AMAG 25 AIRES MATEUS PRIVATE,PUBLIC AND UNBUILT WORK

AIRES MATEUS PRIVATE, PUBLIC AND UNBUILT WORK

AMAG 25

EN. FR. PT.

Europe 79,90€ PRICE MAY VARY PER COUNTRY

AIRES MATEUS PRIVATE, PUBLIC AND UNBUILT WORK

AMAG 25

EN. FR. PT.

Europe 79,90€ PRICE MAY VARY PER COUNTRY

AIRES MATEUS PRIVATE, PUBLIC AND UNBUILT WORK

AMAG 25

EN. FR. PT.

Europe 79,90€ PRICE MAY VARY PER COUNTRY

SPECIAL THANKS TO Alcino Delgado António Amaral Artur Sousa Caetana Thomaz Camilo Rebelo Filipa Delgado Sousa Francisco Aires Mateus Hélder Gonçalves Humberto Martins Javier Prado Jorge Silva José Manuel Pedreirinho José Maria Ferreira Konrad Profanter Laura Maifreni Laura Torchio Luis Fernández-Galiano Manuel Aires Mateus Maria Pinto Rebelo Mariana Sevinate Pontes Marta Sequeira Matteo Brioni Pedro Magalhães Ricardo Carvalho Rita Leite de Castro Silvia Caborni Sofia Teodósio Thomas Allaert

AMAG 25 PUBLISHER AMAG publisher COLLECTION AMAG magazine NUMBER 25 TITLE AIRES MATEUS PRIVATE, PUBLIC AND UNBUILT WORK ISBN 978-989-54938-4-5 ISSN I2182-472X LEGAL DEPOSIT 377392/14 ERC REGISTRATION 126 164 PUBLICATION DATE 2021 June EDITOR Ana Leal GENERAL MANAGER Filipa Figueiredo Ferreira EDITORIAL TEAM Ana Leal Carolina Feijó Filipa Figueiredo Ferreira João Soares Tomás Lobo TRANSLATIONS Clementine Dobbelaar PRINTING LusoImpress RUN NUMBER 5000 numbered copies OWNER AMAG editora VAT NUMBER 513 818 367 CONTACTS info@amag.pt www.amagpublisher.com NOTE Portuguese published texts are not written under the Orthographic Agreement of 2009, unless indicated by the respective author

/ 5000

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MOLTENI@HOME - VIRTUAL DESIGN CONSULTANCY AT MOLTENI.IT

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Absence and essence of light.

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By Aires Mateus

Image Tim Van De Velde . allaertaluminium.be

A CATEDRAL Antigo Convento de Subserra Apartado 57 2601-906 Castanheira do Ribatejo T. +351 263 285 150 E. acatedral@acatedral.pt W. www.acatedral.pt

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TIME IS THE RAW MATERIAL RICARDO CARVALHO

ABSTRACTION AND EMPATHY MARTA SEQUEIRA

WHITE ARCHETYPES CAMILO REBELO

private work CASA EM ALENQUER CASA EM AZEITÃO CASA EM CORUCHE CASA EM MONSARAZ CASA EM MELIDES I CASA NO TEMPO CASA EM MELIDES II CASA NA ESTRELA CASA DO BARREIRO CABANAS NO RIO CASA EM CAMPO DE OURIQUE

public work CENTRO DE ARTES DE SINES REABILITAÇÃO DO COLÉGIO DA TRINDADE MUSEU DO FAROL DE SANTA MARTA RESIDENCIAS ASSISTIDAS EM ALCÁCER DO SAL ESCOLA BÁSICA EM VILA NOVA DA BARQUINHA REQUALIFICAÇÃO DA ENVOLVENTE DA LAGOA DAS FURNAS SEDE CORPORATIVA DO GRUPO EDP CENTRO DE CONVÍVIO DE GRÂNDOLA CENTRE DE CREATION CONTEMPORAINE OLIVIER DEBRÉ FACULTÉ D’ARCHITECTURE DE TOURNAI L’ELYSÉE MUDAC DE LAUSANNE

unbuilt work BIBLIOTECA CENTRAL E ARQUIVO MUNICIPAL DE LISBOA CENTRO CULTURALE DI BENEVENTO TOWER AT DUBAI MUSEU DE ARQUITECTURA DE LISBOA PARQUE DE LOS CUENTOS EN MÁLAGA HOTEL DO BARROCAL ATRIO DE LA ALHAMBRA MUSLIM CENTER OF BORDEAUX THE ART MUSEUM OF THE 20TH CENTURY IN BERLIN MUSÉE DES AUGUSTINS À TOULOSE THE GRAND EGYPTIAN MUSEUM

1998-1999 013

CASA EM ALENQUER Alenquer, Portugal

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The value of the existing house laid in its external walls, which are now bare. The walls created spaces that have a strong character, thanks to their thickness and the ambiguity of their limits. These interiors/exteriors were then furnished, on one side with the placement of an excavated basin in the line with the walls, on the other with the enclosed areas.

La valeur de la maison existante était dans ses murs extérieurs, qui sont maintenant nus. Les murs ont créé des espaces au caractère fort, qui leur est conféré par leur épaisseur et l’ambiguïté de leurs limites. Ces intérieurs/extérieurs ont été meublés, d’un côté avec la mise en place d’un bassin creusé, en continuité avec les murs, de l’autre avec les zones fermées.

A casa existente tinha como valor as suas paredes exteriores que postas a nu se recuperam. Os muros criaram espaços com forte carácter, dado pelo seu peso e pela ambiguidade dos seus limites. Estes interiores/exteriores foram mobilados. De um lado com a colocação de um tanque escavado na continuidade dos muros. Do outro com as áreas encerradas.

The spaces of the small house are intended to be clearly defined. The glass limit constitutes a precise boundary within the windows of the thick walls. Some friction is given to the house by the confrontation between a geometry freely redesigned from an existing object, and an object with clear rules that, by looking at the walls, was both created from it and became autonomous from it.

Les espaces de la petite maison sont destinés à être clairement définis. La limite en verre constitue une frontière précise dans les fenestrations des murs épais. Une tension est créée par la confrontation entre une géométrie librement refaite à partir d’un objet existant et un objet aux règles claires qui, en regardant les murs, y trouve son origine mais est également autonome.

Os espaços da pequena casa pretendem-se claros. O limite em vidro constitui uma fronteira precisada nas fenestrações das espessas paredes. A tensão é dada pelo confronto entre uma geometria refeita livremente a partir de um objecto existente e um objecto de regras claras que, pelas leituras dos muros, se fundou e deles se autonomizou.

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01. Stainless-steel tube, 50 mm Ø 02. Glazing stone, 20 mm thick 03. Roof-matte thermal insulation, 30 mm thick 04. Concrete 05. Filling layer 06. Polyester type polymer bitumen fabric 40 07. Geotextile mantle 08. Crushed stone 09. Type foster norm steel profile 10. Hoffesa gutter for curtain

11. Wall-matte thermal insulation, 30 mm thick 12. Perforated brick masonry 13. Tinned plaster 14. Reinforced screed with sun mesh CQ 30 15. Floor screed material 16. Lightweight concrete layer 17. Nordic pine wooden plank flooring, 20 mm thick 18. Catwalk on metallic board 19. Metal guard 20. Metal angle

21. Wooden ruler 22. Black cork granules 23. Stainless-steel angle, 25 x 25 mm 24. Floor fixing frame 25. Screed 26. 400 micron polyethylene screen 27. Reinforced screed with sun mesh CQ 30 28. Rock fill

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2000-2001 023

CASA EM AZEITÃO Azeitão, Portugal

EN

FR

An old wine warehouse has been restored. The elements of highest value are the space and the thick walls. The general characteristics of the space are maintained despite the introduction of the new programme. A second large wall lays out the spaces on the first floor and houses the social functions on the ground floor, together with the existing wall. This wall contains staircases, spaces lit from within the walls and spaces that form transitional relationships with the light.

Un ancien entrepôt de vin a été restauré. Les éléments de valeur sont l’espace et les murs épais. Les caractéristiques globales de l’espace sont maintenues malgré l’introduction d’un nouveau programme. Un deuxième mur épais répartit les espaces au premier étage et abrite les fonctions sociales au rez-de-chaussée, conjointement avec le mur existant. Ce mur contient des escaliers, des espaces éclairés depuis l’intérieur des murs et des espaces qui forment des relations transitoires avec la lumière.

The more private areas, the bedrooms, the bathrooms, the office, are arranged as livable volumes in an impossible balance, setting the pace for the space. The introduction of volumes in this interior relates to light and intends to “modulate” the main space of the room, highlighting its original characteristics.

Les espaces plus privés, les chambres, les salles de bain, le bureau, sont disposés comme des volumes habitables en équilibre impossible, donnant le ton à l’espace. L’introduction de volumes dans cet intérieur est liée à la lumière et vise à “moduler” l’espace principal de la pièce en soulignant ses caractéristiques originales.

PT

Recupera-se um antigo armazém de vinhos. Os principais valores são o espaço e as paredes espessas. A leitura global do espaço é mantida apesar da introdução do programa. Um segundo muro largo distribui em cima e alberga juntamente com o muro existente as funções sociais no piso térreo. Este muro contém escadas, espaços iluminados pelo interior das paredes e espaços que formam relações de transição com a luz.

As áreas mais privadas, quartos, casas de banho, escritório, são dispostas como volumes habitáveis em equilíbrio impossível, regrando o espaço. A introdução de volumes neste interior relaciona-se com a luz e pretende “modular” o espaço principal da sala enfatizando as suas características originais.

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2006 033

CASA EM CORUCHE Coruche, Santarém Portugal

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For this house, there was a search for a “traditional flavour”. In this idea, one could read a prejudice of form. The aim was to push the limits of a form’s existence.

Pour cette maison, il y avait une recherche d’un “ton traditionnel”.

On lit dans cette idée un préjugé de forme. L’objectif était de trouver la limite de l’existence d’une forme.

Procurava-se nesta casa um “sabor tradicional”. Leu-se nesta ideia um preconceito de forma. Procurou-se encontrar o limite de existência de uma forma.

The volume in four pieces is made to be abstract, of a single material, white, walls and a roof. A courtyard is torn out, leaving the edges as a hint. In this courtyard, the openings of the four main spaces are also left open: the kitchen, the living room, the master bedroom and a children’s room, to which the alcoves lead.

The house has recognisable shapes and traditional white finishes with old-fashioned Portuguese flooring. The transitional spaces designed between the main spaces and the exterior wall will have other finishes that will be revealed during the construction work

Le volume en quatre parties est rendu abstrait, monomatériau, blanc, des murs et un toit. Une cour est arrachée, les bords laissant un rappel. Dans cette cour, les ouvertures des quatre espaces principaux sont également laissées ouvertes : la cuisine, le salon, la chambre principale et une chambre d’enfant, à laquelle mènent les alcôves. La maison a des formes reconnaissables et des finitions blanches traditionnelles avec un sol portugais à l’ancienne. Les espaces de transition conçus entre les espaces principaux et le mur extérieur auront d’autres finitions qui seront révélées pendant les travaux de construction.

O volume em quatro águas é tornado abstracto, monomatérico, branco, paredes e cobertura. Um pátio é rasgado deixando a memória das arestas. Neste pátio abrem-se também os vãos dos quatro espaços principais : cozinha, sala, quarto principal e uma sala de crianças, para a qual dão as alcovas. A casa tem formas reconhecíveis e acabamentos tradicionais, brancos com chão em soalho à antiga portuguesa. Os espaços de transição desenhados entre os espaços principais e o muro exterior terão outros acabamentos que se descobrirão na obra.

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CASA EM CORUCHE

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2007-2009 047

CASA EM MONSARAZ Monsaraz Alqueva Lake, Alentejo, Portugal

EN

Facing the infinite view on the Alqueva lake, there was a need for a patio, a centre for the house, protected but simultaneously open towards the water. Using the topography, a saucer dome that covers all the social areas was designed, becoming the centre of life in the house. Shaping the light in this space, another symmetrical dome intersects it, creating an opening that fills this centre with light with a strict design and boundaries. The bedroom spaces open onto circular spaces. The scale of the house in this vast natural landscape is that of the patios and the upper dome, the only visible elements, painted a luminous white.

FR

Face à la vue infinie sur le lac Alqueva, il fallait un patio, un centre pour la maison, protégé et simultanément ouvert sur l’eau. En utilisant la topographie, un dôme qui recouvre les espaces de vie a été conçu, en faisant le centre de la vie de la maison. Façonnant la lumière, il est coupé par un autre dôme symétrique, créant une ouverture qui illumine ce centre au design et aux limites strictes.

Les espaces de chambre s’ouvrent sur des espaces circulaires.

L’échelle de la maison dans ce vaste paysage naturel est celle des patios et du dôme supérieur, les seuls éléments visibles, peints d’un blanc lumineux.

PT

Diante da infinita extensão do lago do Alqueva, procura-se um pátio, um centro para a casa, protegido e simultaneamente aberto sobre a água. Utilizando a topografia, desenha-se uma calote que extende as áreas sociais, tornando-se o centro da vida na casa. Moldando a luz neste espaço, uma outra calote simétrica intersecta esta, criando um abertura que ilumina este centro com desenho e limites rigorosos. Os espaços dos quartos abrem-se sobre espaços circulares. A escala da casa nesta vasta paisagem natural será a dos pátios e da calote superior, únicos elementos visíveis, pintados de um branco luminoso.

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01. Soil 02. Gravel 03. Geotextile, “IMPERALUM IMPERSEP” 100 04. Draining coat, “IMPERALUM AGUADRAIN” GEO 05. Thermal insulation, “DOW” WALLMATE CW 120mm 06. Bituminous waterproofing membrane 07. Bituminous base

08. 1% pending shaping layer 09. Reinforeced concrete structural slab 10. Reinforced lightweight concrete, net MALHASOL 150mm thick 11. Expanded clay light filling 12. Drainage pipe 13. Gravel draining layer 20-50mm 14. Reinforced concrete exterior wall

15. Air gap 16. Hollow brick masonry, 110mm thick 17. Enameled tiles 100 x 100 mm 18. Sliding wooden frame door 19. Wooden frame door 20. Wooden blinds 21. Flattened light concrete with surface

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Hardener type Mastertop 100, 30 mm thick 22. Filling and regulating screed 23. Epoxy impregnation binding, MASTERTOP PRIMER EP 110 24. Concrete masonry 25. Polyethylene film 26. Thermal insulation, “DOW” WALLMATE CW 50 mm with propylene fibers, “CRACKSTOP” 70mm thick

27. Base concrete layer 28. Compacted soil 29. Foundation 30. Gutter

AIRES MATEUS PRIVATE WORK

CASA EM MONSARAZ

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2010-2013 065

CASA EM MELIDES I Melides, Alentejo, Portugal

House for Primosfera, CEO Miguel Charters.

EN

A single material, handmade brick, in continuity with the earth, shapes the house. A local material that links the house to the landscape. A material that moulds the succession of spaces to be filled with different experiences. Inhabiting this home stretches from the interior spaces, where we find the main plan of the house and its structural elements, to the exterior spaces, a succession of gardens, inspired by experiences, colours, smells and uses.

Maison pour Primosfera, PDG Miguel Charters.

FR

Un seul matériau, la brique artisanale, en continuité avec la terre, façonne la maison. Un matériau local qui relie la maison au paysage. Un matériau qui dessine la succession de ces espaces, à être remplis de différentes expériences. Habiter cette maison s’étend des espaces intérieurs, où se trouve le plan de la maison et de ses supports, aux espaces extérieurs, une succession de jardins, inspirés par les expériences, les couleurs, les odeurs et les usages.

Casa para Primosfera, CEO Miguel Charters.

PT

Um único material, o tijolo artesanal, na continuidade com a terra desenha a casa. Um material local relaciona a casa com a paisagem. Uma matéria que desenha a sucessão de espaços a ocupar com diversas vivências. A experiência do habitar entorno aos espaços interiores, onde se desenvolve o programa da casa e seus apoios, aos espaços exteriores, uma sucessão de jardins, desenhados por experiências, cores, cheiros e usos.

