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Centro documentação Álvaro Siza | Álvaro Siza Documentation Center

Entrevista de José Salgado a Álvaro Siza - A CASA em Roberto Ivens

"Falar de uma casa não é apenas referir as medidas dos seus compartimentos ou descrever com minúcia a distribuição dos seus espaços. Também é isso. Mas por mais rigorosa que seja essa informação ela é sempre insuficiente para se obter um retrato satisfatório do que é mais relevante quando falamos de casas: os momentos de vida de que foram ou são protagonistas.
No limite, uma casa é uma coisa. Mas, apesar de coisa, a casa sofre da irresistível tendência a descoisificar-se. É da sua condição genética. A sua natureza está sempre a empurrar-nos para outras paragens e a mitigar-se noutros assuntos. Parece que falar em casas é mergulhar no incomensurável poço sem fundo dos assuntos humanos.
Cada casa é um caso.
E é um caso anterior à sua específica construção. Inicia-se na vontade expressa de alguém que diz: “Faça-se!” e prossegue na particular sedimentação que confere espessura à narrativa da história – da sua própria, e da outra, mais geral, a que inexoravelmente pertence.
Em muitas situações a notoriedade ou importãncia existem desde o primeiro momento. Noutras, não.
Para que a casa que justifica estas linhas se tornasse um caso merecedor de especial destaque, foi preciso que se tivessem conjugado inúmeros factores, obviamente alheios e insuspeitados por todos quantos com ela se relacionaram até há bem pouco tempo, Referimo-nos à casa que tem o nº 582 da Rua Roberto Ivens, em Matosinhos. Ocupa aproximadamente 84 metros quadrados de um lote que possui 423 . No pátio que tem nas traseiras existe um pequeno pavilhão de 9m2." (mais)

Álvaro Siza Interview by José Salgado - The HOUSE in Roberto Ivens
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"To talk about a house is not simply to refer to the dimensions of its rooms or to carefully describe the relationships between its spaces. It is these things as well, but, no matter how rigorous this information may be, it will never be enough to achieve a satisfactory portrait of the thing that which is the most relevant when we speak about houses: those moments in life when they are, or were the protagonist.
Ultimately, a house is a thing. But, being a thing, it however suffers from an irresistible tendency to “un-thing” itself. This is part of its genetic code. Its nature is forever pushing us into other places and interfering in other matters. It is as if, to talk about houses is to plunge into the immeasurable bottomless well of human matters.
Each house is a special case.
It is a special case even before its construction. It begins in the will of someone who declares: “do it” and continues with the process of sedimentation that confers depth to the story’s narrative - both its own narrative and the other more general one, to which it inevitably belongs.
In many cases, noteworthy or important situations exist from the outset. In some other cases, not.
For the house that justifies these lines to become a case worthy of particular interest, countless factors had to come together, factors that were obviously alien and unsuspected for those who until quite recently had had with it any kind of relationship. We are talking about the house at nº 582, Rua Roberto Ivens, in Matosinhos. It occupies approximately 84 square metres of a site of 423 square meters. In the patio to the rear there is a small pavilion of 9m2." (more)

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Anyang movie Barcelona movie Adega Mayor ultimasmag - Uma biblioteca única na web, paralela ao ultimas original e que reúne a obra do arquitecto Álvaro Siza. Novos projectos adicionados regularmente. | A unique web-based library, parallel to the últimas original, bringing together the work of architect Álvaro Siza. New projects will be added regularly.

Revista GEO Edição de Junho
GEO Magazine June issue

About opening the latest issue of GEO
A text by FG

When, 24 years ago, at the age of 16, I started to become interested in photography, I didn’t want to photograph houses, but the people who lived in them. I only wanted architecture to serve as the stage for the short stories I would tell little by little when I would return from a trip, or after a simple day of picture-taking in Lisbon.

My first 15 years of images consisted mainly of photographing people on the street. Travelling to take pictures became an obsession. Back then, I liked to think that I would become a photographer for magazines like National Geographic or GEO, the European reference for travel photography and journalism. I had never worked for either, alas. I did not have the stories or images they felt deserved special attention or which simply had a complete and mature narrative, which is not surprising at the age of 16 or 17. They were single images of special moments grouped together in a personal diary that I rarely shared with others. Like any amateur, it was a simple desire to keep what I thought worth keeping. It was a hobby, pure and simple, and not a full-time job. My profession would always be architecture. Photography would fill in the intervals. Obviously, I got it wrong. After a number of years working as an architect and teacher, my path, for a whole number of reasons, took a different turn.

After all those years and increasingly removed from street reporting, two months ago I received an invitation to participate in the June edition of German GEO. They proposed that I open the magazine’s “showcase” page, curiously with an architectural image, which is an unexpected honour, seeing that it is not the magazine’s main theme. The chosen image, well-known from its reproduction in different specialist magazines, depicts a guide’s first day at work at the entrance to the Portugal Pavilion, designed by architect Ricardo Bak Gorden, at the World’s Fair in Saragossa in June 2008.

In some ways, this outcome in paper has felt like the completion of a circle, or the fulfilment of a desire I had almost forgotten, by including my images in a publication of this type. The unexpected feedback has been great, with many readers sending messages asking to see the series' remaining images along with various requests for copies.

Today I move in a editorial world parallel to that of travel magazines and with different responsibilities. This edition of GEO and the interest of its readership provides an excellent excuse to bring to ultimasreportagens some elements of this first body of work in which I learnt to photograph people at the right moment, waiting for light and controlling the shadows, essential factors that come together like layers in my daily work and which today mark my architectural photography.

I’ll choose some...

Últimas 8 capas | Junho 2009
Latest 8 covers | June 2009


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