Quatro projectos distinguidos no prémio Valmor de 2017 fotografados por Fernando Guerra
Quatro projectos distinguidos no prémio Valmor de 2017 fotografados por Fernando Guerra
O edifício da sede da EDP, do atelier Aires Mateus, e o novo Terminal de Cruzeiros de Lisboa, de João Luís Carrilho da Graça Arquitectos, projectos fotografados por Fernando Guerra, são os vencedores do Prémio Valmor e Municipal de Arquitectura 2017.
Por outro lado, das quatro menções honrosas atribuídas no âmbito desta distinção promovida pela Câmara de Lisboa e pela Trienal de Arquitectura, duas são de projectos igualmente presentes no nosso portefólio fotográfico: a recuperação do Palacete de Santa Catarina, de Teresa Nunes da Ponte, Arquitectura, e a recuperação do Largo de Santos e vias adjacentes, projectos da autoria do atelier 92 Arquitectos, de João Almeida e Luís Torgal, e do arquitecto paisagista Victor Beiramar Diniz.
O júri da edição de 2017 do Prémio Valmor e Municipal de Arquitectura foi constituído por Catarina Vaz Pinto, Vereadora da Cultura da Câmara Municipal de Lisboa, por Jorge Catarino Tavares, Director Municipal de Urbanismo e pelos arquitectos Alberto Souza Oliveira, personalidade convidada pelo Presidente da Câmara Municipal de Lisboa, Francisco Berger, representante da Academia Nacional de Belas-Artes, Cândido Chuva Gomes, representante da Ordem dos Arquitectos e João Pardal Monteiro, representante da Faculdade de Arquitectura da Universidade de Lisboa.
Entre os dias 12 e 30 de abril de 2019, o Centro de Informação Urbana de Lisboa, localizado no Piso 1 do Picoas Plaza, terá patente uma exposição dedicada aos seis projectos selecionados.
Para visitar de segunda a sexta-feira, das 10h às 20h. A entrada é livre.
URBAN EXPERIMENTS BETWEEN ECOLOGY AND REUSE.
Exhibition curated by Elisa Cristiana Cattaneo and Emilia Giorgi
19 March to 11 April, 2019
Opening: Tuesday 19 March, 6.00 pm
Centro per l’arte contemporanea Luigi Pecci, Prato, Italy
Fernando Guerra (Lisboa, 1970) has been a pioneer in the way architecture is photographed and divulged. 20 years ago, he opened studio FG+SG together with his brother, and both are responsible in large part for the diffusion of Portuguese contemporary architecture in the last twenty years. Fernando Guerra is an architectural photographer. His training, however, is as an architect. His gaze is divided between two distinct modes of constructing the world. Given this fact, he is in a prime position to personify the metamorphosis of the field of photography that will lead the practice of creating images to eventually identify itself, in part, with the field of architecture. Fernando Guerra’s work is regularly published in various national and international publications, in magazines such as Casabella, Wallpaper*, Dwell, Icon, Domus, A+U, among many others. FG+SG collaborates with various Portuguese architects such as Álvaro Siza, Carlos Castanheira, Manuel Mateus, Manuel Graça Dias, Gonçalo Byrne, ARX Portugal, João Luís Carrilho da Graça, Promontório Arquitectos, as well as international architects such as Márcio Kogan, Isay Weifeld, Arthur Casas, Zaha Hadid, Pei Cobb Freed & Partners, among others. In 2012 he was nominated Canon Explorer, having been appointed Canon Explorer, assuming the role of ambassador for Canon Europe in terms of architectural photography.
