Hasta La Ideas

Portuguese studio Nuno Capa have completed the interiors for a hair salon in Braga, Portugal, featuring translucent curtains to partition the space into smaller zones.

Designed for hairdresser Pedro Remy, exposed concrete features throughout the New Room salon and the areas requiring a bit more privacy are divided using corrugated metal.

Double height curtains running on circular tracks enclose workstations to create semi-private booths.

The salon also functions as a training academy.

Photographs are by Rui Pires.

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Here’s some more information from the graphic designer João Loureiro:

New Room is the latest space of the Portuguese hairdresser Pedro Remy. Hosted in the city of Braga, this innovative space designed by the architect Nuno Capa, it’s contemporary and minimalist.

Aiming to keep sight of the initial construction raw elements such as structural elements in concrete, these dialogues with the intervention of new fixed elements, ensuring the visual balance of a relaxing, comfortable and informal environment. It promotes the spatial fluidity for those who circulate, giving a special and different character to the workroom.

Alongside innovation, New Room offers an extensive menu of hairdressing and aesthetical services, targeted to customers who worry about their image and looking for new trends.

Our stylists are internally trained by our own academy to ensure a high quality service, always directing their attention to the customer’s life concept, personality, personal habits, appearance and hair type. This workspace is also a training academy, aiming to support all hairdressing and make-up professionals.

In the schedule is already a plan for continuous and quality training in the area of new methods and practical techniques. The business training in management of hairdressers, leadership and motivation of teams, marketing, among others, will enhance the diversity of educational knowledge offer, differentiation factors and enhance today’s professionals.

We advocate an equal degree of knowledge for all professionals, in order to glamorize this as one of the most important artistic interventions in the area of beauty that comes with the past, present and future of human civilization.

New Room is a new change, modernity and sharing knowledge for everyone’s future. We want to maximize the value of the concept and lifestyle for all our customers.

Project: New Room
Client: Pedro Remy
Architect: Nuno Capa
Design: João Loureiro

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kilico. hair salon by Makoto Yamaguchi	Nagi by Eiri Ota and Irene Gardpoit Chan	Boa Hairdressers Salon by Claudia Meier

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.

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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

This tomb for a family on the mountainside in Arganil, Portugal, is by Portuguese architect Pedro Dias.

The pre-fabricated tomb is clad in softened black granite and finished on the inside with stainless-steel panels.

The rectangular volume frames the surrounding landscape, while a plinth inside supports coffins during ceremonies and provides seating for contemplation at other times.

A cruciform aperture is cut into the roof.

Photographs are by Pedro Dias.

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The following information is from the architect:

Family Tomb in the Açor Mountains, Portugal

“a tomb is a prison, but also a “monumentum”; that is, an object which keeps the “memory” or the recollection of an absent person alive… and only monuments are architecture… all other buildings are simple constructions for ephemeral beings, technical or artisanal products, not works calling on technique: authentic creations, visionary and inspired…”

Adolf Loos

Concept: Sepulchral Void

The concept behind this small, rather unusual but challenging project was the creation of a simple, restrained and minimalistic architectural object that, apart from containing the basic program presented by the client (capacity for 8 coffins), playing in a dignified way its role as a “tribute to the memory ” and integrating itself in the cemetery, would interact directly with the impressive surrounding mountain landscape (without blocking its view), by literally framing it, in order to use the moment of its quiet contemplation as a “transmission vehicle” for transcendental communication between the “living” and “missing” ones.

In the approach to this concept two specific moments of the tomb use where taking into account… During the funeral ceremony, how would this ritual take place and how would a coffin be handled, in other words, how would the “farewell” take place?… And during a sporadic visit of a family member or a friend to the site, how to create the ideal conditions for a comfortable spiritual recollection?

The result was the design in the interior of the tomb of an open space, accessible to all, equipped with a bench, which serves both as such as well as a surface for placing the coffin during the mentioned funeral ritual.

Ultimately, the creation of a contemplative “spatial void”, which fulfills the “emotional void” caused by a feeling of loss that can be briefly translated into this abstract concept of “Sepulchral Void”…

Architectonically speaking, the tomb is a simple volume that appears to levitate quietly over the ground, clladed on the outside by slices of softened black granite stone and on the inside, on all surfaces, by hairline finishing stainless steel panels, in clear contrast and material dichotomy between the “shell” and its “content”.