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01. Finish with weatherproof fabric 02. Concrete lintel 03. Cement panel, VIROC 25mm thick 04. Fiberglass mesh to adhere mortar base 05. Solid brick cladding, 30mm thick (230x30x70mm) 06. Thermal isolation, HD XPS 50mm thick 07. Brick masonry interior wall, 110mm thick (230x110x70mm) 08. PVC drainpipe 09. Tin gargoyle for rainwater 10. Honeycom drainage membrane, “AQUADRAIN” 1.6m width 11. Seet-steel flashing for beam support 12. Spanning structural beam in treated wood, (240X100mm) 13. Air brick for outer span with steel rod reinforcement 14. Solid wood window frames 15. Solid wood inner shutters 16. Lime stone pavement 17. Mortar layer base for sill 18. Bentonite layer

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37. Solid brick interior wall 38. Door + fixed panel 39. Interior pavement in clay rustic brick, 30mm thick, waterproof with colourless wax finish 40. Self levelling mortar screed, 10mm thick 41. Radiant floor system with insulation plate, ROTH PST 25 42. HD Thermal insulation panels in XPS, 40mm thick 43. Light mortar infill for infrastructure ducts, LECA MIX, 250mm thick 44. Slab lightened with floor arches and beams, 150mm thick 45. Air gap, 30mm thick 46. Bliding concrete, 100mm thick 47. Bentonite layer, BASF BENTOFIX BFG 5000, 5mm thick 48. Bliding concrete, 50mm thick 49. Compacted soil 50. Waterproof levelling mortar with fiberglass 51. Mortar flexible layer base 52. Stone plate pool cladding, 20mm thick 53. Electric socket

19. Clip sheet finish for weatherproofing film 20. Geotextile spacer membrane 21. Honeycomb drainage membrane, “AQUADRAIN” 22. Benonite layer, BASF BENTOFIX BFG 5000-7mm 23. Cyclopean concrete footing 24. Compacted gravel drainage layer 25. Geodrain 26. Blinding concrete, 50mm thick 27. Fine gravel (pebble) 28. Waterproofing layers, “IMPERALUM” 29. Levelling mortar, 40mm thick 30. Lean mortar infill for slope, CONTRAVEN BETCEL 31. Thermal insulation, HD XPS 100mm thick 32. Vapour barrier 33. Cement panel, VIROC 32mm thick 34. Treated wood strip for separations in roof, 5mm thick 35. Roof inner claddind with treated timber boards 36. Structural beam in treated wood (320x100mm)

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WEST ELEVATION

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2010-2012 077

CASA NO TEMPO Montemor-o-Novo, Alentejo, Portugal

EN

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PT

It all started with the restoration of a house with a goal to consolidate its foundations due to capillary moisture issues. This then evolved into a plan for an intervention with aims to extend it and reclaim some of its territory.

Tout a commencé par la restauration d’une maison pour consolider ses fondations en raison d’un problème d’humidité capillaire. Cela a évolué vers un plan d’intervention qui vise l’extension et la récupération d’un territoire.

Tudo começou pela recuperação de uma casa para consolidar as suas fundações devido a um problema com a humidade capilar.

Depois evoluiu-se uma proposta de intervenção em extensão e a recuperação de um território.

The construction, in the sense of liberating the “field”, the rehabilitation of a house whose existing values are highlighted to emphasise the quality associated with the place.

La construction, dans le sens de la libération du “champ”, la récupération d’une maison dans laquelle les valeurs trouvées sont soulignées pour mettre en valeur la qualité du lieu.

A construção, no sentido de libertar o “campo”, a recuperação de uma casa na qual se sublinham os valores encontrados para vincar a qualidade que associamos a este lugar.

These types of projects are very intimate; transforming a pre-existence into a house, where a modest intervention leaves its heritage intact. A proposal that arises from an understanding of the relationships to be had with time.

Ce type de projet est un exercice très intime; transformer une préexistence en une maison, où une intervention modeste permet de conserver la valeur de ce patrimoine. Une proposition qui découle d’une compréhension de la relation avec le temps.

Esses tipos de projectos são exercícios muito íntimos; transformando uma pré-existência em uma casa, onde uma intervenção modesta retem o valor deste património. Uma proposta que surge a partir de uma compreensão dos relacionamentos com o tempo.

AIRES MATEUS PRIVATE WORK

CASA NO TEMPO

079

SITE PLAN

0 2

10

AIRES MATEUS PRIVATE WORK

CASA NO TEMPO

081

AIRES MATEUS PRIVATE WORK

0

0.25

1

CASA NO TEMPO

087

AIRES MATEUS PRIVATE WORK

CASA NO TEMPO

089

2012-2014 091

CASA EM MELIDES II Melides, Alentejo, Portugal

EN

FR

PT

The programme is fractured to provide a sense of intimacy between the different spaces. A main house and three other small buildings were created. The largest element brings together the kitchen, the living room and the master bedroom. These three functions are defined as clear spaces with a recognisable shape.

Le programme est fracturé afin que les différents espaces puissent être intimes. Une maison principale et trois autres petits bâtiments sont créés. La plus grande construction réunit la cuisine, le salon et la chambre principale. Les trois fonctions définissent clairement les espaces d’une forme reconnaissable.

O programa é fraturado para que entre os vários espaços possa haver intimidade. Cria-se uma casa principal e três outras pequenas construções. A construção maior agrega a cozinha, a sala e o quarto principal. As três funções definem-se como espaços claros e de forma reconhecível.

The overall shape reveals the three protected spaces, which are connected to the view through two large courtyards. The three smaller buildings are created as cabins, each with a bedroom.

Their archetypal form is extended to the small courtyards that set the tone for the relationship with the view.

La forme globale révèle les trois formes protégées, qui se rapportent à la vue à travers deux grandes cours. Les trois bâtiments plus petits sont construits en cabane, chacune avec une chambre. Leur forme archétypale se prolonge dans les petites cours qui servent de médiateur de la relation avec la vue.

Uma forma global revela as três formas protegidas, que se relacionam com a vista através de dois grandes pátios. As três edificações mais reduzidas desenvolvem-se como cabanas, cada uma com um quarto. A sua forma arquetipal é estendida aos pequenos pátios que medeiam a relação com a vista.

The layout of the buildings establishes distinct relationships with existing trees, with views, or with the sea on the horizon. The swimming pool takes advantage of the topography by, with a simple wall, defining a water zone and establishing a moment of relationship with the landscape.

La disposition des bâtiments établit des relations particulières avec les arbres existants, avec les vues ou avec l’horizon lointain de la mer. La piscine profite de la topographie pour, avec un seul mur, définir un bassin d’eau et établir un moment de relation avec le paysage.

A disposição das construções estabelece relações particulares com árvores existentes, com vistas, ou com o horizonte do mar muito distante. A piscina, aproveita a topografia, para apenas com um muro definir um plano de água e fundar um momento de relação sobre a paisagem.

AIRES MATEUS PRIVATE WORK

CASA EM MELIDES II

093

SITE PLAN

0

10

50

AIRES MATEUS PRIVATE WORK

CASA EM MELIDES II

099

2012-2014 103

CASA NA ESTRELA Lisboa, Portugal

EN

The house is located on a Lisbon ridge, facing the Estrela Basilica on one side, and the river on the other. The house, with an extensive brief, requires the use of two circuits: one inside and the other outside, alternating in order to facilitate the independence of the parents and their children’s lives. The house is fully built in exposed concrete, both inside and outside, and its shape echoes that of a traditional street front house. It then opens up via the relationship between the spaces it is made up of.

Transparent horizontal panes connect the garden to the street on the same level as the living room. The master bedroom opens onto an external double-height space that frames the views to the garden. The children’s bedroom level opens onto a corridor on one side and a balcony on the other. The top room is a terrace that steers views through an opening produced by its intersection with a cylinder on the roof, defining the views on either side. The bowl-shaped pool on the terrace is pushed into the living room ceiling, organising the space.

FR

La maison est située dans une ligne de festons de la ville de Lisbonne, avec une vue sur la basilique d’Estrela d’un côté et sur le fleuve de l’autre. La maison, avec un brief chargé, nécessite deux circuits, un intérieur et un extérieur, en alternance, facilitant l’indépendance entre la vie des parents et des enfants.

La maison est entièrement construite en béton apparent, à l’intérieur comme à l’extérieur, reprenant la forme traditionnelle d’une maison sur rue. Elle s’ouvre ensuite par la relation entre les espaces qui la composent.

Un panneau de transparence horizontal relie le jardin à la rue au niveau du salon. La chambre principale s’ouvre sur un espace extérieur en double hauteur, qui conditionne sa vue sur le jardin.

L’étage des chambres d’enfants s’ouvre d’un côté sur un couloir et de l’autre sur un balcon. La pièce supérieure est une terrasse, un espace qui a des vues à travers l’ouverture produite par son intersection avec un cylindre dans le toit, qui détermine la vue des deux côtés. La piscine en forme de cuvette sur la terrasse laisse une empreinte dans le toit du salon, organisant ainsi l’espace.

PT

A casa situa-se numa linha de festo da cidade de Lisboa, olhando a Basílica da Estrela de um lado e o rio do outro. A casa, com um extenso programa, obriga a dois circuitos, um interior e outro exterior, alternados, facilitando a independência da vida entre os pais e os filhos. A casa é toda construída em betão à vista, interior e exteriormente, recuperando a forma tradicional de uma casa na rua. Abre-se depois, através da relação entre os espaços que a compõem.

Uma transparência horizontal liga o jardim com a rua ao nível da sala. O quarto principal abre-se para um espaço em dupla altura, externo, que condiciona a vista deste sobre o jardim.

O piso dos quartos dos filhos abre-se para um lado, como corredor, e para outro como varanda. A sala superior é o terraço, espaço que olha através da abertura causada pela intersecção de um cilindro na cobertura que desenha a vista para os dois lados. A piscina, em forma de taça, no terraço, comprime a cobertura da sala, organizando o seu espaço.

AIRES MATEUS PRIVATE WORK

0

1

AIRES MATEUS CASA NA ESTRELA

5

B

A

3RD FLOOR PLAN

A

ROOF TOP PLAN

B

105

AIRES MATEUS PRIVATE WORK CASA NA ESTRELA

SECTION B

0

1

5

113

AIRES MATEUS PRIVATE WORK

17.

01. Railing in solid steel pipe 02. Bowl-shaped pool in reiforced concrete 03. Modular metal grating 04. Continuous microcement flooring 05. Metal console to attach glazing fixtures 06. Pool surge tank 07. Outer sliding door with PANORAMAH aluminium frames 08. Reinforced concrete structural slab with 120 mm solid wood formwork 09. Rainwater gutter with solid steel panels, finished as per pavement 10. Continuous outdoor pavement. Composition: 3 mm grey continuous microcement coating; Mortar reinforced with chicken wire, thick. 30 mm; Light concrete mortar for infrastructure ducts, thick. 135 mm Soudproofing blanket, thick. 10 mm Reinforced face concrete structural slab with solid wood formwork, thick. 120 mm

11. Wall in reinforced concrete with 120 mm solid wood formwork 12. Continuous indoor pavement. Composition: 30 mm grey continuous microcement coating; Mortar reinforced with chicken wire, thick. 30 mm Radiant floor system, thick. 32 mm Light concrete mortar for infrastructure ducts, thick. 135 mm 30 mm HD thermal insulation, Soundproofing, thick. 10 mm Reinforced concrete structural slab, thick. 200 mm 13. Glass 14. Topsoil 15. Honeycomb drainage membrane and geotextile membrane separator 16. HD thermal insulation 17. Mortar for leveling and slope formation

16.

15.

14.

0

CASA NA ESTRELA

1

0.25

115

01.

03.

06.

02.

07.

08.

10.

11.

09.

07.

13.

12.

07.

11.

07.

12.

05.

10.

04.

05.

AIRES MATEUS PRIVATE WORK CASA NA ESTRELA

SOUTH ELEVATION

0

1

5

119

2012-2015 121

CASA NO BARREIRO Barreiro, Portugal

EN

The starting point is a pair of warehouses that are united in a single space. The outside will maintain its appearance and the traces of time. The inside walls will be in a luminous white like the rest of the house. Two gardens mediate the relationship between the inside and the outside. Inside, the central space is of a double height and is furnished by two blocks of stairs, an archetypal volume and a ceiling where one can feel the negative space left by the swimming pool on the terrace. The house defines itself within this space and in the relationship of the pool boundaries with the pre-existing walls.

FR

Le projet part de deux entrepôts qui sont réunis en un seul espace. L’extérieur conservera son aspect et les traces du temps.

Les murs intérieurs seront d’un blanc lumineux comme le reste de la maison. Deux jardins garantissent la médiation entre l’intérieur et l’extérieur. A l’intérieur, l’espace central est en double hauteur et est meublé par deux blocs d’escaliers, un volume archétypal et un plafond où l’on peut sentir le vide créé par la piscine sur la terrasse. La maison se définit dans cet espace et dans la relation du plan de la piscine avec les murs préexistants.

PT

Parte-se de dois armazéns que se unem num espaço único.

Para fora manterá o seu aspecto e os traços do tempo. O interior dos muros será branco luminoso como toda a casa. Dois jardins medeiam a relação do interior com o exterior. No interior o espaço central é em dupla altura e mobilado por dois blocos de escadas, um volume arquetipal e um tecto onde se sente o negativo da piscina do terraço. A casa define-se neste espaço e na relação do plano da piscina com os muros pré-existentes.

AIRES MATEUS PRIVATE WORK

CASA NO BARREIRO

123

SITE PLAN

0

10

50

AIRES MATEUS PRIVATE WORK

0 1

5

CASA NO BARREIRO

125

C A

B

ROOF TOP PLAN

SECTION A

FIXME

FIXME

FIXME

FIXME

AIRES MATEUS PRIVATE WORK

CASA NO BARREIRO

1

131

FIXME

0.25

FIXME

0

date 135

CABANAS NO RIO Comporta, Grândola, Portugal

EN

FR

PT

The dock is medieval and made of wood. Its identity is maintained beyond the material resistance of its build. An identity that allows for change, to replace things whilst maintaining all the values that are present.

Le ponton est médiéval et construit en bois. Son identité est maintenue au-delà de la résistance matérielle de sa construction.

Une identité qui permet de changer, de remplacer des éléments en maintenant toutes les valeurs présentes.

O ancoradouro é medieval e construído em madeira. A sua identidade mantém-se para além da resistência material da sua construção. Uma identidade que permite alterar, substituir mantendo todos os valores em presença.

The project is composed of two spaces; one living space with a kitchen integrated in a piece of furniture in the same material as the walls, and another sleeping area with a bathroom and a shower. The construction is made entirely of reclaimed wood, subject to the influence of time that will continue to alter it. The shapes, very archetypal, are designed by accommodating functions into these small areas and by varying the inclination of the ceilings that shape the spaces according to their function.

Le projet est composé de deux espaces; un pour vivre, avec une cuisine intégrée dans un meuble du même matériau que les murs, et un autre pour dormir, avec une salle de bains et une douche. La construction est entièrement faite en bois récupéré, soumis au temps qui continuera à le transformer. Les formes, très archétypales, sont conçues en logeant des fonctions dans ces petits espaces et en variant l’inclinaison des plafonds qui façonnent les espaces en fonction de leur utlité.

O projecto constrói dois espaços; um de estar com apoio de uma cozinha integrada num móvel no mesmo material das paredes e outro de dormir com o apoio de uma casa de banho e um duche. A construção é integralmente em madeira reutilizada, sujeita ao tempo que a continuará a transformar. As formas, muito arquetípicas desenham-se pela acomodação das funções nestas áreas mínimas e pela variação da inclinação dos tectos que tensionam os espaços de acordo com a sua função.

AIRES MATEUS PRIVATE WORK

CABANAS NO RIO

137

SITE PLAN

0

10

50

0 1

AIRES MATEUS CABANAS NO RIO

5

B

A

139

B

A

GROUND FLOOR PLAN

AIRES MATEUS PRIVATE WORK

0 1

CABANAS NO RIO

5

145

01.

