{"id":402754,"date":"2023-01-20T12:02:36","date_gmt":"2023-01-20T12:02:36","guid":{"rendered":"https:\/\/ur.chitas.cloud\/news\/"},"modified":"2024-06-13T12:07:27","modified_gmt":"2024-06-13T12:07:27","slug":"news","status":"publish","type":"page","link":"https:\/\/ultimasreportagens.com\/en\/news\/","title":{"rendered":"News"},"content":{"rendered":"\t\t
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Wallpaper* cover 2024<\/a><\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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3 guest editors: M\u00e1rcio Kogan with photographs by Fernando Guerra<\/strong><\/p>\n

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The October 2024 issue of Wallpaper* features three guest editors and three covers, and I had the honor of photographing one of them!<\/p>\n

Creating a cover is always special, but doing one for Wallpaper* with M\u00e1rcio Kogan is even more so. And I can also say, quite rare. In the past 25 years I’ve shot hundreds of covers, but this is only the second one for Wallpaper*.<\/p>\n

This cover reflects on how Jean-Luc Godard’s viewfinder in his 1963 film Le M\u00e9pris shares the same proportions as the fa\u00e7ade of Kogan’s Paraty House in Brazil, which I photographed at the end of last year. It was one of the greatest adventures I’ve embarked on. Literally, as you can only reach the house by boat. But that’s a story for another time.<\/p>\n

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In his guest editor section, M\u00e1rcio opens up about a life-changing moment that led to his famously cinematic approach, exploring how his filmmaking idols influenced the architect he would eventually become.<\/p>\n

The interior of the magazine is almost like a personal album showcasing the architecture of Studio MK27, which I’ve had the privilege to photograph and document for over ten years. When I was in S\u00e3o Paulo two months ago, I got to witness the whole process of selecting the images and the relationship between film and the studio’s works.<\/p>\n

It’s more than just a beautiful magazine, it’s a study object for the future. Much like the Paraty House, built in 2009, which I’ve only recently had the chance to photograph.<\/p>\n

But this edition of the magazine also brought a long article about CAM. The new extension of the Gulbenkian modern art museum in Lisbon.<\/p>\n

Im sharing some of the pages here\u2026<\/p>\n

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Donation of Fernando Guerra Archive to Serralves Foundation<\/a><\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Serralves | <\/b>October 2024\u00a0<\/b><\/p>\n

The extensive Archive of Fernando Guerra donated to Serralves includes more than 2,500 reports and 500,000 images, most of the work carried out in the last 25 years of activity by FG+SG Architectural Photography.\u00a0<\/span><\/p>\n

In addition to the importance of preserving the collection and what this protocol means in terms of recognition of the photographer’s work by the institution, the objective of this donation was also to allow and provide the study and dissemination of its content, through media, conferences, conversations, publications and exhibitions, both in Serralves as well as in other national and international institutions, thus guaranteeing access to a wider audience.\u00a0<\/span><\/p>\n

It is worth noting that the Fernando Guerra Archive deposited in Serralves will continue to be enriched annually with photographs of the upcoming photo sessions.<\/p>\n

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“About yesterday and the donation of my archive to Serralves foundation. Today, with a slow awakening, as if I had gone through a transformer moment in my life, I have few words to write about what I feel, besides a great need to express my deep gratitude to the @fundacao_serralves<\/p>\n

I hope that the images I have delivered will be useful for future generations. I am grateful to my clients who have been by my side since the beginning and to the new ones for whom I have only just started photographing in recent days. It is gratifying to see that their works, without us having foreseen it, will become part of this enormous archive of architecture, being preserved and made available to students, journalists, enthusiasts, and anyone else who needs to study a particular period in the future, free of charge.<\/p>\n

Knowing that, 50 years from now, someone will be able to access a work I completed this week gives meaning to what I\u2019ve done and to what I will continue to do every day in the coming years. Yes, because stopping is not in my plans, but improving my photography certainly is.<\/p>\n

New works will be added to those already delivered over the coming years.<\/p>\n

I express my deep gratitude to Serralves for the invitation and also for seeing my work, my archive, alongside the archive of the great \u00c1lvaro Siza. Someone I\u2019m close to, and will remain at least on these two archives connected forever. There are few words to express what this means, but a great happiness is, without a doubt, at the heart of it all.<\/p>\n

There are truly things that cannot be planned. And it\u2019s a good thing too; I believe it\u2019s one of the pleasures we take from all of this: the good surprises.<\/p>\n