Inside, details like a cross cutted on the ceiling and a flower deposit integrated on the bench reinforce the obvious symbolic meaning of this object.

Constructive Process

The idea behind the construction of this tomb consisted on the full assembling of its pre-fab metal structure in a factory, formed by steel profiles, tubes and rods (as well as all its stainless steel surfaces), in order to assure right from the start a greater precision in its execution.

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Subsequently, this structure was put into a truck, transported from the factory to the cemetery, and then placed on site by a crane (on a concrete plinth built in-situ).

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Finally, concrete was poured over this structure (slabs and side walls) and the stone cladding was done.

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Project Technical Data / Credits

Name: Family Tomb in the Açor Mountains
Location: Monte Frio, Arganil / Portugal
Design: 2006
Construction: 2007 – 2009

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Client: Familia Duarte
Size: 12.9 m2
Total Cost: 12.000 €

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Architecture: Pedro Dias . Arquitecto
Engineering: DX2 Engenharia, Lda

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Contractor: Construções Castanheira & Filipe, Lda
Structure / Metal Works: Madeljor – Metalúrgica Saraiva Ribeiro, Lda

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The Cross-Gate by Ivo Pavlik	Ortona Cemetery by Giovani Vaccarini	Farewell Chapel by OFIS Arhitekti

This installation by Italian architect Francesco Moncada for the Wrong Weather store in Porto, Portugal, features wooden furniture clustered together in different formations.

Called Algebraic Variations, the interior has 206 modular structures that can be reconfigured in different ways in accordance with the collections in stock.

A mirrored wall at the back of the store elongates the space and the rhythm of the modules further.

Photographs are by Alberto Moncada.

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Here’s some more information from Moncada and Wrong Weather:

“Algebraic Variations” is an installation designed for the interior refurbishment of Wrong Weather: a fashion and lifestyle store for the contemporary men in Porto, Portugal.

The renovation of the shop is furnished with 206 modular structures, which occupy the centre of the shop.

A sort of “Autoprogettazione” with modules, that allows the client endless reconfiguration of the space according with the collection.

Each module with different proportion interacts with the space.

A cityscape inside the space.

On the top of each structure we find items that defines the contemporary man and the city that inspires.

–Wrong Weather – Porto, Portugal

The renovation of a 200 square meter Wrong Weather concept store utilizes the existing space in a new way, in order to allow flexibility to display the items in multiple configurations, enabling the client to adapt to different seasons and collections.

We propose to redraw the configuration of the space with 204 modular structures that can be grouped and combined in various ways to reduce or alter the size and character of the total furniture complex.

An “Atlas of Shapes” manual allows the client to arrange different configurations and create archetypical shapes that come out from algebraic geometry.

The structures are all different in height but constant in length (30 cm), so that each one can stand alone or combined with the rest.

A “WAVE” of 48 rectangular small tables, a “SPIRAL” of 36 columns and a “DUNE” of 120 rectangular modular structures are the first installation at the store.

In order to re-program the space in a more clear subdivision of the merchandise, we relocate smaller items in the “WAVE” made by 48 small tables 30×15 cm with variable height from 10 to 60 cm on top of the existing bench beside the entrance.

The accessories and the grooming area, is in the “SPIRAL” formed by 36 modular structures 30×30 cm with variable height from 90 cm to 180 cm.

The “DUNE” located in the center of the space, is a display for selected designers items, bags and shoes.

A progression of 120 small tables (30×60 cm) with variable height from 10 cm to 110 cm concentrates the customers’ view in a single direction.

The new mirrored back-wall replicates the space at the end of the shop and gives the illusion of passage going trough the building.

The simplicity of the tables painted with two different hues of blue, in combination with the concrete floor and the new metal displayers, act as a neutral background for the displayed merchandise of selected designers.