02.

03.

04.

05.

06.

07.

08.

14.

15.

16.

17.

18.

19.

20.

21.

22.

09.

10.

22.

11.

12.

28.

27.

26.

25.

24.

23.

29.

13.

30.

01. Indoor ceiling cladding in solid pinewood panels, 25x150mm, with closed joints 02. Pinewood slats to absorb interior-exterior slope difference 03. Solid pinewood cladding for exterior walls and ceiling, 20x150 mm 04. External structural lintel cladding with 20mm solid pinewood panel, closed joints, lined with sheet metal 05. Guttering 06. Solid wood structural lintel, 100mm thick 07. Latch recessed in shutter 08. Solid wood shutter with open joint external stereotonomy and flush with exterior walls, 400x150mm 09. Handle 10. Lock 11. Outer frame in solid wood with mosquito mesh

12. Latch recessed in shutter 13. Solid pineboard, 20mm thick with closed joints 14. Viroc 15. Pre-treated wooden slats 16. Pre- treated pinewood battens 17. Waterproofing sheet 18. Wooden chipboard panel with oriented particles, “OSB” 13mm thick 19. Insulation 20. Marine pine plywood 21. Interior wall cladding in solid pinewood panels, 150mm thick with closed joints 22. Interlocking structural beam in solid wood, 100mm thick 23. Paving in solid pinewood panels, 20x150mm with closed joints

24. Battens in treated solid pine 25. Solid wood structure 26. Waterproofing 27. Base structure 28. Lean concrete 29. Timber base structure on neoprene chocks 30. Mild steel cover 31. Black agglomarated cork, 100mm thick 32. Rustproof paint 33. Interior cladding in solid wood panels, 400x150mm

2016-2018 149

CASA EM CAMPO DE OURIQUE Lisboa, Portugal

EN

The project’s starting point is the legacy of the pre-existing factory.

It frees the top of the façade to turn the chimney into a standalone object and symmetrically creates a courtyard at the back. The plan is laid out with the smaller spaces on the ground level, thus freeing up a large space above them, in the typical shape of a warehouse. The living room and its kitchen are organised by the presence of a long table under which the access to the room is made possible.

FR

Le projet part de l’héritage de l’usine préexistante. Il libère la partie supérieure de la façade pour laisser la cheminée libre et crée une cour à l’arrière en symétrie. Le programme est agencé avec les espaces plus petits au rez-de-chaussée, libérant ainsi un grand espace à forme typique d’entrepôt au premier étage.

Le salon avec cuisine est organisé par la présence d’une longue table sous laquelle on accède à l’espace.

PT

O projecto parte da fábrica pré-existente como espaço de memória. Liberta a fachada de topo para deixar a chaminé solta e em simetria cria um pátio a tardoz. O programa dispõe-se com os pequenos espaços em baixo libertando na forma arquetipal do armazém um grande espaço. Espaço de sala com cozinha organizada pela presença de uma longa mesa por baixo da qual se acede ao espaço.

AIRES MATEUS PRIVATE WORK

0

0.25

1

CASA EM CAMPO DE OURIQUE

157

AIRES MATEUS PRIVATE WORK CASA EM CAMPO DE OURIQUE

ELEVATION

0

1

5

159

2001-2005 165

CENTRO DE ARTES DE SINES Sines, Alentejo, Portugal

EN

FR

The project starts with its location. Just as a traditional “gate” to the historic centre would, it marks the beginning of the main street connecting the town to the sea. The project is defined by the degree to which it occupies and involves the street and compresses the extensive program. Everything is based on a horizontal vision, with the transparency of the ground floor interconnecting all the functions and highlighting the scale of the intervention as a whole.

The project is built below this level, “imprinting” the different functions on its plot by excavating the ground.

Le projet commence par le choix de sa localisation. “Porte” originelle du centre historique, il marque le début de la rue principale reliant la ville à la mer. L’opération vise à avoir un maximum de présence dans l’environnement de la rue en compactant le reste du programme. Tout part d’une lecture horizontale, à travers la transparence du rez-de-chaussée qui relie toutes les fonctions et met en valeur l’échelle globale de l’intervention. Le projet se développe ensuite en-dessous de ce niveau, en “imprégnant” les différentes fonctions dans la terre en creusant le terrain.

Looking up, the solid and heavy masses are suspended from the outer walls. The functions are arranged in strips parallel to the street, interspersed with inner patios. Functions connected transversally below ground level are vertically arranged from this level. The project is designed with the scale of the most remarkable parts of the historic centre in mind.

Plus haut, les volumes solides et massifs sont suspendus aux murs extérieurs. Les fonctions se développent en bandes parallèles à la rue, entrecoupées de cours intérieures. Les fonctions reliées transversalement au sous-sol s’organisent verticalement à partir de ce niveau. Le projet est conçu en tenant en compte l’échelle des éléments d’exception du centre historique.

PT

O projecto inicia-se na escolha do lugar. “Porta” tradicional do centro histórico, marca o início da rua principal de ligação ao mar. Define-se a operação pela máxima ocupação envolvendo a rua e compactando o extenso programa. Parte-se de uma leitura horizontal transparente ao nível da rua que interliga todas as funções e revela a dimensão da intervenção. Constrói-se o projecto para baixo deste nível “imprimindo” as funções no sítio, escavando o terreno.

Para cima as massas sólidas e pesadas são suspensas a partir dos muros da periferia. As funções dispõem-se em faixas paralelas à rua, intercaladas por pátios. Funções ligadas transversalmente abaixo do nível terra organizam-se a partir deste nível verticalmente. O projecto é desenhado à escala das peças de excepção do centro histórico.

AIRES MATEUS PUBLIC WORK

CENTRO DE ARTES DE SINES

167

SITE PLAN

0

10

50

AIRES MATEUS PUBLIC WORK

0

10

AIRES MATEUS PUBLIC WORK CENTRO DE ARTES DE SINES

25

171

B

A

GROUND FLOOR PLAN

SECTION B

AIRES MATEUS PUBLIC WORK

01.

02.

03.

04.

05.

06.

0

07.

30.

29.

31. 32.

08.

09.

10.

11.

12.

33.

35. 36. 37.

34.

38.

39.

13.

14.

15.

40. 41. 42. 43.

45.

16. 17. 03. 13. 18.

44.

48. 49. 50. 51.

46.

47.

52.

19.

22. 23.

24.

25.

26. 27. 13. 05.

28.

53. 54. 55. 56. 57. 58.

0.25

1

CENTRO DE ARTES DE SINES

01. Filling in glass gravel 02. Thermal insulation in extruded polystyrene, type ROOFMATE, 30 mm thick 03. Butyl waterproofing screen 04. Floor screed material, 2.5% slope 05. Concrete slab 06. Masonry wall, 70 mm thick 07. Capping in Lioz stone pavers with a slope to the roof, 100 x 630 x 40 mm 08. Sawn Lioz stone corners, 185 x 125 mm 09. Sawn Lioz slabs, 30 mm thick with 7 different measures 10. Stone anchoring mechanism, HALFEN type 11. Thermal insulation in extruded polystyrene, type WALLMATE, 30 mm thick 12. Regular reinforced concrete in plaster 13. Filling screed 14. Interior glazing in stainless steel 15. Absorption curtain in black fabric 16. Lioz slabs, 60 mm thick with 7 different measures 17. Reinforced screed 18. Drain gutter 19. Water drainage PVC pipe 20. Black-painted Kambala wooden slats flooring

21. Covering the audience wall in black painted Kambala wood slats 22. Thermal insulation in extruded polystyrene, type WALLMATE, 25 mm thick 23. False ceiling in gypsum board painted white 24. Light moulding 25. Concrete beam 26. White marble slabs, 30 mm thick 27. Seating mortar 28. White marble baseboard 180 x 100 mm, 15 mm thick 29. Drainage gutter of water from the lanterns 30. Exterior lantern painted white 31. PVC pipe 32. Masonry wall, 110 mm thick 33. Reinforced concrete 34. Double gypsum board, 15 mm thick 35. Bent steel sheet, 5 mm thick 36. Regular cement 37. Self-levelling and white finish paint 38. Slab suspension rod 39. Fixing of the slab suspension rod 40. Sheet steel, 7 mm thick

41. HEB 280 profile 42. Stucco painted white 43. Acoustic insulation in glass wool 44. Stainless-steel grill 45. Tempered glass, 16 mm thick and up to 900 mm above the floor 46. Exterior glazing in stainless steel 47. White painted steel glass guard fastening 48. Vegetation 49. Vegetable earth 50. Geotextile filter 51. Glass gravel for drainage 52. Shape layer, 2% slope 53. Armoured screed, with pigment 54. Polyethylene film 55. Cleaning concrete 56. Waterproofing coating 57. Rock fill, 800 mm thick 58. General flooring slab, 400 mm thick

177

2001-2013 179

REABILITAÇÃO DO COLÉGIO DA TRINDADE Coimbra, Portugal

EN

The starting point is the existing heritage and its historical value. The legacy of the passing of time is taken into account and is present in the material in an explicit way. A distinction is made between the “eternal” value of the project, materialised in stone in its masses, the large walls and vaults, and its “ephemeral” character is seen in the tensile structures, traditionally made of wood.

The project follows an understanding of the succession of different time periods, preserving not one particular period, but the value of the “eternal” and proposing a new “ephemeral”. The ephemeral is materialised in a steel structure flooded with light, setting the tone for a new time period, a new contemporaneity open to future alterations.

FR

En partant de l’héritage du patrimoine existant, le patrimoine bâti est considéré comme une valeur ajoutée. Les traces du temps qui passe sont prises en compte et sont présentes dans la matière de façon explicite. Une distinction est faite entre “l’éternel”, matérialisé en pierre dans les masses de compression, les grands murs et les voûtes, et “l’éphémère”, que l’on revoit dans les structures tensostatiques, traditionnellement construites en bois.

Le projet joue avec la lecture de la succession d’époques, en préservant non pas une période en particulier, mais la valeur de “l’éternel”, en proposant aussi un nouvel “éphémère”. Cet éphémère se matérialise dans une structure d’acier mise en valeur par la lumière, constituant une nouvelle ère, une nouvelle contemporanéité ouverte à de futures altérations.

PT

Parte-se do património existente compreendendo o construído como um valor. Entende-se o legado da sucessão dos tempos explícitos na matéria. Distingue-se o “eterno” materializado em pedra nas massas à compressão, nos grandes muros e abóbadas, do “efémero” das estruturas à tracção, historicamente construídas em madeira.

O projecto actua com a leitura da sucessão de tempos passados, preservando, não um período em particular mas, o valor do “eterno”, propondo também um novo “efémero”. Este efémero materializa-se numa estrutura em aço destacada pela luz, constituindo um tempo, uma nova contemporaneidade aberta à alteração futura.

AIRES MATEUS PUBLIC WORK

REABILITAÇÃO DO COLÉGIO DA TRINDADE

181

SITE PLAN

0

50

250

0

AIRES MATEUS REABILITAÇÃO DO COLÉGIO DA TRINDADE

50

10

B

A

183 C

ROOF TOP PLAN

B

A

C

2ND FLOOR PLAN

SECTION A

AIRES MATEUS PUBLIC WORK

05. 04. 03. 02. 01.

14.

13. 12. 07. 05. 11. 10.

06.

07.

08.

09.

07.

15.

16.

17.

08.

49.

18.

45.

46.

51.

18. 19.

20.

21.

25.

17.

26.

09.

23. Lean cement mortar infill 24. Slab with pre-existing pavement 25. Exterior rendering in air lime 26. Existing interior brick wall 27. 20 mm Lioz stone cladding 28. Adhesive cement mortar 29. 28 mm Knauf Tecnosol modular hydraulic paving tiles 30. Paving set on beams 31. Air vents 32. Pre-existing land 33. 200 mm reinforced concrete slab

22.

14. 07. 23. 24.

32. 27. 28. 31. 30. 29.

27. 22. 33. 34. 35.

01. mm Lioz stone pavers 34. 30 Drainage fabric 02.

35. Complete Compactedrecessed soil stainless steel, mechanical attachment system Halfen HRC 03.

Extruded shapes set crosswise to the structure to hold stone cladding attachment system 36. Galvanized flashing 04. structure 37. Metal Skylight with double glazing 05.

Imperalum bituminous 38. Steel frame support formembranes’ skylight waterproofing system 06. steel duct 39. Stainless Polished 70mm Lioz stone pavers on base 07. mm levelling mortar 40. 20 Lightweight cement lip finish 08. reinforcedbarrier concrete 41. Existing Knauf Aquapanel withvault fibreglass mesh 09. in air lime.cement Paintedfacade panel with fibreglass mesh 42. Interior 12,5 mmrendering Knauf Aquapanel 10.

30mm Lioz stone pavers set 43. Polyethylene vapour barrier on base 11. adjustable base system 44. Buzon 48 mm DPH mineral wool insulation

12. formation mortar 45. 200mm 12,5 mmslope double waterproof plasterboard panel 13.

46. Existing RAL whitereinforced paint for concrete interiors structure 14.

Lioz 20mm stone pavers.

Adhered 47. Galvanized steel frame 15. brick wall andmetal reinforced 48. Double RHS 50X30X3,2mm gratingconcrete structure,lintel 300mm between centres 16. masonry frieze, 49. Exsisting Existing brick bearer wall to be restored 17.

Existing reinforced concrete wall for stone pavers 50. Air gap 18. mmhigh mineral wool thick insulation 51. 100 100mm x 12mm Dupont-Corian coplanar mineral aggregate skirting board + 19. 2Glacier x 15 mm plasterboard firewall panels, suspended on Knauf D112 galvanized steel shapes White acrylic polymers 20. limestone be restored 52. Exsisting Lafarge Ultra SeriestoLeve EPS lean cement layermortar 21. Double glazing window and solid steel frames 22. 20 mm stone pavers on 20mm levelling mortar

0 0.25

1

REABILITAÇÃO DO COLÉGIO DA TRINDADE

189

04. 03. 01. 02.

36. 37. 38.

05. 07. 39.

16.

40.

19. 18. 29. 52.

25.

41.

42.

43.

18.

48. 04.

04.

44.

45.

46.

07.

29. 28. 14.

47.

48. 04.

18.

45.

46.

51.

49.

50.

AIRES MATEUS PUBLIC WORK

191

2003-2004 193

MUSEU DO FAROL DE SANTA MARTA Cascais, Portugal

EN

Between land and water, along a strip of terrain in constant change over time, human intervention has grounded its most varied uses. From the 17th century onwards, the accumulation of different ideas for the place, the material and technological resources of each period in time and the presence of an important heritage have contributed to a series of conversions and extensions. In spite of this, the body encompasses architectonic units of unequivocal reading, laid out according to organisational principles that are still very clear. The state of adulteration and decay that a part of the unit finds itself in is the result of a natural selection process, which the project seeks to reverse in its favour. Identifying the elements of greater permanence or poetic value, the proposal rebuilds with them and uses them as a starting point for a founding order, encapsulating the memory of the time that has passed and allowing for new uses.

FR

Entre terre et eau, le long d’une bande en mutation permanente au fil du temps, l’intervention humaine a déterminé ses différents usages. Du XVIIe siècle à nos jours, l’accumulation de différentes idées pour l’endroit, les ressources matérielles et technologiques de chaque époque et la disponibilité d’un patrimoine important ont contribué à une succession d’adaptations et d’extensions. Malgré cela, l’ensemble comprend des unités architecturales d’une lecture univoque, disposées selon des principes d’organisation encore très clairs. L’état de dénaturation et de dégradation d’une partie de l’ensemble est le résultat d’un processus de sélection naturelle, que le projet cherche à inverser en sa faveur. En identifiant les éléments de plus grande pérennité ou valeur poétique, la proposition reconstruit avec eux et à partir d’eux un premier ordre, qui englobe la mémoire du temps écoulé et rend viable sa nouvelle utilisation.

PT

Entre a terra e a água, ao longo de uma faixa de território em permanente mudança ao longo dos tempos, a intervenção humana tem sedimentado as mais variadas ocupações.