a Building Pictures directed by Sara Nunes
cinematograher: Sara Nunes
montage and edition: Sara Nunes e Maria Gonçalves
color grading: Fernando Machado
soundesign: Ana Pedro
soundtrack: Bruno Pinto Ferreira (+ Sara Nunes)
subtitles: Eva Magro (+ Sara Nunes)
motion graphics: Jua Braga
Há cinco décadas, o fotógrafo norte-americano Eddie Adams, da Associated Press, registrou um chefe de polícia vietnamita no exato momento em que disparou a arma na cabeça de um vietcongue. A foto, “Execução em Saigon” (1968), virou um ícone contra a Guerra do Vietnã. Ao ganhar o Pulitzer de fotografia, Adams disse: “Duas pessoas morreram naquela imagem: quem recebeu a bala e o chefe de polícia. Ele matou o vietcongue; e eu o matei com a minha câmera. A fotografia é a arma mais poderosa do mundo”. Fernando Guerra, apesar da sugestão do sobrenome, não seguiu os passos de Adam, mas tem um dos olhares mais certeiros de registro do espaço habitado pelo homem no século 21. Conquistou o respeito de mestres da arquitetura encabeçados pelo Pritzker Prize, de Álvaro Siza à elite do neo-modernismo brasilis, de Isay Weinfeld a Marcio Kogan. Suas fotos estão no acervo do MoMA, de Nova York, e foi eleito embaixador da Canon Europa. Na hora do clique decisivo de sua fotografia de arquitetura, Guerra consegue registrar o formalismo geométrico e poético da obra naquele átimo sublime em que a luz banha a volumetria e os vazios em todo o seu esplendor, e ainda consegue nela imantar sutis camadas de informação que humanizam suas imagens magistrais. O premiado fotógrafo português de 48 anos vem capturando a mais bela arquitetura contemporânea dos sete continentes há duas décadas em sociedade com seu irmão Sergio Guerra, administrador do renomado estúdio lisboeta que responde pela sigla FG+SG. Na estreia dessa POP-SE, que flerta essencialmente com a casa e outros sustentáculos da vida contemporânea, pinçamos algumas das imagens mais emblemáticas de seu portfólio, absolutamente conectado ao seu lero-lero na entrevista a seguir. Com vocês, o homem por trás da máquina… ler mais
Three decades ago, the explosion of the Space Shuttle Challenger was one of the biggest stories of the year. But that year also saw the fall of President Ferdinand Marcos, the passing by of Halley’s Comet, the crash of Aeromexico flight 498 above Los Angeles and, of course, the Chernobyl accident.
In Portugal, far away from almost everything, we had the most divisive presidential election ever, and we finally joined the European Community. To be honest, for me at the age of 16, the challenge was to avoid pimples on my face and to begin the next-to-last year of school before entering university to study architecture.
It was during that endless 1986 summer vacation, in early July, that something came to change my life forever: I got my first camera and that’s where it all started. The journey began with a recently released Canon T90. It was the camera I had chosen. Maybe I was attracted to its design, since I understood very little about photography and there are simpler cameras to start with than that one, never stoped me. From that moment on, it was rare to leave the house without a camera, together with two or three rolls of film. It was without understanding very well what I wanted to do that I would do it.
The internet did not exist and my only resources were the indispensable magazines that were available. And of course, a great deal of perseverance. To learn from one’s mistakes… A still very contemporary way to learn what you don’t know, but sometimes easily forgotten.
Dozens of cameras and lenses later, many of which still keep me company as a testimony to their important role in the images I have created during my life, like they are a journey’s milestones but today, September 5th, I am in Perpignan, France, to tell you about the till now very secret Canon mirrorless, in my role as a brand ambassador.
I will exhaustively test the camera on my various assignments that start in just a few days on the other side of the Atlantic. Already have my own EOS R and it’s time to rock!
The journey from the adolescent who persuades his parents to buy the most sophisticated camera on the market to becoming a brand ambassador has been special. Perhaps because it was my own journey and perhaps also because it was not outlined in advance. It just happened.
The enthusiasm of having a new camera is still as great as it was 30 years ago and the fact that I am one of the first people to use it is a unique opportunity shared only by my fellow ambassadors around the world. And, of course, by my friend Joel Santos.
It has been special to be part of the Canon team for some years now. I took part in the launch of the canon 5DR, a camera that I’ve used daily for the past 4 years and that is the basis of what I do and the images I produce.
My public association with brands is restricted to only those that I actually use, and for those who trust my work, my mission is to convey the message of why they are the best, if they really are- and what their advantages are.
Currently, 90% of what I shoot is done with one camera and one lens. Just 1. Simple and effective for someone who spend his life on the go. The more that time passes and the more that I take pictures, the less I need loads of equipment with me. A new camera is always an element that can cause as much of a disturbance as it can inspiration.
I’ve spent some time with the EOS R and I’m really impressed. I’m heading to South America in a few days for some big projects and this camera will be top of my kit bag for all of my assignments. I can’t wait to see what we can do.
Shooting is not a job. It’s a way of life, an obsession to be lived every day of the year. I’ll be sharing my upcoming experiences with the new EOS R here on Instagram and on Canon’s website, and if you have any questions, get in touch.
I’m going to test this camera to its limits, it’s going to be fun and I hope you’ll follow along. Thanks for being there with me.
recent work by Fernando Guerra
A mais completa biblioteca online de imagens da arquitectura contemporânea portuguesa. Últimos projectos nacionais. Obras de referência internacionais. Artigos especiais. Publicações. Visite-nos regularmente para novas imagens.
The most comprehensive online image library of contemporary portuguese architecture. The latest national projects. International reference works. Special articles. Publications. Visit us regularly for new images
Últimas Collins dictionary 1. last 2. latest, most recent; Latest is the superlative of late. adj You use latest to describe something that is the most recent thing of its kind. 3 adj You can use latest to describe something that is very new and modern and is better than older things of a similar kind.