Architect: Francesco Moncada

Team: Francesco Moncada, Francesco Bogoni, Margarida Norton Barbosa, Miguel Taborda, Mafalda Rangel

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Coso Cafè by Francesco Moncada	Antonios Markos Conceptual Boutique by Gonzalez Haase	24 ISSEY MIYAKE Shop by Nendo

Architectural photographer Fernando Guerra has sent us some images of a house and studio in Oporto, Portugal that architect Álvaro Siza Álvaro Leite Siza designed and built for himself.

The house was completed earlier this summer by Siza.

Siza spent 12 years assembling the site, designing the house and building it.

The long, narrow, rectilinear ground level is capped by an oversailing, faceted white carapace.

Photographs are by Fernando & Sérgio Guerra.

Siza is the son of Pritzker-prize winning architect Álvaro Siza.

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The following statement is from Siza:

To do architecture it’s necessary a client, a promoter. When I realized, in certain moment of my career that to continue my path I would need to occupy that role too, I didn’t hesitate.

Was needed a lot of courage.

I conciliated objectives, interests, goals, I pursued an ideal and I achieved a dream.

I also had the need to be, in this work, supervisor, coordinator and project director, in an organization in direct administration.

I started this work in 2004 and I finished it in early of 2005. The construction begins in February of 2006 and was concluded in July of 2010.

The project of personal house-atelier is the first where is present touching figures in their own atmosphere, exalting pieces, personalities that derive from history, versus the sensibility, recreating individually realities, with no intention previously defined.

They appear in the middle of delivery to ones believe beyond what we need (specific program and functional), sublimation underlying to authentic communication of the creative process.

When the modern is old, a pass appears in the most eloquent and distant expression.

The affirmation of a new Romantism, of a Classic Renaissance, came directly of the origins, with the interior load not less important.

The home like laboratory of ones dream that represent the drives, ideas, tensions and strength behind de matter.

The stories and its emotions that condense the symbolism that represent. The figures and humans relations.

In this project, borned from free drawings of harlequin – laughing about the problems, the tensions, the conflicts, the mismatches, between other dramas that surround this activity – that transforms in a geometric abstraction, where there’s no place for frames or glasses, I rehearse the affirmation of a new Classicism.

Transitional spaces, the porticos, the lamps, the light, the doorknobs, the doors, the hand rails, even some paintings and the furniture was designed for me, but also other of XIX century (timeless pieces) that came from my family that fit the environment perfectly, beyond other elements, complement the creation of environments that exalt Mozart, Leonardo da Vinci, Miguel Angelo and surrounded by a lot of extraordinary Art works, that aren’t limited to the atmosphere of purely imaginary architectural.

The conclusion of this ideal was possible due to a personal characteristic of obstinated stubbornness and dissatisfaction non less expressive.

It’s started 12 years ago, with an acquisition of a lot without access to the street and for that a lot more financially favourable.

In the next 6 years I tried to find a connection that would make this possible.

I was lucky that a promoter of one unoccupied lot was a direct cousin of my mother that finally would sell it to me.

I was forced to buy another lot next to this one to make the business feasible, that I sold with a personal approved project.

In this way, I capitalized, investing all the money in this business.

During the necessary operation of regrouping of the lands, appears the project, result of one discourse of paradoxical intentions.

Home/Atelier; Interior area/Exterior area; Social area/ Cultural area; Private/Public; Leisure/work.

Their volumetry organized themselves by vertical and horizontal sections.

One programme built by one atelier facing to the street, garages and service areas working with a hinge and finally the House related with the garden.

One of underground storey corresponds to the foundations, another ground storey in granite, corresponding to the public and social areas, and even the top storey.

If In one hand, the ground floor expressed them self of inside to outside, of the intimacy to the exterior in an explosive manifesting, creating the necessary openings, the porticos of transition and the respective skylights of natural light; for other hand, the upper storey implode.

The aggression of exterior create symbolic tensions, pressures that recognize themselves of outside to inside, reducing their volumetry, giving rise to one figurative image.

Through a geometric rigorous abstraction to make possible the constructive system, built by lozenges associated in different angles that confer higher tridimensionality, I found the proportion that I wanted, the horizontality I wished, the orientation predefined, the objectified and determined direction.

The symbolism of the figure that sublime the oppression of one system.

Álvaro Leite Siza Vieira
Porto, Julho de 2010

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