One of them is trying to become a journalist architect. She believes by sharing her writings, she can explore the entire world. Wonderful post and pictures! I just wanted to point out that there are at least 4, 5, 6, 9 and 15 works that are not by Siza Alvaro Siza Vieira , but by his son Alvaro Leite Siza Vieira. They do not share an office. I know that it is confusing, because they have almost the same full name. With that said, the article becomes very interesting by putting side by side those works to the ones that are actually by the renowned Siza.
It is nice to see how Alvaro Leite Siza has his own expression, compared to his father. Thanks for the article. Save my name, email, and website in this browser for the next time I comment. Participate Now. Sign up Now. Alvaro Siza Architectural building natural lightin Portugal.
Author Anindya Dhiracitta She is an architecture student who always feels interested in learning something new. Tatiana Bilbao: Ideology and Philosophy November 11, Lance Hosey: Ideology and Philosophy November 11, Stella Betts: Ideology and Philosophy November 9, Charles Correa: Philosophy and Ideology November 6, Gabriel 8 months ago Reply.
Series AP S1 mainly contains conceptual, design development, presentation, and working drawings. Also included are photographic materials, models, born digital records, and textual documentation, which include correspondence, project proposals, and notes.
In all there are approximately 60 drawings, folders of textual documentation, 9. Among the drawings are sketches by Siza on various items, such as napkins, receipts, envelopes, or on the back of working drawings. The fonds contains several types of architectural projects including residential buildings, museums, universities, urban plans, offices, and city restorations.
Locations, notes, and dates have also been identified on the front of each sketchbook along with the sketchbook number. Once these records were moved to the office archive they received new project numbers.
Project files have been kept in the order in which they were received by the CCA. The project numbers and dates assigned by the office are included in the descriptions for each project. Siza was originally interested in becoming a sculptor.
However, his father, an engineer, did not encourage this as a career path. The projects were initiated shortly after the Carnation Revolution, on 25 April , which saw the creation of SAAL to improve housing conditions in Portugal. Although locally his work on SAAL was not immediately well received, abroad there was much interest in his work on the projects and his use of participatory models.
This invitation led to his first built project outside of Portugal, Block , Schlesisches Tor [Schlesisches Tor residential complex] , also known as Bonjour Tristesse, in Berlin. Siza would go on to work on similar housing projects in The Hague as part of an urban renewal program from Siza's work, however, spans a wide range of programmes and scales —from object and furniture design to urban planning and design.
This process is mainly present in his sketchbooks, but also on other materials including envelopes, napkins, or receipts. Siza draws everything around him: landscapes, people, animals, even self-portraits of the architect drawing.
To fully understand his methodology, his drawings must be seen as a tool, a way to analyse and find a solution to an architectural problem. Content that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2.
Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme. Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. A long, patient job of cataloguing, done by hand: image after image, project after project, post after post. In the 19th century this was a small fishing village on the outskirts of the city, and in many ways the place still retains its character, with boats moored in the harbor, fish being sold on the streets, and a ferry crossing the river every few minutes to the neighboring village of Afurada.
In plan, the building is a U-shape, opening to the south. It occupies the center of the lot and maintains the setbacks required by local building codes. The first floor, which was initially intended for commercial purposes, is partially underground and covers almost the entire site. It receives light and ventilation from Rua do Aleixo and via two patios which are at the same level as the interior spaces. The service facilities and the stairs, which provide access to all levels and a roof terrace, are located on the northern side of the building.
Siza shares the Aleixo office building with several other architects, who also contributed to its design.
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