Desde o século XVII até à actualidade, a sobreposição de diferentes vontades para este lugar, os recursos materiais e tecnológicos de cada momento, e a disponibilidade do património herdado, concorrem para uma sucessão de adaptações e de adições. Apesar disso, o conjunto engloba unidades arquitectónicas de leitura inequívoca, dispostas segundo princípios organizativos ainda bem claros. O estado de adulteração e decadência de uma parte do conjunto é resultado de um processo de selecção natural, que o projecto procura reverter em seu favor. Identificando os elementos de maior perenidade ou de maior carga poética, a proposta reconstrói com eles e a partir deles uma ordem primeira, que engloba a memória do tempo decorrido e viabiliza o novo uso.

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MUSEU DO FAROL DE SANTA MARTA

195

SITE PLAN

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20

100

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01. Handmade bisque tile, over mortar, VIÚVA LAMEGO 02. Reinforced cement screed 03. Geotextil fabric 04. Thermal insulation system, ROOFMATE SL 50mm 05. PVC waterproofing membrane over geotextil fabric, SIKAPLAN-SGm.A 1.5, 1.5mm thick 06. Cement screed coated with bitumen primer, IMPERKOTE F 20mm thick 07. Reinforced concrete slab, 150mm thick 08. Three-oat cement plasterwork, smooth finish, 20mm thick

19.

09. Thermal insulation, WALLMATE CW 40mm 10. Wall liner plasterboard (with synthetic enamel paint finish), KNAUF 11. Reinforced concrete wall, 250mm 12. Extruded brick masonry, 300x200x110mm 13. Pivoting door - flat steel bars frame with double grazed tempered glass, COOL-LITE SKN472 (8+10+6) 10mm thick 14. Reinforced mud slab with welded mesh, MALHASOL CQ30 50mm thick 15. Gravel drainage blacket, 150mm thick over compacted soil

27.

16. Extant stone frame 17. Solid yellow pine floor, wood strips 40mm thick, 150mm width and 4000mm length 18. Pine joists 80x50mm, runningf parellel to one other at 400 mm intervals 19. Polyethylene folio, 400 microns 20. Mud slab, 100mm 21. Existing Wall

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01. Handmade bisque tile, over mortar, VIÚVA LAMEGO 02. Reinforced cement screed 03. Geotextil fabric 04. Thermal insulation system, ROOFMATE SL 50mm 05. PVC waterproofing membrane over geotextil fabric, SIKAPLAN-SGm.A 1.5, 1.5mm thick 06. Light concrete for gradient, 50mm min. thick

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07. Reinforced concrete slab, 150mm thick 08. Three-oat cement plasterwork, smooth finish, 20mm thick 09. Reinforced concrete wall, 250mm 10. Air gap with thermal inulation, WALLMATE CW 40mm 11. Extruded brick masonry, 300x200x110mm 12. Pivoting door - flat steel bars frame with double grazed tempered glass,

COOL-LITE SKN472 (8+10+6) 10mm thick 13. White marble pavement, THASSOS 40mm thick 14. White marble door sill, THASSOS 170mm max. thick 15. Reinforced mud slab with welded mesh, MALHASOL CQ30 50mm thick 16. Gravel drainage blacket, 150mm thick over compacted soil

AIRES MATEUS PUBLIC WORK

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203

2006-2007 205

RESIDÊNCIAS ASSISTIDAS EM ALCÁCER DO SAL Alcácer do Sal, Portugal

EN

FR

PT

The project is based on an attentive reading of the life of a very specific kind of community, a sort of a microsociety with its own rules. The plan, somewhere in between a hotel and a hospital, seeks to understand and reinterpret the combination of social and private, fulfilling the need for a social life and at the same time that of solitude.

Le projet part d’une lecture attentive de la vie d’une communauté très spécifique, une sorte de microsociété avec ses propres règles. Il s’agit d’un programme, à mi-chemin entre un hôtel et un hôpital, qui cherche à comprendre et à réinterpréter le binôme social/privé, répondant aux besoins de la vie en communauté d’une part, et à la solitude d’autre part.

O projecto parte de uma leitura atenta da vida de um tipo de comunidade muito especifica, uma espécie de micro-sociedade com regras próprias. Trata-se de um programa, a meio caminho entre um hotel e um hospital, que procura compreender e reinterpretar o binómio social/privado, respondendo por um lado à vida em comunidade e por outro à vida em solidão.

Independent units come together into a single body, whose design is expressive and clear. The reduced mobility of those who will live in the building suggests that any movement between units should be an emotion-provoking and varied experience. The distance between the independent units is measured and drawn to turn the idea of a path into one of life, and its time into form.

Le projet est donc conçu sur la base des relations établies dans cette société: des noyaux indépendants sont agrégés en un ensemble, dont le design est expressif et clair. La mobilité réduite de ceux qui vivront dans le bâtiment oblige chaque mouvement à devenir une expérience diversifiée et chargée d’émotions: la distance entre les noyaux indépendants est mesurée et conçue pour transformer l’idée du parcours en celle de la vie, et son temps en forme.

O projecto é assim “desenhado” a partir das relações estabelecidas nesta sociedade: núcleos independentes se agregam num conjunto de expressão clara. A reduzida mobilidade dos que viverão o edifício, obriga a tornar cada movimento uma experiência diversificada e emotiva: a distância entre os núcleos independentes é medida e desenhada transformando a ideia de percurso em vida, e o seu tempo em desenho.

The building, a thought-out path, is a wall that naturally rises from the topography: it limits and defines the open space, organising the entire plot.

Le bâtiment, conçu comme un chemin, devient un mur qui, surgissant naturellement de la topographie irrégulière du terrain, limite et définit l’espace ouvert, organisant ainsi toute la parcelle.

O edifício, percurso desenhado, assume-se como um muro que, surgindo naturalmente da topografia acidentada do terreno, limita e define o espaço aberto, organizando assim todo o lote.

AIRES MATEUS PUBLIC WORK

RESIDÊNCIAS ASSISTIDAS EM ALCÁCER DO SAL

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01. Roof finished with Estremoz marble pebbles 02. Geotextile felt, asphaslt waterproof barrier, separating layer and bitumen emulsion 03. Termal insulation, 50mm thick 04. Lightweight concrete slope screed layer 05. Reinforced concrete slab 06. Plasterboard drop ceiling, white recessed lighting

07. White Estremoz marble flooring, 20mm thick 08. White Estremoz marble capstone, 40mm thick 09. Fixed glazing with aluminum carpentry 10. White Estremoz marble windowsill, 30mm thick 11. Embedded laminated glass railing 12. Plaster with white plastic paint

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16.

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13. Double layer brick wall with air gap and insulation 14. Vinyl flooring laid on mortar screed layer 15. Plasterboard soundproofing drop ceiling, painted white 16. Reinforced concrete slab, 150mm thick 17. Mortar screed layer, 50mm 18. Stone pitching

215

2007-2010 217

ESCOLA BÁSICA EM VILA NOVA DA BARQUINHA Vila Nova da Barquinha, Portugal

EN

The programme is based on the creation of an educational centre. The complex will function, besides its curricular activities, as a facility with added value for the community. The programme extends to the creation of a living science centre and the use of some spaces in an autonomous way. This requires these areas to be accessible from the outside, creating a boundary that will “protect” the teaching areas, which are grouped by school year in the centre, also defining a continuous outside space. This courtyard constitutes an alternative circulation system and is also a controlled area.

The spaces are characterised by volumes of different and precise heights. The programme is arranged in such a way as to allow various uses and forms of circulation. The spaces are defined by their dimensions, ready to be enlivened, they are neutral, white. The same logic defines the outside through its walls and floors. The openings are all the same size. The project manages few elements in a precise way.

FR

Le programme est basé sur la création d’un centre scolaire.

Ce complexe fonctionnera, en plus de ses activités scolaires, comme un établissement ayant une valeur ajoutée pour la communauté. Le programme s’étend à la création d’un centre de sciences et à l’utilisation de certains espaces de manière autonome. Cela nécessite de rendre ces zones accessibles de l’extérieur, en créant une limite qui “protégera” les zones d’enseignement, qui sont regroupées par année scolaire au centre, en concevant également un espace extérieur continu.

Cette cour constitue un système de circulation alternatif et est également une zone contrôlée.

Les espaces sont caractérisés par des volumes de hauteurs différentes et précises. Le programme est aménagé de façon à permettre différents usages et formes de circulation. Les espaces sont définis par leurs dimensions, prêts à être animés, ils sont neutres, blancs. La même logique dessine son extérieur dans ses murs et ses sols. Les ouvertures sont toutes de la même taille. Le projet gère peu d’éléments de manière précise.

PT

O programa parte da criação de um centro escolar. Este equipamento funcionará, para além das suas actividades curriculares, como equipamento com outras valências para a comunidade. Estende-se o programa à criação de um centro de ciência viva e ao uso de alguns espaços de forma autónoma.

Esta necessidade dispõe estas áreas com acessibilidades pelo exterior criando um limite que “protegerá” as áreas lectivas, que se agrupam por anos no centro, desenhando ainda um espaço exterior contínuo. Este pátio constitui um sistema de circulação alternativo e entende-se também como uma área controlada.

Os espaços são caracterizados por volumes de alturas diferentes e precisos. O programa dispõe-se de forma a permitir vários usos, e formas de circulação. Os espaços definemse pelas suas dimensões aptos a receber vida, são neutros; brancos. A mesma lógica desenha o seu exterior nos seus muros e pavimentos. Os vãos têm todos a mesma dimensão. O projecto gere de forma precisa, poucos elementos.

AIRES MATEUS PUBLIC WORK

ESCOLA BÁSICA EM VILA NOVA DA BARQUINHA

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SITE PLAN

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01. White limestone gravel 02. Geotextile mantle 03. Rigid extruded polystyrene board, 80 mm 04. Bituminous membranes 05. Floor protection screed material 06. Lightweight concrete for slope formation 07. Pre-dosed waterproof plaster, with incorporated net 08. Precast cladding slab, in reinforced concrete 09. Polyethylene foam cord 10. Extruded polystyrene board, 30 mm thick 11. Lining brick, 70 mm thick 12. Peripheral beam in reinforced concrete 13. Wall with fine sanded plaster, painted white 14. 110 mm thick brick

24.

25. 26.

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15. Air gap 16. Extruded polystyrene, 50 mm thick 17. Collection gutter, in mortar with additives 18. Extruded polystyrene board, 50 mm thick 19. Rock wool panel with acoustic veil 20. False ceiling in acoustic gypsum board, painted white 21. Concrete lintel 22. Exterior span with double glazing, in solid wood lacquered in white 23. Statuary white marble threshold 24. High strength vinyl flooring, white colour 25. Rubber granulates with polyurethane and pigments 26. Elastic membrane 27. Prefabricated SBR boards 28. Previous concrete

41.

29. Reinforced concrete beam 30. PVC drain pipe 31. Collection gutter, in mortar with additive and waterproofing layer 32. Lantern in 8 mm opal alveolar polycarbonate plates 33. Aluminium profiles 34. Matt acrylic sheet 35. Lighting 36. Gypsum board walls, painted white 37. Lamps, defined in a speciality project 38. Gypsum board lighting moulding 39. MDF cabinet door, painted white 40. 100 x 100 mm ceramic mosaic, matte white 41. Floor in white ceramic tile, with non-slip surface, 100 x 100 mm

AIRES MATEUS PUBLIC WORK ESCOLA BÁSICA EM VILA NOVA DA BARQUINHA

225

2008 227

REQUALIFICAÇÃO DA ENVOLVENTE DA LAGOA DAS FURNAS Lagoa das Furnas, São Miguel, Açores, Portugal

EN

The project intends to evoke the architectural landscape of the Azores, drawing upon the form and material that embed the collective memory of the island and the archipelago, and who, over time, have become a second nature to the place. For this reason, the buildings are archetypal volumes, simple and compact, clad with the basalt stone of the region.

Furnas Monitoring and Research Centre As the most interesting building, the Furnas Monitoring and Research Centre makes use of an intermediate space between the outside and the inside - the courtyard. It is laid out as a subtraction from the volume, cut out from the central area (the vertex of the four parts) to then tear off one of the elevations, thus allowing access to the inside. It is from this courtyard that the main compartments of the building are revealed. These spaces, truncated by the courtyard, maintain all the inside/outside relationships resulting from the existing openings. The building is thus conceived as a sculpture, a block of raw material that is intentionally cut out to capture the light and the lagoon itself.

Residences The building for the temporary residences is a compact fourstorey volume, compartmentalised into four residences. In each of the four stone elevations, the building is divided by a wooden doorway that allows light to enter, as well as access to each of the residential units.

There is a hierarchy of heights between the four residences, based on the solar orientation of each unit. The outside wall of the building functions as a structural wall, through which the necessary infrastructures pass, in opposition to the light, wooden, inside walls.

FR

L’intention du projet était d’évoquer le paysage architectural des Açores, dans une ligne de continuité avec les formes et les matériaux qui façonnent la mémoire collective de l’île et de l’archipel, et qui, avec le temps, sont devenus une sorte de seconde nature pour l’endroit. Ainsi, les bâtiments sont des volumes archétypaux, simples et compacts, vêtus de pierre de basalte locale.

Centre de Surveillance et de Recherche de Furnas En tant que bâtiment le plus intéressant, le Centre de Surveillance et de Recherche de Furnas utilise un espace intermédiaire entre l’extérieur et l’intérieur – la cour. Elle apparaît comme une soustraction au volume, découpée de la zone centrale (le croisement des quatre parties) pour arracher l’une des élévations, permettant ainsi l’accès à l’intérieur. C’est depuis cette cour que se révèlent les principaux compartiments du bâtiment. Ces espaces, tronqués par la cour, maintiennent toutes les relations intérieures/extérieures résultant des ouvertures existantes. Le bâtiment est ainsi conçu comme une sculpture, un bloc de matière brute intentionnellement découpé pour saisir la lumière et la lagune elle-même.

Résidences Le bâtiment destiné à des résidences temporaires est un volume compact de quatre étages, divisé en quatre résidences. Le bâtiment est scindé dans chacune des quatre élévations en pierre par une porte en bois qui permet à la lumière de pénétrer, ainsi que d’accéder à chacune des unités résidentielles.

Il existe une hiérarchie des hauteurs entre les quatre résidences, liée à l’orientation solaire de chaque unité. Le mur extérieur du bâtiment fonctionne comme un mur structurel, où passent les infrastructures nécessaires, en opposition aux murs intérieurs, légers, en bois.

PT

Foi intenção do projecto evocar a paisagem arquitectónica dos açores, numa linha de continuidade com as formas e os materiais que moldam a memória colectiva da ilha e do arquipélago, e do qual são já, pela força do tempo, uma espécie de segunda natureza. Assim os edifícios são volumes arquetipais, simples e compactos, revestidos com a pedra basáltica da região.

Centro de Monitorização e Investigação das Furnas Sendo o edifício mais excepcional, o Centro de Monitorização e Investigação das Furnas recorre a um espaço intermédio entre o exterior e o interior - o pátio. Este surge como subtracção ao volume, recortando-o desde a zona central (vértice das quatro águas) até rasgar um dos alçados, possibilitando assim o acesso ao interior. É a partir deste pátio que se revelam os compartimentos principais do edifício. Estes espaços, truncados pelo pátio, mantêm todas as relações de interior / exterior fruto dos vãos existentes. O edifício é foi assim concebido como uma escultura, como um bloco de matéria prima, que intencionalmente se recorta para captar a luz e a própria Lagoa.

Residências O edifício das residências temporárias é um volume compacto de quatro águas, compartimentado em quatro residências. O edifício é rasgado em cada um dos quatro alçados de pedra por um vão de madeira que permite a entrada de luz e o acesso a cada uma das unidades residenciais.

Existe uma hierarquia de alturas entre as quatro residências relacionada com a orientação solar de cada unidade. A parede exterior do edifício funciona como um muro, estrutural, onde passam as infraestruturas necessárias, em oposição às paredes interiores, leves, em madeira.

