EN BLANCO. Revista de Arquitectura - Vol 14, No 32 (2022)

Tabla de contenidos

Editorial

In situ espacios concretos: introduciendo la práctica de Nuno M. Sousa

Obras

Sala en Pala, Portugal
Casa en Tâmega, Portugal
Capilla en Barrancos, Portugal
Casa Quintela, Rio de Moinhos, Portugal
Refugio Engenho I, Canelas, Portugal
Casa de Burra, Douro, Portugal
Almacen 4400, Penafiel, Portugal

Artículos de investigación

Relaciones significativas: un acercamiento a la obra de Nuno Melo Sousa
Génesis del centro de artesanía de Lorca, de JA. Molina Serrano, 1985-1988: un lugar enterrado
Entrar o no entrar: instalaciones arquitectónicas
Apropiaciones del espacio doméstico en la vivienda socialista: una mirada a la Unión Soviética y Vietnam

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/182843

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Mostrando 1 - 12 de 12

Access status: Abierto ,
Almacen 4400, Penafiel, Portugal
(Universitat Politècnica de València, 2022-04-28) Melo Sousa, Nuno
[ES] Un almacén como sede de oficinas. Una galería exterior para conectar tres núcleos: tienda, oficina y showroom. Dos patios para aportar luz y naturaleza al gris industrial. Implicar una repetición, un ritmo, antes de entrar en el vacío. Una sala de reuniones, como sala de control, la cual flota sobre la cadena de suministro mientras toca el espacio del vestíbulo principal.
Access status: Abierto ,
Casa de Burra, Douro, Portugal
(Universitat Politècnica de València, 2022-04-28) Melo Sousa, Nuno
[EN] A very unsophisticated renovation of an existent agricultural structure. A little granite masonry house, painted in white, where the farm s Donkey used to sleep. An add-on portico for a living room sustained by a central concrete pillar which provides a pause in the 180º panoramic view. The section of the four sided ceramic tile roof serves as a new shelter: only bones and glass. A white skeleton meets the old body: only bones and glass. Yellow aluminium to give ornament to the archaic constructive solution. The cows, the goats and sheep still live alongside dogs and chicken, underneath the new shelter.
Access status: Abierto ,
Refugio Engenho I, Canelas, Portugal
(Universitat Politècnica de València, 2022-04-28) Melo Sousa, Nuno
[EN] An abandoned stone barn, a ruin, to re-build a shelter, to create a shed.The masonry wall was kept and a new portico arose, sustaining a sliding black coated wooden structure insulated with a thick black roof layering.
Access status: Abierto ,
Casa Quintela, Rio de Moinhos, Portugal
(Universitat Politècnica de València, 2022-04-28) Melo Sousa, Nuno
[EN] A sunken plot in a countryside made of patches of built context in a fragmented landscape. Two squares intersect in smaller ones. A concrete umbrella to receive, followed by a light well and a small hall to introduce us to the private realm of the ground level. A structural grid made of beams and pillars to be perceived on floor, wall and ceiling, generating void when both main squares overlap. A triple-height space connects both living and sleeping areas. This concrete grid stitches the interior walls to ceiling to upper level, until the roof.
Access status: Abierto ,
Capilla en Barrancos, Portugal
(Universitat Politècnica de València, 2022-04-28) Melo Sousa, Nuno
[EN] From an elevated point of view, the sky and the landscape reflect on a water mirror, a porous concrete blade that fills with the winter rain and dries in the arid summer. The mortuary house is carved in stone, hiding in a shell, standing by. As the water is falling and flowing, it soaks the pores and imperfections of this material falling through the circular hole over the rugged topography. This horizontal abstraction finds a delicate balance with a vertical element, deploying on the ground and apparently floating as tensions with the slope. Water, and its changing states, is a transversal religious element, often related to purification and transformation. The horizontal slate establishes a reflection of the sky, infinity, the expectation of ascension. Facing the four quadrants north, south, east and west the square has an absent orientation thus free and unwilling, embracing all creeds in a space for reflection and communion.
Access status: Abierto ,
Casa en Tâmega, Portugal
(Universitat Politècnica de València, 2022-04-28) Melo Sousa, Nuno
[EN] A simple commission: a house with four bedrooms, a living room, a kitchen, a swimming pool and a barbecue. The plot is complex, immeasurable, without references, without alignments, no directions. From the trail that leaves the asphalt road towards the forest, we follow the topography that descends towards the river and jump between the rolling stones until we find a furrow marked by the passage of rainwater. It is the perfect deployment - far enough out of the way and placed between two stable heights. A sculpted concrete volume with thin and thick patterns hides the river by imposing its opaque horizontality. A framework for each different dimension of a rough topography: the river, the hill, the quarry. A concrete foot is a staircase and structural base; support that divides the private and public space of the house. Approaching us, an elongated entrance introduces us to a long corridor that meticulously frames the rocky massifs in a small reading area. The room is long, facing the green of the land, with a large window that frames the Tâmega river and the dips into the pool. Materiality is a return to this very place; the concrete faces of the façade, the veins of the stereotomy should be stone veins made on site, with mortar and pine wood planks.
Access status: Abierto ,
Sala en Pala, Portugal
(Universitat Politècnica de València, 2022-04-28) Melo Sousa, Nuno