I thank Serralves for this opportunity, for all the care throughout the process, and finally, for being one of the places where I have been happiest photographing.<\/p>\n

Thank you.”<\/p>\n

Fernando Guerra
\nOctober 19th, 2024<\/p>\n

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PIDA: Premio Internazionale Ischia di Architettura<\/a><\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In October 2024, Fernando Guerra received the PIDA (Premio Internazionale Ischia di Architettura) Award, an International Prize for Architectural Dissemination.\u00a0<\/span><\/strong><\/p>\n

This prestigious recognition highlights his significant contribution to architectural photography and his role in promoting architecture on a global scale.<\/p>\n

Press Release:<\/p>\n

We are proud to announce that the PIDA Fotografia will go to the Portuguese Fernando Guerra, one of the most famous architecture photographers in the world, to capture urban transformations with his shots, understanding the intensity of the processes and changes in progress.<\/p>\n

A selection of his photographs will be exhibited in the monastery of San Francesco, in the former town hall of Forio, from October 3rd to 20th, with visiting hours from 5pm to 9pm.<\/p>\n

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“I am truly honored to receive the PIDA photography and lifetime achievement award on this magical island in southern Italy, Ischia. I have always felt a unique connection with this country, whether working on photographic projects or simply enjoying the wonderful places I’ve had the privilege to explore. Being recognized here, where I feel at home, holds special significance. It goes beyond being acknowledged as a photographer capturing the life of buildings, and speaks to the emotional essence behind my architectural work.<\/p>\n

This week, Ischia hosts the International Architecture Prize, focusing on workshops and discussions on how our cities are adapting to challenges such as climate change and overtourism.”<\/p>\n

Thank you, PIDA
\nFernando Guerra<\/p>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/article>\n\t\t\t\t

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Double Exhibition \u2013 Fernando Guerra, the man and his work Umbigo Magazine<\/a><\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Navel Magazine<\/p>\n

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Double Exposure – Fernando Guerra, the man and the work
\nby Fabr\u00edcia Valente<\/p>\n

Traveling through the 20 years of the architect-photographer Fernando Guerra’s career is to know and revisit images, perceive new approaches in the act of photographing architecture, get involved in narratives that bodies create in the spaces studied, discover peculiarities that his sharp gaze brings us. It is also understanding a path full of moments of solitude, of objects that tell stories of those who manage to talk to us at the airports where they stop, it is to know the man who creates this work and transports us through it. It is in this double unveiling that curator Andreia Garcia wants to show us, in this exhibition, a path full of assertiveness, but also full of subtleties. In a reading as if we were unveiling a remarkable archive through several layers of information, the story of Fernando Guerra and his photographs is presented to us in four moments, through flight cases designed by Diogo Aguiar Studio. What better object could store and reveal such a story than the one that ensures its portability? And so we started a journey. In the first Antechamber moment of the following story, we discover Fernando Guerra, the architect, heading to Macau and Fernando, who begins to create an impressive digital archive of images of Portuguese architecture and opens doors to an international journey. His first machines, still analogue; references to his childhood with his brother S\u00e9rgio, companion on land on this great journey; his passion for cars; the first names to believe his eyes. The idea of the viral image did not yet exist in the world beyond the covers of reference magazines, but its record already stood out in works such as Aires Mateus or Ricardo Bak Gordon. Efables happen in the second moment already in full international projection, the way he captures the world, but also how the world marks him, changing; travel objects; awakening from dreams; the fascination with the tropical. At a time when architecture in Portugal was going through a moment of crisis, the way in which it had been disseminated across borders based on his images, brought him many invitations from various corners of the world; featured images in many publications; an ambition that could be translated into symbols yet to be unveiled, like the astronaut gloves shown here. In the third suitcase, Common Place arrives, unveiling a little of what consolidates his dialogues with \u00c1lvaro Siza, a path of constant discovery of the master’s work, the loyalty of the lens that tells a story of friendship and complicity also on the road. It’s the box that Fernando Guerra says there’s no need to talk about, it contains all the words that need to be said. Time after is the last moment of the exhibition and tells us stories of gestures, of actions that mark a certain time in a certain space, the fleetingness of the moment in the eternalization of the image. People gaining more and more prominence, no longer giving just the scale, but the soul of the image. A look of intimacy and boldness in her shyness. What are you looking for in the world beyond your own origin? Fernando Guerra, who doesn’t like to appear, now comes to us in a way that he had not seen in any other of his exhibitions until then. The inability to not know how to switch off brings you the certainty of a way of life. 20 years of photographing architecture cannot just be translated into the photographs themselves. Here, the work trip is confused with the innocence of the boy who wants to gain the world, the passion for a new light in an unknown angle and the passion for the look of who is being photographed; the man who holds the camera and uses it for its functionality and the man who is fascinated by design. The possibility that its Ultimas Reportagens platform opens up for getting to know contemporary architecture leads us to exhaustive narratives about hundreds and hundreds of works, in an archive that deserves to be studied and that has become a dissemination space par excellence. Double exposure opens up the possibility of understanding what moves those who create such an archive, the hours, times and non-places of those who live in transit, but choose the right time, with the right light, between a contained pleasure and an obsessive professionalism noticing exactly the story it has to tell. In this exhibition, the value of the images counts, but also the value of the relationships that are at the base of each image. Images don’t always reveal how special a session was, traveler’s life isn’t always glamorous, it’s not always worth getting to know the man behind the lens, here he deserves it and the story is well told to us, in a tasty balance between what what must be revealed and the sharpening of curiosity for what is not to be revealed.<\/p>\n