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282.50

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280.00

280.00

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285.00

282.50

280.00

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285.00

280.00 287.50

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229 REQUALIFICAÇÃO DA ENVOLVENTE DA LAGOA DAS FURNAS

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REQUALIFICAÇÃO DA ENVOLVENTE DA LAGOA DAS FURNAS

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01. 50 x 100 mm basalt curb seated with silicone (clean joint) 02. Safety wire, type “HALFEN” 03. 100 x 100 mm Basalt curb seated with silicone (clean joint) 04. Masonry support system, type “HALFEN Hk4” 05. Waterproofing paint 06. Gravel wrapped in geotextile 07. Replaced natural soil 08. Pine cluster 09. Gutter in 3 mm thick steel sheet, bent and metallized 10. Mortar for correction of slopes 11. Engineered polyurethane-based waterproofing system, type “BASF-Coniroof” 12. Complete concealed setting system, adjustable, on rails, type “HALFEN – gama profile 41” in stainless steel 13. 30 mm thick basalt plates, with 20 mm open joint, and 10 mm thick rips 14. 80 mm thick thermal insulation 15. Concrete structure 16. 20 mm thick basalt plates glued with polyurethane glue; 20 mm open joint (tops with plate expansion gap) 17. Filling mortar

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18. 1 mm thick galvanized steel sheet 19. 3 mm thick steel sheet, bent and metallized 20. 3 mm thick metal sheet 21. Solid pinewood boards 22. 8 mm thick fibreglass cement slab 23. 50 mm thick thermal insulation 24. 50x50mm metallic tubes 25. Frame in solid pinewood 26. Double glass 27. Solid pinewood shutters 28. Suspension frame in galvanized steel 29. Air insufflation with linear diffuser 30. Galvanized steel profile 31. Waterproof gypsum board 32. 12,5 mm thick gypsum board sheets 33. Waterproofing coating 34. 15 mm thick fibreglass cement slab 35. Mortar for correction of 1% decline slopes 36. 30 mm thick flooring screed

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37. 20 mm thick slate boards 38. 50 mm thick acoustic insulation 39. Pre-immunized wooden slat 40. Air extraction 41. Solid pinewood flooring 42. Solid pinewood sill 43. Deck in solid pinewood planks 44. Hidden attachment profile 45. Sand layer 46. Solid pinewood beams 47. Concrete foundation slab 48. Bentonite coating 49. Cleaning concrete 50. 3 mm thick, bent and metallized, steel sheet ditch 51. Small eccentric gutter, type “ACO-Slotdrain” 52. Thin concrete for laying the gutter

50. 51. 52.

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REQUALIFICAÇÃO DA ENVOLVENTE DA LAGOA DAS FURNAS

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2008-2011 243

SEDE CORPORATIVA DO GRUPO EDP Lisboa, Portugal

EN

Legacy was the basis for the general movement of the project.

The extensive past of the city, or the history of the land claimed from the water, dictated the implantation of the bodies, standing perpendicular to the river. A square, the public space, is locked in by a “mass” of air that represents the building. The structure is etched with vertical elements; modulation, structure, infrastructure and protection from the sun define the whole building. Different profiles are subtly modelled in a smooth and continuous design, where plans are delicately hinted at. The ever-changing design varies with light, twilight or shadow and different points of view can make it seem more prominent or flatter, more opaque and mysterious, to more transparent and revealing of the bustling life inside. The movement creates the project, protecting work spaces with vertical courtyards and public functions with the horizontal square.

FR

L’héritage était la base pour le mouvement global du projet. Le vaste passé de la ville, ou l’histoire de ce terrain conquis sur l’eau, a dicté l’implantation de ces volumes perpendiculaires au fleuve.

Un square, l’espace public, est emprisonné par une “masse” d’air qui représente le bâtiment. Il puise dans les éléments verticaux; la modulation, la structure, l’infrastructure et l’abri du soleil définissent l’ensemble du bâtiment. De différents profils se modèlent subtilement dans un dessin au relief lisse et continu, où les plans s’insinuent de façon délicate. Le design changeant varie selon la lumière, le crépuscule ou l’ombre et le point de vue, selon lequel il est plus proéminent ou plus plat, plus opaque et mystérieux, ou alors plus transparent et révélateur de la vie palpitante à l’intérieur. Le mouvement crée le projet, protège les espaces de travail avec des cours verticales et les fonctions publiques avec le square horizontal.

PT

O legado desenhou o gesto fundativo. O passado longínquo da cidade, ou a história deste aterro conquistado à água, ditaram a implantação destes corpos perpendiculares ao rio.

Aprisionando-se uma praça, espaço público, e uma “massa” de ar que significa o edifício. Desenha-se a partir de elementos verticais; modulação, estrutura, infraestrutura, protecção solar, resolve todo o edifício. Perfis variáveis modelam-se subtilmente num desenho de um relevo suave e continuo, onde planos se insinuam de forma delicada. Desenho mutavel varia com a luz, penumbra ou sombra e com um ponto de vista que a encontra mais proeminente ou mais plana, de mais opaca e misteriosa, a mais transparente e reveladora da a vida pulsante no seu interior.

O gesto, resolve o projecto, protegendo espaços de trabalho com pátios na vertical e funções públicas na praça horizontal.

AIRES MATEUS PUBLIC WORK SEDE CORPORATIVA DO GRUPO EDP

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AIRES MATEUS PUBLIC WORK SEDE CORPORATIVA DO GRUPO EDP

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249

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GROUND FLOOR PLAN

SECTION B

AIRES MATEUS PUBLIC WORK

01. Sandwich panel for sound absorption, “FTB” 75mm thick 02. Galvanized steel flashing strips welded in L 03. Waterproofing membrane, with paint,”BASF CONIROOF” 2mm 04. Reinforced mortar for slope formation, 70mm min. thick 05. HD mineral wool thermal insulation panels, 100mm 06. Vapour barrier in polyethylene film 07. Carpet layer 08. Pavement raised on calcium sulphate plates, 34mm thick 09. Steel base, adjustable height 10. Aglomex acoustic FR soundproofing, 40mm thick density 60kg/m3. 80% of pavement surface 11. Calcium silicate plates, 30mm 12. Forgings sheet compression layer 13. Pavement edging 50x50x3mm 14. Aglomex acoustic FR soundproofing, 40 mm thick, density 60kg/m3 15. Aluminium sheeting with structural below and recess system 16. Lighting reinforcement as per electrical instalation project 17. Continouos steel flatbars welded in L, 90x90 mm, 10mm thick 18. Ventilation duct with double outlet 19. Drop ceiling in aluminium expanded mesh opening of 65% 20. Sheet aluminium lining, 2mm 21. White prefab concrete cladding, 50mm 22. “GEBERIT - Pluvia” grating compatibile with waterproofing sheets 23. HD polypropylene base and adjustable, 100mm 24. Stainless steel sheet flashing, 1mm thick 25. Extruded polystryrene thermal insulation, 50 mm thick

26. Titanium zinc gutter, 2mm thick 27. Puncture resistant sheet, INTEMPER TENSOFELX 6 mm 28. PVC film, “INTEMPER RHENOFOL CV” 29. Protective felt, “INTEMPER FELTEMPER 300” 30. HD mineral wool insulation 31. Steel sheeting 32. Waterproofing membrane, “BASF CONIROOF” 2mm 33. Vapour barrier in polyethylene film 34. Plaster rendering reiforced with fibreglass 35. Titanium c zinc roof flashing 36. Breastplate with 50mm extruded polystyrene 37. Climbers anchorage: closed female stainless steel AISI 316 ring. 3mm stainless steel ring M12 AISI 316 stainless steel threaded rod, density 60kg/m3. 80% of pavement surface provision for vertical oscillation. 50mm mineral wool filling attached to stone cladding as per electricity project anchored o concrete with chemical bolt 38. Titanium zinc sheet wall finish 39. Vertical finish in titanium zinc sheet 40. Plywood panel bolted to suport structure, 12mm 41. Galvanized steel pipe to protect lifeline, Ø42.4 mm and 8mm thick 42. Galvanized steel supports 43. Shadecloth 44. Solid rectangular rods with blunt edges in 8mm thick galvanized steel, welded in L and attched to slab 45. GRC metal suspension system 46. GRC modular ceiling panels

47. Metal fixture with oval aperture to absorb possible slab warping 48. Separation panel for 12mm water-resistant MD particleboard provision for vertical oscillation.

50mm mineral wool filling 49. LED strip recessed in aluminium shapes attached to stone cladding as per electricity project 50. Vapour barrier 51. Extruded polystyrene thermal insulation, 50mm (grid area in slab excluded) 52. Geotextile filter 53. Reinforced mortar for slope formation 54. Polypropylene base with adjustable height and tilt, “Buzon- DPH” 55. Waterproofing membrane, “BASF CONIROOF” 2mm 56. Mortar levelling and slope formation 57. White marble tiling, 30mm 58. Drain grate 59. Laminated tempered glass, 12.12.4 60. Roods for attaching glass railing 61. Rectangular steel shape with rounded edged and welded, 12mm 62. Heat and soundproofing in mineral wool 63. Plywood top layer, 12mm 64. Titanium zinc flashing, 1mm 65. Carpet 66. Paving raised on 34mm calcium sulphate sheets 67. Steel base, adjustable height 68. White reinforced concrete slab 69. Outdoor paving

0

0.25

SEDE CORPORATIVA DO GRUPO EDP

1

34. 35. 36.

06.

05. 04. 03.

33. 05. 04. 32.

37.

39. 40.

38.

02.

41.

42.

01.

43.

253

14. 13.

12. 11. 10. 09. 08. 07.

44.

47.

48.

46.

45.

15. 11.

16.

17.

18.

19.

49. 51. 52. 53. 54. 55. 56. 57.

59.

60.

61.

62.

63.

64.

20.

23. 21. 22.

24.

25.

50.

58.

26.

27. 28. 29. 30. 31.

65. 66. 67. 68.

69.

2011-2012 257

CENTRO DE CONVÍVIO DA SANTA CASA DA MISERICÓRDIA DE GRÂNDOLA Grândola, Portugal

EN

The context and its distances, alignments and scale define the volume. The programme determines the project. A meeting centre for large gatherings or small groups on a day-to-day basis. The ceiling fulfils the brief with its variations and geometry.

A complete horizontal clearness unites the space as a whole, in opposition to the “weight” of the vertical voids. The support functions bring thickness to the outside wall. Its final image is determined by the interaction of the internal space with the occupied façade.

FR

Le contexte définit le volume par ses distances, ses alignements et son échelle. Le programme détermine le projet. Un centre de rencontres pour de grands rassemblements ou des petits groupes au quotidien. Le plafond répond au brief par sa variation et sa géométrie. Une clarté horizontale unit l’ensemble de l’espace, en opposition au “poids” des vides verticaux. Les fonctions de support donnent de l’épaisseur au mur extérieur.

Son image globale est déterminée par l’interaction de l’intérieur avec la façade aménagée.

PT

O contexto nas suas distâncias, alinhamentos, escala, definem o volume. O programa determina o projecto. Um centro de convívio para grandes reuniões ou pequenos grupos no dia-a-dia. O tecto, na sua variação e geometria responde ao programa. Uma completa transparência horizontal une todo o espaço, que como vivência se diferencia no “peso” dos vazios verticais. As funções de apoio dão espessura à parede exterior.

A sua imagem é determinada pela interacção do sistema espacial com a fachada habitada.

AIRES MATEUS PUBLIC WORK

CENTRO DE CONVÍVIO DA SANTA CASA DA MISERICÓRDIA DE GRÂNDOLA

259

SITE PLAN

0

50

250

AIRES MATEUS PUBLIC WORK CENTRO DE CONVÍVIO DA SANTA CASA DA MISERICÓRDIA DE GRÂNDOLA

A

5

D

0 1

261

D

B

GROUND FLOOR PLAN

SECTION B

0

0.25

AIRES MATEUS PUBLIC WORK CENTRO DE CONVÍVIO DA SANTA CASA DA MISERICÓRDIA DE GRÂNDOLA

1

01. 02. 03. 04. 05. 06.

07.

08.

09.

10.

11.

12.

265

13.

14.

15.

16.

17.

18.

20. 21. 04. 22. 23. 24.

01. Waterproof paint 02. Plaster 03. Filing and regularization screed 04. Thermal insulation 05. Waterproofing sheets 06. Lightweight filling 07. Cappotto system: expanded polystyrene high density with higher mechanical strength 08. Bracket angle in PVC with glass fibre nets for edge trim 09. Filing screed 10. Adhesive glue for the Cappotto system

19.

25. 26. 27. 28.

11. Concrete structure 12. Viero Robbialac cappotto system 13. Final smoother 14. Acoustic cladding system with 12,5mm simple gypsum board panel and rockwool 15. Steel profile 16. Pre-trated wooden to attach the drape rails 17. Steel profile to attach the drape rails 18. Drape rails blackout 19. Glazing, JOFEBAR 20. Finishing in polished marmorite, “TERRAZZO”

29. 30.

21. Floor screed 22. Reinforced concrete 23. Cupolex 20 cm height 24. Polyethylene film 25. Draining concrete 26. Drain 27. Compacted soil 28. Waterproofing membrane 29. Adjustment profile 30. Black precast concrete sidewalk

AIRES MATEUS PUBLIC WORK CENTRO DE CONVÍVIO DA SANTA CASA DA MISERICÓRDIA DE GRÂNDOLA

WEST ELEVATION

0 1

5

267

2014-2015 283

ARCHITECTURE FACULTY IN TOURNAI Tournai, Bélgica

EN

A building is constructed within a block of houses; it is decided to save three other buildings. Two of them are industrial buildings, the other is a former convent that served as a hospital. The new building is arranged in such a way that, whilst being in line with the pre-existing buildings, it highlights the urban spaces. Its development links all the other school buildings both horizontally and vertically. Inside it houses the large public functions of the large foyer and the auditorium, functioning as a passageway but also as a meeting place and the identity of the whole.

FR

Un bâtiment est construit dans un pâté de maisons; il est décidé d’en préserver trois autres. Deux d’entre eux sont industriels, l’autre est un ancien couvent qui a servi d’hôpital. Le nouveau bâtiment est disposé de telle sorte que, tout en s’inscrivant dans la continuité des bâtiments préexistants, il met en évidence les espaces urbains. Son développement relie horizontalement et verticalement tous les autres bâtiments scolaires. À l’intérieur, il abrite les grandes fonctions publiques du grand foyer et de l’auditorium, fonctionnant comme un passage mais aussi comme un lieu de rencontre et d’identité d’un ensemble.

PT

Constroi-se um edifício, no interior de um quarteirão onde se decide conservar outros três. Dois industriais e um antigo convento que funcionou como hospital. O novo edifício dispõese de uma forma que continuando os edifícios pré-existentes clarifica espaços urbanos. No seu desenvolvimento une na horizontal e vertical todos os outros edifícios da escola. No seu interior alberga as grandes funções públicas de grande foyer e o auditório, funcionando como passagem mas também o lugar de encontro e identidade de um todo.

AIRES MATEUS PUBLIC WORK

ARCHITECTURE FACULTY IN TOURNAI

285

SITE PLAN

0

20

100

0

2

AIRES MATEUS PUBLIC WORK ARCHITECTURE FACULTY IN TOURNAI

20

291

C B

A

GROUND FLOOR PLAN

SECTION C

AIRES MATEUS PUBLIC WORK

0 0.25

AIRES MATEUS PUBLIC WORK ARCHITECTURE FACULTY IN TOURNAI

1

293

01. 02.

02.

01.

05.

13.

12.

05.

08.

02.

12.

11. 04. 14. 08. 10. 09.

