1 a 4 de Outubro // Fórum Lisboa Mezzanine
Intimidade, Silêncio, Contemplação
Realização e montagem: Susana Ventura
Edição: Gonçalo Faustino
Os três filmes – “Intimidade”, “Silêncio”, “Contemplação” – são o resultado de uma expedição a uma arquitectura intensiva pelo Japão, Centro e Norte da Europa, realizada entre Junho e Agosto de 2014, no âmbito do Prémio Fernando Távora e de uma investigação de pós-Doutoramento. São, sobretudo, filmes experimentais e instrumentais, que utilizam a experiência empírica da obra de arquitectura como principal matéria de investigação e expressão. Cada filme procura desvelar como é que a respectiva sensação é composta no espaço, quais são os mecanismos, artifícios e matérias de expressão que lhe dão origem e que pertencem tanto à paisagem, onde uma obra se situa, como à imaginação que desperta ou ao corpo que habita,
mesmo quando ausente..
I. Intimidade, 15’. Obras: Villa Müller, Adolf Loos, Viena, 1930; House of Light, James Turrell, Tokamachi, 2000; Casa Uehara, Kazuo Shinohara, Tóquio, 1976
II. Silêncio, 7’. Obras: Memorial, Peter Zumthor, Vardo, 2012; Igreja de São Pedro, Sigurd Lewerentz, Klippan, 1966; Igreja de São Marcos, Sigurd Lewerentz, Estocolmo, 1956; Cemitério Oriental, Sigurd Lewerentz, Malmö, 1909
III. Contemplação, 14’. Obras: Petite Maison, Le Corbusier, Montreaux, 1924; Memorial, Peter Zumthor, Vardo, 2012; Villa Khuner, Adolf Loos, Payerbach, 1930
Doutorada em Filosofia na especialidade de Estética (FCSH-UNL, 2013), licenciada em Arquitectura (dARQ-FCTUC, 2003) e, actualmente, Investigadora Pós-Doc em Arquitectura (FAUP). Durante o Doutoramento, esteve, durante dois meses, em cada um, nos ateliers de Diller Scofidio + Renfro, Lacaton & Vassal e Peter Zumthor, em “Residência de Investigação”, como denominou esse período. Em 2014, recebeu o Prémio Fernando Távora com a proposta “Expedição a uma arquitectura intensiva”, no âmbito do seu projecto de pós-doutoramento, e integrou a Representação Portuguesa na 14.ª Bienal de Arquitectura de Veneza, como arquitecta editora da secção “Detached” de Homeland – News From Portugal.
Replay. VHS Architecture – The Post-modernism Symposia
Leonor Matos Silva, 2015, Portugal, 50’
PRODUÇÃO: Jorge Figueira e Leonor Matos Silva
LANGUAGE: Português; English; Italiano
Ao longo da década de 1980, o Departamento de Arquitectura da Escola Superior de Belas-Artes de Lisboa (DA-ESBAL) foi palco de várias iniciativas culturais, algumas das quais registadas em vídeo, um sistema internamente introduzido com diversas finalidades, não só de arquivo mas também pedagógicas.
Entre os eventos extra-escolares filmados, contam-se três Simpósios de Arquitectura com o propósito de reflectir sobre o pós-modernismo – um tema, então, na ordem do dia – que trouxeram a Portugal alguns dos nomes mais sonantes da cultura arquitectónica internacional.
“Replay. Arquitectura em VHS – Os Simpósios do Pós-Modernismo” resulta da revisitação desses Simpósios: uma selecção, análise e montagem de mais de vinte horas de gravações em bruto. O objecto final, apesar de drasticamente reduzido, é uma síntese acutilante do material recolhido – no modo como conserva as linhas de força dos programas individuais das conferências ao mesmo tempo que, mantendo a coerência do registo imagético da época, destaca aspectos que hoje, passados trinta anos, são particularmente actuais.
Este filme foi produzido originalmente por Jorge Figueira e Leonor Matos Silva para um evento intitulado “Arquitectura em VHS. Lisboa, Anos 1980: Os Simpósios do Pós-modernismo” que se realizou no MUDE – Museu do Design e da Moda, em Lisboa, em Abril de 2015.
