Project III - Dematerializing architecture

2002-2003
collective housing
(unfinished academic project)

Arrival. Departure. Intermodal station.
The identification with the places of passage.
The velocity of relations.
The sympathy with strangers.
The occasion friends.
Routines to win the urban monotony.

The places where the Past has no space.
The spaces where the History is protagonist.

Because the Present is always a transition between Past and Future.
Because contemporary society behaves as a child: only the new toy is important, and this is easily replaced.
History has to have its own place, just like it has to exist a space where it can be forgotten.
Because the world percentage of urban population increases in detriment of the rural one.
Because the terrestrial surface is also an exhaustible resource.

Velocity is a consumer good not yet democratized in the Portuguese Northwest territory.
The alternative does not exist.
Guimarães is still an industrial city: it lacks services.

There is a space, previously rural, that with the introduction of an urban highway became a peri-urban wasteland.
Because the city has to be decentralized.
Because the topography is moldable at any scale.


The "loft" and the patio house are the models most ambitious for any real estate.
A house that is not sold is a city space waiting to be inhabited.
The owners of a good that cannot sell are always forced to lower the price for it to unravel.
A house that cannot be sold is a nuisance to society.

Through the analysis of the positioning of the lot in relation to the territory, it became imperative that there would emerge a new scale of relationship with topography, a filter, a dematerialization of architecture.

It is the city entrance door. One side rural and disperse, the other compact and polite, favorable to the encounter.











Project III - "A city is never finished" - Joan Busquets

2002/2003
house & garden for 2 artists in Serralves Park (Oporto)

Today we live no more the house: this is a shelter. We also do not live the working place: it is a passage point. Today we live the city.

Through this logic and, according to what the program asked, it is necessary the creation of a shelter with which the occupying artist identifies himself in a way even more temporary than with his home. Therefore, and seeing that this is a changing territory, in which a new living scale imposes, it is imperative to give a new scale to the concept of living to reproduce and, reproduce the exterior world in the interior of the shelter: bring the scale of the city to the interior of the house, giving it an exterior aspect of more than two houses one house for two persons and a frontal visual relation for a distant exterior.
The working space is the motto to the occupation of the shelter, then, it is the starting point to the entrance in the house. For the artist that will occupy one of these shelters, it is given the possibility to have the relaxing space – living – separated from the working space – working – and, however, near this (like it should be in a city). In one of the shelters that separation is created through the keeping of the living body in a higher plan, completely closed to the noises of machines programmed to perform certain tasks, and smells coming from the working space; in the other shelter that separation is made by the simple physical distancing between spaces, since that shelter is a path.
The space immediately exterior to the common shelter gives the possibility of being a mutual working place, a reunion point for the two artists, just like the patio of a Japanese house it is to its inhabitants, but in this case that reproduction of the nature changes place with the house, passing the exterior to the interior and the interior to the exterior. This garden becomes a filter of the extra-walls world, it is in this space that the reproduction of the exterior world starts, or ends.