01. Gutter 02. Downpipe 03. Drop ceiling 04. Double plasterboard panel on metal structure 05. Gray gravel 06. Geotextile

07. Thermal insulation 08. Waterproofing 09. Lightweight concrete 10. Reinforced concrete structure 11. Continuos fair-faced concrete finishing 12. Smoothing mortar

13. Compacted soil 14. Double glazing metal frames painted in grey 15 Concrete finishing 16. Prefabricated concrete pavement 17. Compacted sand base for outdoor pavement 18 Drainage system with geotextile membrane

AIRES MATEUS PUBLIC WORK

ARCHITECTURE FACULTY IN TOURNAI

295

2015-2021 299

MUSÉE DE L’ELYSÉE ET MUDAC Lausanne, Switzerland

EN

The plan envisioned two museums. One for design, which needed a lot of light, and one for photography, in which the light had to be very controlled. The context it finds itself in places the centre of the museum hub in the public realm, on the big railway platform. The project intends to extend the public space into a very transparent interior. This space, which houses all the public activities other than the exhibitions, results from the design museum and the photography museum having been superimposed into one building. The volume houses the public activities, shaping the space between the two museums into a meeting of two topographies, the floor and the ceiling, touching at three points, thus organising the building both structurally and functionally. Surrounding it, the help desk and services are placed in a detached body that marks the end of the topography of the existing one, extending the gardens of the adjacent building to its roof. The whole reads like a wall that lightens up the public cube, a volume torn by a geological transparency.

FR

Le programme prévoyait deux musées. L’un de design, qui a besoin de beaucoup de lumière, et l’autre de photographie, dans lequel la lumière doit être très contrôlée. Le contexte de l’endroit place le centre du pôle de musée dans l’espace public, sur la grande plate-forme ferroviaire. Le projet prévoit d’étendre l’espace public à un intérieur très transparent. Cet espace, qui concentre toutes les activités publiques autres que les expositions, résulte de la superposition du musée de design et de celui de photographie. Le volume concentre les activités publiques, en concevant l’espace entre les deux musées comme la rencontre entre deux topographies, le sol et le plafond, qui se touchent en trois points, organisant ainsi le bâtiment sur le plan structurel et fonctionnel. Autour, les supports et services sont disposés dans un corps séparé qui termine la topographie du bâtiment existant, prolongeant les jardins du bâtiment annexe jusqu’à son toit.

L’ensemble se lit comme un mur qui détend le cube public, un volume déchiré par une transparence géologique.

PT

O programa previa dois museus. Um de design que necessita de muita luz e um de fotografia no qual a luz tem que ser muito controlada. A condição do lugar coloca o centro do polo museal no espaço público, na grande plataforma ferroviária. O projecto prevê estender o espaço público para um interior muito transparente. Este espaço que concentra todas as actividades públicas, que não são as exposições, resulta da compressão do museu de design sobre o de fotografia. Este volume concentra as actividades públicas, desenhando o espaço entre os dois museus como o encontro de duas topografias, do solo e do tecto, que se tocam em três pontos, resolvendo assim, estrutural e funcionalmente o edifício. Em volta deste, dispõem-se os apoios e serviços num corpo destacado que termina a topografia do existente, prolongando para a sua cobertura os jardins do edifício anexo. O conjunto lê-se como um muro que solta o cubo público, volume rasgado por uma transparência geológica.

AIRES MATEUS PUBLIC WORK

MUSÉE DE L’ELYSÉE ET MUDAC

301

SITE PLAN

0

50

250

AIRES MATEUS PUBLIC WORK MUSÉE DE L’ELYSÉE ET MUDAC

303

AIRES MATEUS PUBLIC WORK

0 2

AIRES MATEUS PUBLIC WORK MUSÉE DE L’ELYSÉE ET MUDAC

10

305

A

B

GROUND FLOOR PLAN

SECTION A

AIRES MATEUS PUBLIC WORK

01. Aluminium profile sheet 02. Blade roller blind 03. Fixed metallic frame 04. Thermal insulation, 260mm 5 Vapor barrier membrane 06. Sheet metal 07. Profiled sheet metal 08. Metallic structure support for the covering 09. Retro ceiling suspended for metallic structure 10. Gypsum board and plywood coating, 120mm 11. Metallic structure 12. Apparent white concrete 13. Thermal insulation, 200mm 14. Concrete structure 15. Finish with weatherproof fabric 16. Drainage membrane 17. Drainage gravel 18. Bituminous pavement 19. Precast concrete floor

20. Waterproofing sheets 21. Thermal insulation, 100mm 22. Topsoil 23. Metal handrails 24. Aluminium panels 25. Facade panels support structure 26. Thermal insulation, 250mm 27. Acoustic insulation, 20mm 28. Drop ceiling on expanded metal 29. Concrete slab with surface hardener 30. Thermal insulation, 60mm 31. Waterproofing 32. Geotextile sheets 33. Gravel, 100mm 34. Regulation screed 35. Lightweight concrete 36. Drain 37. Concrete blinding

19. 17. 20. 21. 05. 14.

22.

23.

24.

25.

27. 28.

14. 27. 29. 30.

26.

02.

03.

14.

31.

32.

17.

33. 17. 32. 31.

36. 14. 31. 37.

05. 21. 34. 35.

0

1

MUSÉE DE L’ELYSÉE ET MUDAC

5

01.

02.

03.

04.

05.

06.

07.

08.

309

08.

09.

11.

10.

12.

13.

14.

03.

15.

17. 18.

13.

16.

AIRES MATEUS PUBLIC WORK MUSÉE DE L’ELYSÉE ET MUDAC

SOUTH ELEVATION

0 2

10

MUSÉE DE L’ELYSÉE ET MUDAC

311

2003-2006 313

BIBLIOTECA CENTRAL E ARQUIVO MUNICIPAL DE LISBOA Vale de Santo António, Lisbon, Portugal

EN

The programme is very intricate and large, composed of multiple atmospheres, spaces and relationships, similarly to how a part of a city would be organised. Its ambition is exactly this urban relationship, where besides aiming to be a conventional building, it is a structure of urban spaces with all its hierarchies, its squares, passages and stairs... An urban system where all the spaces of the complex are interconnected from the outside, in the same way that a historical city such as Lisbon is. Imagining a city, composed of various levels, various environments, and various sizes of common spaces, which are open or enclosed by private programmes or different functions.

FR

Le programme est très complexe et grand, composé de diverses ambiances, espaces et relations, à l’instar d’un quartier. Son ambition est précisément cette relation urbaine, où, en plus de vouloir être un bâtiment conventionnel, il est une structure d’espaces urbains avec toutes ses hiérarchies, ses squares, ses passages, ses escaliers... Un système urbain où tous les espaces du complexe sont interconnectés de l’extérieur, à l’image d’une ville historique, comme l’est Lisbonne. Imaginer une ville, composée de différents niveaux, de différents environnements, et de différentes tailles d’espaces communs, qui sont ouverts ou entourés par des programmes privés ou de différentes fonctions.

PT

O programa é muito complexo e imenso, composto por múltiplas vivências, espaços e relações, como uma parte da cidade. A sua ambição é exatamente esta relação urbana, onde além de procurar ser um edifício convencional, é uma estrutura de espaços urbanos com todas as suas hierarquias, as suas praças, passagens, escadas... Um sistema urbano onde todos os espaços do complexo se interligam pelo exterior, à imagem de uma cidade histórica, como o é Lisboa. Imaginar uma cidade, composta de vários níveis, várias experiências, e várias escalas de espaços coletivos, que são abertos ou confinados por programas privados ou diferentes funções.

AIRES MATEUS UNBUILT WORK

315

SITE PLAN

0

100

500

A

AIRES MATEUS UNBUILT WORK

B

A

10TH FLOOR PLAN

B

9TH FLOOR PLAN

0

10

BIBLIOTECA CENTRAL E ARQUIVO MUNICIPAL DE LISBOA

25

A

317

B

A

5TH FLOOR PLAN

B

GROUND FLOOR PLAN

AIRES MATEUS UNBUILT WORK

0

10

25

BIBLIOTECA CENTRAL E ARQUIVO MUNICIPAL DE LISBOA

319

SECTION A

2006 325

CENTRO DI SVILUPPO PATRIMONIO E ATTIVITÀ CULTURALE DI BENEVENTO Benevento, Italy

EN

FR

PT

The true nature of the relationship between positive and negative space is that of complementary entities, both endowed with a name and a meaning; they are shapes.

La véritable nature de la relation entre le plein et le vide est celle d’entités complémentaires, toutes deux dotées d’un nom et d’un sens; ce sont des formes.

A vedadeira natureza da relação entre o cheio e vazio é a decorrente entre entidades complementares, ambas dotadas de um nome e de um sentido, são formas.

The intervention is located in a space restricted between the absence of the Roman amphitheatre and the buildings along the via Torre Della Catena. This interstice is occupied by a compact volume, whose materiality cancels out the temporal difference between its boundaries and whose mass evokes the density of the historical city. A volume that draws itself in the confrontation between reality and the meeting of different time periods. On the side of the Roman amphitheatre, the limit is formed by the reconstruction, the elliptical development of the façade, endowing it with the memory of what was once built there.

Like a fossil, the building will reproduce the negative of a past reality reconstructed in the only possible way, by celebrating its absence. On the opposite side, the building is designed in a homothetic way with respect to the existing volumes, reproduced in the body itself as negative archetypes. On the ground floor, public spaces are “excavated” to connect to the archaeological area and the urban façade. On the upper floors, a similar operation produces a system of positive and negative spaces that limit each other, generating relationships between the inside of the building and its surroundings with various degrees of impermeability

L’intervention est située dans un lieu restreint entre l’absence de l’amphithéâtre romain et les bâtiments de la via Torre Della Catena. Cet interstice est occupé par un volume compact, dont la matérialité annule la différence temporelle entre ses limites et dont la masse évoque la densité de la ville historique. Un volume qui se trace dans la confrontation entre la réalité et la rencontre d’époques différentes. Du côté de l’amphithéâtre romain, la limite est formée par la reconstruction, le développement de la façade de forme elliptique, ce qui lui confère la mémoire de ce qui existait à cet endroit. Comme un fossile, le bâtiment reproduira le négatif d’une réalité du passé, reconstruite de la seule manière possible, en célébrant son absence. De l’autre côté, le bâtiment est conçu en homothétie par rapport aux volumes existants, reproduits dans le corps lui-même comme des archétypes négatifs. Au rez-de-chaussée, les espaces publics sont “creusés” pour se connecter à la zone archéologique et à la façade urbaine. Aux étages supérieurs, une opération similaire produit un système d’espaces pleins et vides qui se limitent mutuellement, générant, à divers degrés d’imperméabilité, des relations entre l’intérieur du bâtiment et son environnement.

A intervenção coloca-se num espaço comprimido entre a ausência do anfiteatro romano e as edificações ao longo da via Torre Della Catena. Este interstício é ocupado por um volume compacto, cuja materialidade anula a diferença temporal entre os seus limites e a sua massa evoca a densidade própria da cidade histórica. Um volume que se desenha no confronto entre realidade e encontros de tempos diferentes. Do lado do anfiteatro romano o limite é formado pela reconstrução, do desenvolvimento eliptico da fachada, que lhe confere a memória do que ali esteve construído. Como um fossil, o edifício reproduzirá o negativo de uma realidade passada reconstruída no único modo possível, celebrando a sua ausência. Do lado oposto, o edifício desenha-se de uma forma omotética em relação aos volumes existentes, reproduzidos no próprio corpo como arquétipos negativos. No piso térreo “escavam-se” espaços públicos que se ligam à área arqueológica e à frente urbana. Nos pisos superiores, uma operação similar produz um sistema de cheios e vazios, que se limitam reciprocamente, gerando, em vários graus de premeabilidade, relações entre o interior do edifício e o seu entorno.

AIRES MATEUS UNBUILT WORK CENTRO DI SVILUPPO PATRIMONIO E ATTIVITÀ CULTURALE DI BENEVENTO

327

SITE PLAN

0

100

500

SECTION C

AIRES MATEUS CENTRO DI SVILUPPO PATRIMONIO E ATTIVITÀ CULTURALE DI BENEVENTO

50

B

10

A

0

331 C D

GROUND FLOOR PLAN

SECTION D

AIRES MATEUS UNBUILT WORK

EAST ELEVATION

0

10

50

CENTRO DI SVILUPPO PATRIMONIO E ATTIVITÀ CULTURALE DI BENEVENTO

333

2006 335

TOWER AT DUBAI Dubai, Emirados Árabes Unidos

EN

The programme is extensive: a shopping centre, two hotels, residential areas, various types of offices. The location is an area in Dubai, among extravagant buildings and constructions that are in constant change. The project suggests the creation of a place, a way of looking at the surroundings from a certain spot. Space is defined at various scales, with an overall symbolic meaning, creating “paradises” around it. The height is determined based on what the programme allows. The goal of achieving the status of an icon is pursued through the use of architecture. Two analogous towers, very open, like blades, parallel, misaligned, with gazes crossing, towards the outside.

The image stems from the constructive possibilities, pushing the limits, a structural grid, varying in density thanks to its structural possibilities and its function.

FR

Le programme est vaste: un centre commercial, deux hôtels, des zones résidentielles, différents types de bureaux. L’endroit est un quartier de Dubaï, parmi des bâtiments et des constructions extravagantes qui changent constamment. Le projet propose la création d’un lieu, une façon de regarder les alentours à partir d’un endroit. L’espace est défini à différentes échelles, symboliques dans l’ensemble, créant des “paradis” de proximité.

La hauteur est déterminée selon ce que le programme permet.

Une valeur iconique est recherchée à partir de l’utilisation de l’architecture. Deux tours analogues, très ouvertes, comme des lames, parallèles, déphasées, croisant les regards, vers l’extérieur. L’image naît de la possibilité constructive, poussée aux limites, une grille structurelle, d’une densité fluctuante grâce à ses possibilités structurelles et sa fonction.

PT

O programa é imenso: um centro comercial, dois hoteís, áreas residenciais, várias tipologias de escritórios. A localização, uma área no Dubai, entre edifícios e construções extravagantes e em constante mutação. O projecto propõe a criação de um lugar, uma forma de olhar o entorno a partir de um sítio.

Define-se espaço a várias escalas, simbólico no todo, criando “paraísos” na proximidade. A altura é encontrada a partir do que o programa permite. Busca-se um valor icónico partindo do uso da arquitectura. Duas torres análogas, muito abertas, como lâminas, paralelas, desfasadas, cruzando olhares, para o exterior. A imagem decorre da possibilidade construtiva, no limite, uma grelha estrutural, variadamente densa pela possibilidade estrutural e pela sua função.

AIRES MATEUS UNBUILT WORK

TOWER AT DUBAI

337

SITE PLAN

0

250

1000

AIRES MATEUS UNBUILT WORK TOWER AT DUBAI

SECTION A

0

10

50

343

2007-2011 345

MUSEU DE ARQUITECTURA DE LISBOA Mitra, Lisbon, Portugal

EN

The pavilion structure is continued, aligned with the existing building, turning two units into a single block of lioz stone. The inside is interpreted as a whole, a feature that is simultaneously the starting and ending point of the project. The space is defined in the tension between positive and negative, in which the physical limitation of spaces and pathways consequently also shapes the spaces that they are surrounded with. The reading of an abstract space is progressively suggested, from the periphery towards the centre, as the references of scale that the space’s different functions entail are lost. Natural lighting is provided from the roof. Taking advantage of the structural system, impossible-looking lanterns are present.

The ones that provide light on the basement floor are facing one way, those that light up the ground floor are directed the other way.

The upper floor is lit by the hovering light reflected from below.

FR

La structure du pavillon est poursuivie, en continuation du bâtiment existant, en tournant deux unités en un seul bloc de pierre de lioz.

L’espace intérieur est compris comme un tout, une valeur qui est simultanément le point de départ et d’arrivée du projet. L’espace est défini dans la tension entre le positif et le négatif, dans laquelle la limitation physique des espaces et des chemins façonne également, en conséquence, les espaces qui les entourent.

La lecture d’un espace abstrait est suggérée progressivement, allant de la périphérie vers le centre, à mesure que se perdent les repères d’échelle qu’impliquent les différentes fonctions de l’espace. L’éclairage naturel est assuré par le toit. En tirant parti du système structurel, des lanternes qui paraissent impossibles sont installées. Celles qui éclairent le sous-sol sont tournées vers un sens, et celles qui éclairent le rez-de-chaussée sont tournées vers l’autre. L’étage supérieur est éclairé par la lumière planante réfléchie par le bas.