The exhibition can be visited at Roca Lisboa Gallery, until the 18th of January<\/p>\n

Full article<\/a><\/p>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/article>\n\t\t\t\t

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Espiral portable da Hist\u00f3ria Portable spiral of History Bernardo Rodrigues<\/a><\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Portable Spiral of History Portable spiral of History
\nBernardo Rodrigues<\/p>\n

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Architects: Bernardo Rodrigues Arquitecto
\nLocation: Lisbon, Portugal
\nCollaborator: Francesco Ugolotti
\nEngineer and Construction Manager: Antonio Pinto
\nCopper: Asa copper and zinc, Sousa Alves
\nMetal Structure: Lisopatamar
\nGlass: Alves Glass
\nClient: Ministry of Culture of Portugal
\nProject Year: July-Sept 2010 \/ Construction Nov 2010<\/p>\n

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The portable spiral of History is an order from the Ministry of Culture for a small pavilion-stand at the 2010 Arte-Lisboa fair in Fil Antiga. It contained a selection of books and products from the network of Portuguese Museums and Institutes of the DGA, for sale. It was then permanently allocated to the atrium of the Ministry where it complements as a showcase for products from the existing store on the entrance floor of the Pal\u00e1cio da Ajuda and dignifies the main arrival space to the entire complex of the Palace, Ministry and Museum.<\/p>\n

The portable spiral of History is a commission from the Ministry of Culture for a small pavilion-art booth at the 2010 Lisbon-Art fair. It contained a selection of books and products of the Portuguese Network of Museums and Institutes of the Arts, for sale. It was then later permanently assigned to the lobby where the Ministry as complements to showcase products of the existing shop on the ground floor entrance of the Ajuda Palace and dignify the main arrival area to the whole complex of the Palace Museum and the Ministry.<\/p>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/article>\n\t\t\t\t

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House of Tales House of Tales Liquid Stone<\/a><\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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House of Tales House of Tales
\nliquid stone<\/p>\n

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Tale House
\nWork: Porto 2008-2011
\nProject: Liquid Stone | Alexandra Grande, Joana Couceiro
\nJo\u00e3o Cris\u00f3stomo, Lu\u00eds Sobral
\nDesign: R2
\nTexts: \u00c1lvaro Domingues, Andr\u00e9 Tavares, Filipa Leal
\nJorge Figueira, Pedro Bandeira, Nuno Grande<\/p>\n

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\u201cIt was 513, now it\u2019s forever\u201d<\/strong><\/p>\n

The first reconstruction proposal intended to recover the memory of the late 19th century bourgeois house. XIX: the halls with high ceilings, thematic plaster ceilings, the central staircase, a sculptural object in old Riga with turned wooden balustrades and bobbins, still the solemnity of the stucco and marbled, of the shutters and the high skirting boards…
\nOne hundred years later, without touching the essentials, the house, restored and surgically adapted, would open to the public as a guest house.<\/p>\n

It had a brief life.<\/p>\n

Today, after the brutal fire that prevented her from living that life, we want to restore her character and rebuild an essential version of her story.<\/p>\n

It will be a fossil architecture, solid as concrete and open to the public with the same dreams.
\nThe door of n\u00ba703 reads \u201cit was 513\u201d and it will be 703 again, with the same facade and the same iron-handled door, which persists in giving back to the city its memories.<\/p>\n

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House of Tales House of Tales Liquid Stone (32 imgs)<\/div><\/div>
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