[EN] The house as a sum of attachments but no living area. Among these volumetric shapes and add-ons, a patio. To confine a room; adjusting and merging materials, sights and sounds. To place a concrete slab that supports the existing roof and doesn t obstruct the upper level corridors views. To preserved the traditional pavement and tiled roof, the whole construction process is done without demolishing the pre-existent. A large skylight emerges in traditional slate shingles evoking the existent vernacular kitchen s exterior skin , provides light and ventilation to the new living room. One void frames the courtyard. The other frames the sky.
Access status: Abierto ,
Apropiaciones del espacio doméstico en la vivienda socialista: una mirada a la Unión Soviética y Vietnam
(Universitat Politècnica de València, 2022-04-28) García Moro, Francisco
[EN] In the late 1950s, the mass housing programmes of the Soviet Union and Vietnam faced the need to redefine the functional and aesthetic agenda of domestic space. The Soviet industry had to be re-oriented to the production of consumer goods, promoting new notions of practicality and decorum among the population. The mismatch between the official narratives of modernity and their actual limitations turned the spaces of everyday life into terrains of subtle confrontation. In collective dwellings, shared kitchens would become be the most critical places due to their technological complexity at the crossroads of social and family life. This paper explores, through the connections between the housing programmes of the USSR and North Vietnam, the emergence and re-appraisal of these built environments, which evolved from neat manifestations of planning effectiveness to uncontrolled substructures informed by their occupants everyday life.
Access status: Abierto ,
To enter or not to enter: architectural installations
(Universitat Politècnica de València, 2022-04-28) Özdamar, Esen Gökçe
[EN] This article focuses on the conceptualization of the architectural installation, which is at the intersection of architecture and art. Installations, which today have an important place as an artistic activity, emerge in the 1960s and include various arrangements and exhibition activities of architects in relation to gallery space. These artistic activities include temporary or permanent, playful, poetic installations, sculptures and exhibition spaces. As a nexus for the arts and other disciplines, architectural installations enable artists to distance their work from the constraints of the real world, resulting in creative and questioning works. Architectural installations are discussed within intersections with the open-ended, experimental, and questioning features of architecture, such as site-specificity, temporality, variability, and monolithic character. Land art and public art, in which art installations verge conceptually on architectural space, can be used by artists in gallery space, open space, and on an urban scale.
Access status: Abierto ,
Génesis del centro de artesanía de Lorca, de JA. Molina Serrano, 1985-1988: un lugar enterrado
(Universitat Politècnica de València, 2022-04-28) Martínez Medina, Andrés; Moreno Ortolano, Juan
[EN] Around 1980 in Spain, awareness of the protection of historical heritage came to the fore. In the middle of the decade, politics became interested in popular culture and, in the case of the Region of Murcia, three cultural centres for the promotion of traditions were planned. The first was the Lorca Craft Centre (1985-1988), by Juan Antonio Molina Serrano, which was located in the historic centre of Lorca. The text traces the genesis and execution of this unique museum -a hybrid between exhibition, commercial and teaching space- built with exposed concrete. The urban context conditioned the first decision to bury the building so that its presence would not compete with the pre-existing monuments by materialising outside as a landscaped plaza. The strategies followed (dark cave -light-, itinerant vision -ramps- and material unity -concrete-) are revealed here in order to ensure that the exhibition space for the handcrafted objects, arranged inside a grotto of 'artificial stone' -buried and lit from above-, would show an introspective character impregnated with references to modernity by understanding the Centre as a place for all the senses where the concrete precipitates a return to the origins.
Access status: Abierto ,
Relaciones significativas: un acercamiento a la obra de Nuno Melo Sousa
(Universitat Politècnica de València, 2022-04-28) Juan Ferruses, Ignacio; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura
[EN] This approach to and study of the work of Nuno Melo Sousa aims to understand the intentions and processes of an architect whose career, limited to a short period of time but intense in results, shows from the outset a personality of its own. A serene, stable, silent architecture that understands the context in order to intervene in it, respecting the existing elements and adding value through what is built. The interpretation of his works, beyond pretending to be a chronological outline, tries to highlight certain principles that remain present in all of them. Art and craftsmanship, drawing and thought, monumentality and beauty, serenity and landscape, and plasticity and texture are the terms that, paired together, serve as a support for exploring and describing the essence of his works. His drawings, his words and the photographs of his works (unpublished) are the support for the text that tries to explain his work.
Access status: Abierto ,
In situ espacios concretos: introduciendo la práctica de Nuno M. Sousa
(2022-04-28) Casal Ribeiro, Helder
[EN] Nuno Melo Sousa (NMS) presents himself as an architectural practice based in Penafiel, a small city 40 km from Porto, that believes in method, provocation, and the production of architecture through an intuitive collaborative process. Introduces his work as having a close relationship with the peculiar construction context in which it is inserted, hinged on simple building processes determined with and by clients with the help of local artisans. In addition, he would also add the aim to do most with few means, looking at sustainability as a way of reusing existing elements as a generator.

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