PT

Continua-se a estrutura pavilhonar, no alinhamento, refazendo duas unidades como um bloco de pedra lioz. O espaço interior é entendido como um todo, um valor que é simultaneamente ponto de partida e de chegada do projeto. O espaço define-se numa tensão entre positivo e negativo, em que a limitação física de espaços e percursos modela também, por consequência, os espaços que com eles confinam. A leitura de um espaço abstrato é sugerida progressivamente, da periferia para o centro, à medida que se vão perdendo as referências de escala que os usos comportam. A iluminação natural é feita a partir da cobertura. Tirando partido do sistema estrutural abrem-se lanternins aparentemente impossíveis. Num sentido abrem-se os que iluminam o piso em cave, no outro sentido os que iluminam o piso térreo. O piso superior é iluminado pela luz que paira, refletida a partir de baixo.

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PARQUE DE LOS CUENTOS EN MÁLAGA Málaga, Spain

EN

In the presence of a legacy of unquestionable dignity, despite its dilapidated state, it has been decided to protect it and to elect it as the protagonist of a programme and an image. The Convent of the Trinidad de Málaga receives all the exhibition areas of the new “Parque de los Cuentos”. The compartments and welcoming spaces that prepare the visit are created: an impossible entrance, cut off at the base of an existing building; a tense corridor that is distanced by the shape of everyday spatial codes; a protected void, removed from reality, in the shape of a dome that intercepts another one. It lets in the light, and relates itself scenographically to the walls of the old convent. The surprise having been prepared; the time is now for the climb to the existing cloister – another void.

FR

En la présence d’un patrimoine d’une dignité incontestable, malgré son état de délabrement, il a été décidé de le protéger et de l’élire comme protagoniste d’un programme et d’une image. Le couvent de la Trinité de Malaga reçoit tous les espaces d’exposition du nouveau “Parque de los Cuentos”.

Les compartiments et les espaces accueillants qui préparent la visite sont créés: une entrée impossible, découpée dans la base d’un bâtiment existant; un couloir tendu et en écart des formes des codes spatiaux quotidiens; un vide protégé, soustrait à la réalité, en forme de dôme qui en intercepte un autre. Il laisse entrer la lumière et se rattache scénographiquement aux murs de l’ancien couvent. La surprise ayant été préparée, maintenant une montée vers le cloître existant – également un vide.

PT

Na presença de um legado de dignidade inquestionável, apesar de degradado, opta-se por protegê-lo e elegê-lo como protagonista de um programa e de uma imagem. O convento da Trinidad de Málaga recebe todas as áreas expositivas do novo “Parque de los Cuentos”. Criam-se os compartimentos e espaços de acolhimento que preparam a visita: uma entrada impossível, cortada na base de um edifício existente; um corredor tenso que se afasta pela forma dos códigos espaciais quotidianos; um vazio protegido e afastado da realidade, em forma de cúpula que intercepta outra. Deixa entrar a luz, e relaciona-se cenograficamente com as paredes do antigo convento. Estando a surpresa preparada, a subida para o claustro existente, também ele outro vazio.

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HOTEL DO BARROCAL Herdade do Barrocal, Monsaraz, Portugal

EN

A fascinating territory given its natural condition and humanisation, it conditions the project in its serene and secular development. This organisation of the land also finds its roots in cultural tradition, identifying the enormous emptiness in the granite quarry as an opportunity, which provides key ideas for its design. Similar to Monte Alentejano, the hotel is generated by the willingness to contain an enclosure and imprison a space. It puts the emphasis on water as an essential resource in the hotel’s construction, creating a liquid central platform, establishing a kind of “ground zero”, articulating the common spaces with the surrounding landscape. A rectangular ring at a higher level, either supported on the ground or floating, regulates the perimeter of the intervention, cutting into the sky and housing all the spaces facing the best quadrant.

FR

Un territoire fascinant grâce à sa condition naturelle et son humanisation conditionne le projet dans son développement serein et séculaire. Une gestion du territoire qui trouve également ses racines dans la tradition culturelle, identifie l’énorme vide de la carrière de granit comme une opportunité, qui fournit des clés pour son design. Comme le Monte Alentejano, l’hôtel est généré par la volonté de contenir une enceinte et d’emprisonner un espace.

Il met l’accent sur l’eau en tant que ressource essentielle pour la construction de l’hôtel, créant une plateforme centrale liquide, établissant une sorte de “niveau zéro”, articulant les espaces communs avec le terrain environnant. Un anneau rectangulaire situé à un niveau supérieur, appuyé sur le sol ou flottant, contrôle le périmètre de l’intervention, se découpant dans le ciel et abritant tous les espaces orientés vers le meilleur quadrant.

PT

Um fascinante território pela sua condição natural e pela sua humanização, condiciona o projecto neste seu desenvolvimento sereno e secular. Uma gestão do território que encontra também raízes na tradição cultural, identifica o enorme vazio na pedreira de granito como uma oportunidade, que fornece pistas para o seu desenho. Semelhante ao Monte Alentejano, o hotel é gerado pelo impulso de conter um recinto e aprisionar um espaço.

Enfatiza a água como recurso essencial na construção do hotel, criando uma plantaforma liquida central, estabelecendo uma espécie de “cota zero”, articulando os espaços sociais com o terreno envolvente. Um anel rectangular a um nível superior, apoiado na terra ou flutuando regulariza o perimetro da intervenção recortando no céu e albergando todos os espaços virados para o melhor quadrante.

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ATRIO DE LA ALHAMBRA Alhambra, Granada, Portugal

EN

The arrival is transformed, beginning the tour in a topographic, landscaping and architectural device. The intervention is topographic, as was the choice of the position of the Alhambra and the construction of large plateaus. Its landscaping intervention is seen in the transformation of these plateaus into large gardens, which hide or protect the entire construction. The intervention is also architectural, managing ceilings that individualise spaces or maintain a functional continuity. A distinction is made between the spaces and ceilings not supported by floors, that are central and function as a courtyard and the others that are supported and are the boundaries, construction of the spaces perceived as closed.

FR

L’arrivée est transformée, commençant la visite dans un dispositif topographique, paysager et architectural. L’intervention est topographique, tout comme le choix de la position de l’Alhambra et la construction de grands plateaux. Il s’agit d’un aménagement paysager dans la transformation des plateaux en grands jardins, qui cachent ou protègent l’ensemble de la construction. L’intervention est également architecturale, gérant dans cette construction des plafonds qui rendent uniques les espaces ou maintiennent une continuité fonctionnelle. Une distinction est faite entre les espaces et plafonds sans appui au sol, centraux, qui fonctionnent comme une cour, et les autres, qui sont appuyés et constituent la limite, la construction des espaces perçus comme fermés.

PT

Transforma-se a chegada, iniciando a visita num dispositivo topográfico, paisagístico e arquitectónico. A intervenção é topográfica, como foi a eleição da posição do Alhambra e a construção de grandes plateaux. É paisagistico na tranformação destes em grandes jardins, que escondem ou protegem toda a construção. É arquitectónico gerindo nesta construção tectos que individualizam espaços ou, mantém uma continuidade funcional.

Distingue-se os espaços, tectos, sem apoios no chão, centrais que funcionam como um pátio e os outros que se apoiam e são limite, construção, espaços percebidos como fechados.

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MUSLIM CENTER OF BORDEAUX Bordeaux, France

EN

The Islamic Centre presents itself to urban life and the community through its transparency and horizontal porosity. Soft lines develop the natural topography. With a symbolic dimension, it connects to the firmament, the intuitive aspiration of contemplation, in a vertical way. The continuous movement connects the horizontal and vertical elements with diffused light, and all aspects of life unite in this absolute space. The design of the building is the result of all the functions that are inside: the ground floor, with its main entrances, shops and all the services. The top floor, open to the sky through patios calling for introspection, houses the work areas, the library, the administration part, as well as the panoramic restaurant.

Between the two, on a mild topography, the main meeting rooms occupy and take advantage of the luminous space.

FR

Le centre islamique se présente à la vie urbaine et communautaire par sa transparence et sa porosité horizontale. Des lignes douces développent la topographie naturelle. Avec une dimension symbolique, il se connecte verticalement au firmament, aspiration intuitive de la contemplation. Le mouvement continu relie l’horizontal et le vertical dans une lumière diffuse, et tous les aspects de la vie s’unissent dans cet espace absolu. Le design du bâtiment est le résultat de toutes les fonctions qui se trouvent à l’intérieur: le rez-de-chaussée, avec ses entrées principales, les magasins et tous les services. Le dernier étage, ouvert sur le ciel par des patios invitant à l’introspection, abrite les espaces de travail, la bibliothèque, l’administration, ainsi que le restaurant panoramique.

Entre les deux, sur une topographie douce, les principales salles de réunion occupent et profitent de l’espace lumineux.

PT

O Centro Islâmico apresenta-se à vida urbana e da Comunidade pela sua transparência e sua porosidade horizontal. Linhas suaves Desenvolver a topografia natural. Com uma dimensão simbólica , ele se conecta ao firmamento , aspiração intuitivo da contemplação no sentido vertical. O espaço totalidade passe . O movimento contínuo conecta a horizontal e a vertical na luz difusa , e todos os aspectos da vida unem-se neste espaço absoluto . O design do edifício é o resultado de todas as funções Que estão dentro : o piso térreo, com suas principais entradas, as lojas e todos os serviços . O último piso , aberto no céu através claustros convidam à introspecção , conter as áreas de trabalho , a biblioteca , a administração , bem como o restaurante panorâmico. Entre os dois , em uma topografia doce, as principais salas de reuniões ocupar e aproveitar o espaço luminoso .

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THE ART MUSEUM OF THE 20TH CENTURY IN BERLIN Berlin, Germany

EN

FR

It is in the link between the past and the future that the proposal materialises: constructing the building and the urbanity of the times ahead, with a view on the buildings of the past that surround it and summon it.

C’est dans le lien entre le passé et le futur que se concrétise la proposition: construire le bâtiment et l’urbanité du temps à venir, avec une vue sur les bâtiments du passé qui l’entourent et l’appellent.

A solid construction that reflects the weight and density of its mission and, at the same time, the attraction of a void to be inhabited. A building that isolates itself and opens itself to the world.

Une construction solide qui est le reflet du poids et de la densité de sa mission et, en même temps, l’attraction d’un vide à habiter. Un bâtiment qui s’isole et qui s’ouvre sur le monde.

The first basement level is entirely public, housing all the large exhibition areas in a large enclosure. This level also establishes the connection to the Neue National Gallery.

Le premier niveau au sous-sol est entièrement public, recevant dans une grande enceinte tous les grands espaces d’exposition. Ce niveau établit également la connexion avec la Neue National Gallery.

An inner square, the central moment of the project, is located in the architectural vortex of the building as the culmination of the exterior route. The constructed limit of the urban space, freed up by the suspension of the building and defined as the new centre.

A void expecting to be filled, calling to be inhabited by the city, by History, by the buildings that observe it, by the ancestral tree that awaited its framing.

Une cour intérieure, moment central du projet, est située dans le vortex architectural du bâtiment comme point culminant du parcours extérieur. La limite construite de l’espace urbain, libéré par la suspension du bâtiment et qui se définit comme le nouveau centre.

Un vide en attente, invitant à être habité par la ville, par l’Histoire, par les bâtiments qui l’observent, par l’arbre ancestral qui attendait son encadrement.

PT

É no elo que liga o passado e o futuro que a proposta se concretiza: construir o edifício e a urbanidade do tempo que virá, fixando os olhos nos edifícios do passado que o circundam e convocam.

Uma construção maciça que manifesta o peso e a densidade da sua incumbência e, em paralelo, a atracção de um vazio por habitar. Um edifício que se isole e que se abra ao mundo.

O primeiro nível em subsolo é totalmente público recebendo num grande recinto todas as grandes áreas expositivas. Nesse nível é também estabelecida a conexão à Neue National Gallery.

Uma praça interior, momento central do projecto, situada no vórtice arquitectónico do edifício como culminar do percurso exterior. O limite construído do espaço urbano libertado pela suspensão do edifício e que se define como novo centro.

Vazio expectante, convidando a ser habitado pela cidade, pela História, pelos edifícios que o observam, pela árvore ancestral que aguardou o seu enquadramento.

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MUSÉE DES AUGUSTINS À TOULOUSE Toulouse, France

EN

The Musée des Augustins overlaps the Convent des Augustins throughout history. The charm of the museum lies in this symbiosis where the value of the works of art and the museographic itinerary are inseparable from the spatial context of the convent. The new entrance of the museum will also be the new door of the convent: it should clearly open to the city and at the same time turn to the cloister with serenity, respecting the spatial values of the convent.

The new composition occupies the old southern wing of the cloister, recovering the dimension of the disappeared Chapelle de l’Ecce homo. It aims to restore the ancient matter and distance, currently too fragile, between the convent and the city. This volume brings back thickness to the south wing and reopens its connections, according to the original composition of the cloister.

The entrance to the museum is very clear, marked by an opening to which the visitor inevitably turns. This opening reveals a deep and mineral void, which leads the visitor to the cloister. The orientation of the space established the longest possible trajectory between the city and the cloister, a path whose distance is capable of producing an effect of desire. The path is enhanced by an almost imperceptible slope that flows subtly from the entrance towards the cloister, relating all the different altimetries in a subtle and natural way.

On the cloister side, two ancient passages are reopened and illuminate the gallery. The first one, a monumental ogival arch, is completely recovered, now creating a passage between the new building and the convent. The second, an arch, becomes a window, bringing light into the building and creating a subtle visual discovery of the cloister from the entrance area. The big entrance, with a gabled roof, also communicates with a smaller space that monumentalises the facade of the adjacent building, allowing the light reflected by the bricks to invade the space.

Above the cloister gallery, the sober presence of a wall dominates the cloister, protecting it from the sights and sounds of the city and reaffirming its monumental and timeless singularity. With a subtle separation from the existing buildings, the project occupies its place in history, respecting the conditional assets and standing out serenely from all historical references. In a contemporary city immersed in images, movements and noise, the new entrance is a void to which the visitor will naturally turn, attracted by the flow that voids - rarely this evident - are capable of inspiring.

FR

PT

Le Musée des Augustins se superpose au Couvent des Augustins à travers l’histoire. Le charme du musée réside dans cette symbiose où la valeur des œuvres présentées et le parcours muséographique proposé sont inséparables du contexte spatial du couvent. La nouvelle entrée du musée sera la nouvelle porte du couvent: elle devra s’ouvrir à la ville avec évidence et se tourner vers le cloître sereinement, tout en respectant les valeurs spatiales dont la structure conventuelle est dépositaire.

O Musée des Augustins sobrepõe-se ao Couvent des Augustins ao longo da história. O charme do museu reside nesta simbiose onde o valor das obras expostas e o percurso museográfico são inseparáveis do contexto espacial do convento. Nesse sentido a nova entrada do museu será também a nova porta do convento: esta deverá abrir-se à cidade de forma evidente e virar-se para o claustro serenamente, respeitando os valores espaciais dos quais a estrutura conventual é depositária.

La composition s’inscrit dans l’espace de l’ancienne aile sud du cloître, reprenant l’épaisseur et la hauteur de la chapelle disparue de l’Ecce homo, afin de renouveler la matière et la distance, aujourd’hui trop fragiles, à la limite entre le couvent et la ville. Le volume redonne de cette façon une épaisseur à l’aile sud et rouvre ses communications, en accord avec la composition ancienne du cloître.

A composição inscreve-se no espaço da antiga ala sul do claustro, recuperando as dimensões da desaparecida Chapelle de l’Ecce homo, de modo a renovar a matéria e a distância, atualmente demasiado frágeis, no limite entre o convento e a cidade. O volume devolve desta forma uma espessura à ala sul e reabre as suas comunicações, de acordo com a composição antiga do claustro.