COM: Michael Graves, Peter Eisenman, Edward Jones, Pierluigi Nicolin, Tomás Taveira, Alessandro Mendini, Franco Purini, Stanley Abercrombie, Peter Davey e Andreas Papadakis
COLABORAÇÃO: Faculdade de Arquitectura da Universidade de Lisboa
LIQUID TIMES, FLUID ARCHITECTURE
a program of redfundamentos curated by Andrea Franco
Architecture trembles. Structures run off the ground. Modern life is an earthquake defying stability. Living happens fast, we move, we transit, we belong to nowhere and all places; times are liquid, so thus architecture. The past and the references are constantly threatened. The following filmmakers fix on celluloid, in a shaking manner, a series of constructions that surely will someday disappear from our landscape.
Paul Clipson’s CORRIDORS is a cosmic fluxus made out of water, sunrays and city lights that eventually explode into architecture. The urban scenario comes after a Big Bang. Sparkling images evolve into shimmering constructions. The city appears like a prison; it is a fleeting portrait of New York where grilles and fences describe an oppressive habitat. Vision is only possible through railings. Zooms and reflections suggest permanent movement while the buildings dissolve within the vertigo of light and music from outer space.
Albert Alcoz’s PRELUDE presents a blurred image of Mies Van der Rohe’s German Pavilion, in Barcelona. Playing with the speed and the diaphragm of the camera, this icon of Modern Architecture fades into a watery landscape, shuddering the principles of a glorious avant-garde.
By the same author, A PUNT DE FUGA produces an elusive architecture that challenges the laws of perspective by alternating their vanishing points.
For LA GRANDE DAME -as the business people of Montreal called this new skyscraper erected in the city in the early 60’s-, Alexandre Larose shot with a long lens and edited in-camera in order to dislocate both scale and distance, thus we fall from the heights through a nightmarish architecture of never-ending façades and windows in a row. A split-screen makes a two lane road where a fast race is taking place between the different stories of the building.
These four pieces show vertiginous and uncertain architectures expressing our liquid times. Times when building seems futile because everything vanishes into velocity and seems condemned to being ephemeral. Values can no longer be hold or lasting. Cities are just the material signs of the process, but never the most real or truthful.
‘redfundamentos’ gathers projects of architecture and urbanism within a big network of universities in Iberoamerica. The site www.redfundamentos.com runs the journal rita_ (Revista Indexada de Textos de Arquitectura); a blog where we publish architectural works and news; a database for educational resources; and the audiovisual platform ‘canalfundamentos’, from where we stream shorts, feature films and videoart. This program is our first collaboration with a film festival. We thank Sofia Mourato for the opportunity.
Preludio, Albert Alcoz. 2011, Espanha, 3’ (super 8mm, color, sound)
A Punt de Fuga, Albert Alcoz. 2014, Espanha, 5’ (video HD, b/n, sound)
La Grande Dame, Alexander Larose. 2011, Canadá, 5’ (16mm, color, silent)
Corridors, Paul Clipson. 2007, 25’ (super 8mm, color and BW. Music by Jefre Cantu – Ledesma)
Marco Brizzi, Image (Curadoria)
At Image we are fascinated by architecture videos and are in constant search of compelling works capable of inspiring new ideas. For almost 20 years, alongside the creation of the Beyond Media festival, we have been attentively watching these productions, highlighting some important contents developed by the latest generation of architects and creatives. We are convinced that video is an instrumental tool for increasing the value of design: offering new possibilities for expression, creating new points of view, and multiplying the opportunities for narration and knowledge sharing. The Architecture Player intends to share this passion of ours, and take it one step further. We decided to make available to the public some of the videos from our collection, which have been carefully selected and curated, along with some of the best new and recent productions we found. The Architecture Player is a unique resource whereby new architecture stories, in video form, can be shared and narrated by special observers in the form of Strips. We welcome proposals for new video works to be included in our platform and benefit from its capacity to share and disseminate new design contents and media. Whether it is architects who make videos or independent video authors who investigate architecture, all are invited to join us and submit their works to our editorial staff. The Architecture Player is offered as an asset for the growth of architecture and its important social role.
El Espinar House, Imagen Subliminal, Espanha 2013, 3’11”
ANIMA, Luis Urculo
a short film by Luis Urculo
Spain 2014, 3’27”
The design for the ANIMA Cultural Center in Grottammare (Ascoli Piceno, Italy), Bernard Tschumi’s first project in Italy, is explored in a playful and intriguing way in this short video by Luis Urculo. The Spanish artist narrates through original visual metaphors the marked cultural identity and the spatial solutions of the project, as well as the architect’s research on the theme of façades. The video – launched in 2014 along with a project-specific website – presents the design’s history and aspirations by means of exploring the theoretical ideas that characterize the genesis of the planning process. The architect’s work on façades and materials by means of combining different stylistic dictionaries, the delicate volumetric interaction of spaces within the Cultural Center (such as the system of courtyards designed around a main central space) and the cultural-economic choices of the overall design process are introduced through a plain visual narration, that is intertwined with some written statements from Tschumi’s design conception. In Urculo’s video everyday objects, books and paper scale models become the ideal means to stimulate the imagination of a wider audience and involve them in the narration of the ANIMA (Arts, Nature, Ideas, Music, Action) project.
