the project is “True Power Should Be Shared,” with each film highlighting four people on a mission to deliver a time capsule from Lisbon to Zurich. Recognizing the limited amount of time the Aston Martin client has, the work aims to show how time is one of the most precious commodities today.

On set, there was some mystery as to how the narrative will develop, but I learned that the script is broken down into three separate stories which will launch in three segments beginning next month to make one complete short film come February 2011. To keep its audience fully engaged and interacting with the brand, Aston Martin placed clues throughout each film that can be cracked for a chance to win prizes associated with not only themselves, but the partner brands within the film.

Read more about my exciting behind-the-scenes experience after the jump, and see more images from the shoot in the gallery below.

The night shooting in central Lisbon covered a scene in which the four protagonists of the movie (all wearing Ozwald Boateng suits) are trapped in a small alley by two aggressive vehicles. Despite the cold and the rain, the atmosphere on the set was relaxed and the enthusiasm of the local and British crews (almost 60 people in total!) was high.

The second day brought us to Alges, where the scene featured a mysterious black helicopter performing impressive maneuvers under the vigilant eye of the “bomberos” (local firemen) and director Donnie Masters from Serious Pictures. After this we drove to the hills of Arrábida where the stunning ocean views and curvy streets promised intense performance from the Rapide.

From here I finally experienced the car first hand. In the back seat Steven Egan, General Manager Marketing Operations at Aston Martin, explained to me that what makes the car super special “is what it delivers to the driving performance, the feeling when you are one with the road—it’s a driver’s car.” Egan also touched on the practicality of the four-seater, but saying the car is still very emotive. “In the heart it’s still a sports car—everything is at your fingertips and you always feel in control of its power.” From a passenger’s point of view, it’s clear how the cocoon-like seats are designed to keep you feeling safe and molded to you, “like a hand that fits into the glove,” Steven states.

I also had the chance to take part into a small portion of the filming, with an experienced driver taking the Rapide to the limits in the small street of Arrábida, closed to the traffic. The roar of the engine, the quick accelerations and the sudden braking made me feel the true power and the possibilities of the car.

After this breathtakingly unique event, I got back to the base camp and spent some time with Donnie Masters. The director told me how happy he was with the process, revealing more details about the story. A meeting in a restaurant, a mission, a tunnel, martial arts, flashbacks and more set the tone. “It’s not going to be a dark film, but it will carry a tone of excitement, a dense atmosphere. The movie will find its natural length in less than 10 minutes. I want it to be long enough to enjoy, but not indulgent.”

Donnie has worked for years directing commercials for the automotive industry, but this time is a totally new and different approach. “Aston Martin should be making films like this” he says. “Because now they know they can do something more than classic car commercials. Here the car is the hero, but in a very humble way—we’ve got characters, story, wonderful dialogue by Sean Doyle—but still the car is the thread all the way through the film, in the same way it does with James Bond.”