Palafitos. Four architectural projects for the recovery of a neighborhood, Pablo Casals-Aguirre, Chile 2014, 5’58”
a short film by Pablo Casals-Aguirre
architecture by Ortuzar & Gebauer Architects
Chile 2014, 5’58”
The short film “Palafitos” narrates the recovery and redevelopment of the neighborhood of Chiloé (Castro, Chile) through a poetic exploration of four architectures designed by Ortuzar and Gebauer Architects.
In these palafito projects – Patio Palafito (a cafe and boutique hotel), Palafito del Mar (a boutique hotel), Palafito Sur (a backpackers’ hostel), Palacito (an aparthotel) – the Chilean architecture office aims to preserve and celebrate the traditional elements and materials of the local environment.The short movie written, directed and filmed by Pablo Casals-Aguirre observes architecture both from the outside and from the intimacy of the interior spaces, the interactions between the daily life of the inhabitants and the experience of the occasional guests of the stilt hotels being at the core of his film. With its neat colors that recall the sharpness of pure black-and-white images, a precise and contrastated photography emphasizes the collage composition of different shapes and textures of the new stilt landscape facing the seaside.
Architecture and the Unspeakable
a short film by John Szot
produced by Brooklyn Digital Foundry
USA 2014, 13’52’’
“Architecture and the Unspeakable” is composed by stories of three buildings “each one – as the author says – with a pathological problem that contains the promises of a new cultural dialogue”. Part 1, “Soho”, explores breaking the boundaries between architecture and its inhabitants: the community is allowed to infiltrate the manicured spaces while the architecture fosters its own disfigurement. Set within the gentrified neighborhood of SoHo in New York, this slick and nimble concrete building becomes not a sacrosanct piece of art, but a block of marble unscathed by the sculptor’s chisel. In a place home to counter-culture, activism, and artists’ lofts, an architecture is created that works to try and be altered and corrupted by the environment in which it sits. As the sickly sweet animatronic voice guides viewers through part 2, one is exposed to the unique paradox of “Shibuya”: the more you stick out, the more you blend in. The viewer is taken on a disorienting ride through the blinking lights and cacophonous noises of a theoretical housing project that could exist only in Shibuya, Tokyo, Japan. Like an architectural Tower of Babel, the discordant spaces and idiosyncratic styles come together to create one amalgamated object, which disappears into the hustle and bustle of Tokyo’s busiest neighbourhood. In part 3, “Detroit”, the architecture is interpreted as a vessel of potential energy. Detroit’s crumbling infrastructure and architecture is viewed as a tool for reinvention. The project proposes a paradigmatic shift in the way we discuss and view the crumbling bricks and exposed rebar of an architectural space in decline. A new standard of creative expression emerges from the rubble, like a phoenix from its ashes. “Through the mechanisms of vandalism, idiosyncrasy, and dilapidation – Szot says – the buildings raise the possibility that architecture might transcend its practical obligations to become our most potent form of cultural expression”.
2 World Trade Center, Squint/Opera, United Kingdom, 2015, 3’
a short film by Squint/Opera
architecture by BIG | Bjarke Ingels Group
United Kingdom 2015, 3’
Looking back at its 13 years of activity, if we are searching for Squint/Opera’s trademark we could find it in the group’s great skills in developing immersive and visionary storytelling about architecture to come, with a pinch of fun. When a team with these qualities meets an architect like Bjarke Ingels, who is an omnivorous tester and user of every medium an architect can take advantage of, the result is for sure interesting and leaves matter for discussion.
The “2 World Trade Center” short film unveils BIG’s design for the completion of the World Trade Center to unite the streetscapes of TriBeCa with the towers Downtown. The film combines film footage with a range of visualization techniques. At first Ingels recounts the main design concepts developed on the idea to build a vertical village made of singular buildings stacked one on top of the other. The architect stays in the city, talking and gesturing on the existing to show how it is going to change: the real interlaces with future reality. The second part of the film, mainly developed in 3D graphics, offers a tour into the architecture, both meandering in the outer and inner spaces.