L’entrée du musée est évidente, marquée par une ouverture vers lequel inévitablement le visiteur se tournera. La voûte en mitre révèle un espace qui constitue le nouveau seuil d’entrée du musée.

L’orientation de l’espace, qui fait écho à l’oblique de l’aile ouest attenante au réfectoire, établit le plus long chemin possible entre la ville et le cloître, un parcours qui dans la distance est capable de produire un effet de pause attendu et désiré. L’accueil est une ouverture minérale et profonde qui dilate le seuil d’entrée en le transformant en espace, un vide débouchant sur la grande arcade en tiers-point ouvrant jadis sur la galerie du cloître, aujourd’hui murée. La direction du parcours est également renforcée par une pente presque imperceptible qui, à partir de l’entrée, s’écoule subtilement vers le cloître mettant en relation l’ensemble des différentes altimétries d’une façon subtile et naturelle.

A entrada do museu é evidente, marcada por uma abertura para o qual o visitante inevitavelmente se vira. Esta abertura revela um vazio mineral e profundo, que conduz o visitante até ao claustro.

A orientação do espaço relaciona-se com a adjacente ala oblíqua do refeitório, estabelecendo o percurso mais longo possível entre a cidade e o claustro, um percurso que na sua distância seja capaz de produzir um efeito de uma pausada espera e desejo. A direção do percurso é ainda reforçada por uma pendente quase impercetível que, a partir da entrada, flui subtilmente em direção ao claustro, colocando em relação todas as diferentes altimetrias de modo subtil e natural.

Une composition d’ouvertures est tracée: côté cloître, les deux baies rouvertes éclairent la galerie, tandis que la porte aménagée par Y. Boiret, à son extrémité est, est maintenue en place et isolée de l’ensemble de l’accueil créé. La première baie, le grand arc ogival, est entièrement rouverte, offrant ainsi l’accès depuis l’accueil à la galerie du cloître. La seconde porte est transformée en fenêtre, point d’éclairage et de subtile découverte visuelle du cloître depuis l’accueil. Le grand espace en mitre forme une échappée qui monumentalise le pignon de l’escalier Darcy et se laisse envahir par la lumière reflétée de son appareillage de briques.

Au-dessus de la galerie du cloître, la présence sobre d’une muraille domine le cloître, le protège des vues et des bruits de la ville, tout en affirmant sa singularité monumentale dans une inscription architecturale évidente entre le bâtiment “toulousain” de l’aile est et la construction historiciste du musée que l’on doit à Viollet-le-Duc. La simplicité de la réponse au programme (l’accueil et le portail d’entrée) et sa délicate insertion dans le site, constituent un trait d’union entre deux architectures contrastées; la proposition contemporaine d’une part et le l’ancien déjà bâti de l’autre. Le subtil détachement de l’architecture contemporaine venant s’emboîter dans la place qui lui a été attribuée par l’histoire permet de respecter les contraintes patrimoniales du Musée des Augustins, tout en se détachant sereinement de toute référence historique. Dans une ville contemporaine dense en images, mouvements et bruits, l’entrée proposée est un vide vers lequel le visiteur se tournera naturellement, dans un flux naturel que les vides - rarement si évidents- sont capables de susciter.

Do lado do claustro, dois vãos murados são reabertos e iluminam a galeria. O primeiro vão, um grande arco em ogiva, é completamente reaberto, funcionando como ponto de passagem entre o novo edifício e o convento. O segundo arco é transformado em janela, ponto de iluminação e de subtil descoberta visual do claustro a partir da zona de entrada. O grande espaço em duas águas da entrada comunica ainda com um segundo mais pequeno que monumentaliza a empena do edifício adjacente deixando-se invadir pela luz refletida nos tijolos.

Por cima da galeria do claustro, a presença sóbria de uma muralha domina o claustro, protegendo-o das vistas e dos ruídos da cidade e reafirmando a sua singularidade monumental e intemporal. Descolando-se subtilmente de todos os edifícios existentes, a proposta preenche o lugar que lhe foi atribuído pela história respeitando as condicionantes patrimoniais e destacandose serenamente de todas as referências históricas. Numa cidade contemporânea densa em imagens, movimentos e ruídos, a entrada proposta é um vazio para o qual o visitante se virará naturalmente, atraído pelo fluxo que os vazios – raramente tão evidentes – são capazes de suscitar.

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THE GRAND EGYPTIAN MUSEUM Cairo, Egypt

EN

The project begins with a careful examination of the site and its surroundings. The legacy of Ancient Egypt cannot be detached from the site’s natural conditions. However, throughout the years, the subtle alteration of these conditions has left markings on the site that merge with its original patrimonial remains. The Giza plateau was built in a short period of time. No matter how much the morphology of the site is linked to a precise historical moment, the elapsing of five thousand years has inevitably produced a considerable redefinition of its identity. Unlike any other place in the world, here time is a reality that becomes almost palpable and seems to have been absorbed by the porosity of materials. Insofar as it is a unique world heritage patrimony, the site is also a concept immersed in a process of discrete and continuous adjustments. The present moment constitutes an exceptional opportunity for reflecting on the heritage of this civilisation. If such patrimonial legacy is a silent accumulation of traces from a rich past, it is also the locus in which we begin to discover possible clues of its future.

Located in the exceptional geography of the desert, the enormous volumes of the pyramids undoubtedly constitute a territorial landmark. In comparison with their relatively rarefied surroundings and a predominantly horizontal landscape, these enormous masses seem to reach the almost impossible dimension of cosmic phenomena: the earth, the sky and the stars.

At first, the pyramids can be perceived as individual objects, which give character to their surrounding territory above any other elements. Nevertheless, a more careful reading reveals the existence of the remains of a large monumental complex around them. The pyramids are in fact the visible apexes of a vast subterranean world that can only partially be revealed and understood. Although they possess an irreplaceable and universally recognised iconographic value, the pyramids are far from exhausting the meaning of an entire civilization. In light of more gradual approach of the site, the pyramids represent a first stimulus, and offer an irresistible allure, which should become an invitation to broadening our knowledge, rather than a barrier.

A careful comprehension of the site then requires a continuous dialogue between architecture and archaeology, building and remains, built masses and voids, that which is visible and the invisible. The site’s identity is established through in an almost paradoxical relation between the site’s sublime evidence and subtle evanescence.

The proposal adopts this delicate balance as the premise and goal for intervention. Instead of pursuing any direct formal analogy with the pyramids, the project’s aim is to establish a conceptual continuity with the present system. This is achieved through logic of complementarities: the definition of a line directs attention towards a point; the opening of a depression is juxtaposed to an emergence; the suggestion of a void induces a construction.

The project proposes to establish a precise relation with the territory and its most significant signs of occupations.

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Le projet commence par un examen attentif du l’endroit et de son environnement. L’héritage de l’Égypte ancienne ne peut être dissocié des conditions naturelles du site. Cependant, au fil des années, l’altération subtile de ces conditions a laissé des marques qui se confondent avec ses vestiges patrimoniaux originaux. Le plateau de Gizeh a été construit en un temps très court. Peu importe que la morphologie de l’endroit soit liée à un moment historique précis, l’écoulement de cinq mille ans a inévitablement produit une redéfinition considérable de son identité. Contrairement à tout autre lieu dans le monde, le temps est ici une réalité qui devient presque palpable et qui semble avoir été absorbée par la porosité des matériaux. Dans la mesure où il s’agit d’un patrimoine mondial unique, le site est aussi un concept plongé dans un processus d’ajustements discrets et continus. Le moment présent constitue une occasion exceptionnelle de réfléchir à l’héritage de cette civilisation. Si cet héritage patrimonial est une accumulation silencieuse de traces d’un riche passé, il est aussi le lieu où l’on commence à découvrir les indices possibles de son avenir.

O projeto começa com uma análise cuidada do local e da sua envolvente. O legado do Antigo Egito não pode ser separado das condições naturais do local. Contudo, ao longo dos anos, a alteração subtil destas condições deixou as suas marcas no local, que se fundem hoje com o existente patrimonio original.

O planalto de Gizé foi construído num curto período de tempo.

Por mais que a morfologia do local esteja muito ligada a um momento histórico preciso, a passagem de cinco mil anos produziu inevitavelmente uma considerável redefinição da sua identidade. Ao contrário de qualquer outro lugar no mundo, aqui o tempo é uma realidade que se torna quase palpável e que aparenta ser absorvida pela porosidade dos materiais. Na medida em que é um património mundial único, o local é também um conceito imerso num processo de discretos e contínuos ajustes. O momento presente constitui uma oportunidade excecional para refletir sobre o património desta civilização. Se tal legado patrimonial é um silencioso acumular de vestígios de um passado rico, é também o lugar onde começamos a descobrir possíveis pistas para o seu futuro.

Situés dans la géographie exceptionnelle du désert, les énormes volumes des pyramides constituent sans aucun doute un repère territorial. Par rapport à leur environnement relativement raréfié et à un paysage majoritairement horizontal, ces énormes volumes semblent atteindre une dimension presque impossible des phénomènes cosmiques: la terre, le ciel et les étoiles.

Situado na geografia excecional do deserto, os enormes volumes das pirâmides constituem sem qualquer tipo de dúvida um marco territorial. Em comparação com as suas áreas circundantes relativamente rarefeitas e com a paisagem predominantemente horizontal, estas enormes massas parecem atingir a dimensão quase impossível de fenómenos cósmicos: a terra, o céu e as estrelas.

Dans un premier temps, les pyramides peuvent être perçues comme des objets individuels, qui donnent du caractère au territoire qui les entoure avant tout autre élément. Néanmoins, une lecture plus attentive révèle l’existence des vestiges d’un grand complexe monumental autour d’elles. Les pyramides sont en effet les sommets visibles d’un vaste monde souterrain qui ne peut être que partiellement révélé et compris. Bien qu’elles possèdent une valeur iconographique irremplaçable et universellement reconnaissable, les pyramides sont loin d’être l’unique représentation de toute une civilisation. Dans l’optique d’une approche plus progressive de l’endroit, les pyramides représentent un premier stimulus qui séduit d’une façon irrésistible, ce qui par la suite devrait devenir une invitation à élargir nos connaissances, plutôt qu’une barrière.

Une compréhension attentive de l’endroit exige alors un dialogue continu entre architecture et archéologie, bâtiment et vestiges, masses bâties et vides, entre ce qui est visible et l’invisible. L’identité de l’endroit s’établit dans une relation presque paradoxale entre la sublime évidence du site et sa subtile évanescence.

La proposition adopte cet équilibre délicat comme prémisse et objectif de l’intervention. Au lieu de rechercher une analogie formelle directe avec les pyramides, le projet vise à établir une continuité conceptuelle avec le système actuel. Ceci est réalisé à travers une logique de complémentarités: la définition d’une ligne dirige l’attention vers un point; l’ouverture d’un angle de vue en plongée est juxtaposée à une émergence; la suggestion d’un vide induit une construction.

A princípio, as pirâmides podem ser vistas como objetos individuais que, acima de quaisquer outros elementos, dão personalidade ao território circundante. No entanto, uma leitura mais cuidada revela a existência dos vestígios de um vasto complexo monumental em seu torno. As pirâmides são, de facto, os vértices visíveis de um vasto mundo subterrâneo que só parcialmente pode ser revelado e entendido. Embora tenham um valor iconográfico insubstituível e universalmente reconhecido, as pirâmides estão longe de esgotar o significado de uma civilização inteira. À luz de uma aproximação mais gradual ao local, as pirâmides representam um primeiro estímulo e oferecem um irresistível fascínio, que deve transformar-se num convite à expansão do nosso conhecimento, ao invés de uma barreira.

Uma compreensão cuidadosa do local requer, então, um diálogo contínuo entre arquitetura e arqueologia, construção e vestígios, massas edificadas e vazios, aquilo que é visível e o que é invisível. A identidade do lugar estabelece-se por meio de uma relação quase paradoxal entre a evidência sublime do local e a sua evanescência subtil.

A proposta adota esse delicado equilíbrio como premissa e como alvo da intervenção. Em vez de se procurar qualquer analogia direta e formal com as pirâmides, o fim é o de estabelecer uma continuidade conceptual com o sistema atual. Atinge-se este objetivo através de uma lógica de complementaridades: a definição de uma linha foca a atenção num ponto; a abertura de uma depressão é justaposta a uma emergência; a sugestão de um vazio induz a construção.

AIRES MATEUS UNBUILT WORK

The ground plan is structured by an axis that is an extension of the diagonal line of the largest pyramid, and defines a route and system of views in relation to it. From the point of view of both space and time, the new building acts as a stage that monumentally ascends from the restless datum of the city to the silent plateau of the pyramids.

The intervention is born out of a clear gesture that poignantly establishes a new landmark. It defines a sort of directed emptiness through the extreme intensification of its own boundaries. All construction is compressed against the margins of an excavated canal, which materialises in-between the juxtaposed planes of the new building’s facades. As the built masses move away from this central street, they undergo a process of rarefaction that dissolves them into the landscape, and reveals their fading presence on the ground surface through slight level changes that fuse them with original conditions.

By digging in order to build, architecture becomes closer to archaeology which rebuilds while excavating. To a certain extent, the proposal is similar to the edification of a footprint.

From the beginning, the project operates at various scales of spatial definition. By oscillating between a sign that is legible from the sky and a set of marks that are almost invisible to an in locus observer, the proposal is an object susceptible of various levels of understanding. This intention does not constitute an aim in itself but an attempt to answer to the site along the same interpretative lines that it suggests itself.

The proposal chooses the earth as a first matter of construction.

The project pursues a strategy of materialisation, which explore concepts such as mass, weight, density and compression to their limits. Before any given aesthetic party, this option is justified by the quest for a global constructive solution, in which the architectonic definition can solve up front most of the technical requirements imposed by the site and the programme.

One extols, this way, a new approach to certain areas of knowledge which would be tendentiously specialised: the practice of architecture, landscaping, structural engineering, thermal control, service networks, and acoustics, can be brought together through a kind of primordial construction manner.

In this way, one can establish an analogy with the traditional architecture of the project’s location, without recurring to the use of the same materials, nor of constructive technologies, but by applying an accurate notion of economics and efficiency to the management of extremely simple resources.

Le projet propose d’établir une relation précise avec le territoire et ses signes d’occupation les plus significatifs. Le plan de base est structuré par un axe qui prolonge la diagonale de la plus grande pyramide et définit un parcours et un système de vues par rapport à celle-ci. Du point de vue de l’espace et du temps, le nouveau bâtiment agit comme une scène qui s’élève monumentalement du point de référence agité de la ville au plateau silencieux des pyramides.

O projeto propõe estabelecer uma relação precisa com o território e com os seus sinais de ocupação mais significativos.

A planta do piso térreo está estruturada por um eixo que é uma extensão da linha diagonal da pirâmide maior, e define um percurso e um sistema de vistas em relação a esta. Do ponto de vista quer do espaço, quer do tempo, o novo edifício atua como um palco que ascende monumentalmente da referência agitada da cidade para o planalto silencioso das pirâmides.

L’intervention naît d’un geste clair qui établit de manière dramatique un nouveau point de repère. Elle définit une sorte de vide dirigé par l’intensification extrême de ses propres limites. Toute la construction est comprimée contre les marges d’un canal creusé, qui se matérialise entre les plans juxtaposés des façades du nouveau bâtiment. Au fur et à mesure que les masses construites s’éloignent de cette rue centrale, elles subissent un processus de raréfaction qui les dissout dans le paysage, et révèle leur présence évanescente à la surface du sol par de légers changements de niveau qui les fusionne avec les conditions d’origine. En creusant pour construire, l’architecture se rapproche de l’archéologie qui reconstruit en fouillant. Dans une certaine mesure, la proposition s’apparente à l’édification d’une empreinte.

A intervenção nasce de um gesto claro que estabelece de forma pungente um novo marco. Define uma espécie de vazio direcionado por meio da intensificação extrema das suas próprias fronteiras. Toda a construção está comprimida contra as margens de um canal escavado, que se materializa entre os planos justapostos das fachadas do novo edifício. À medida que as massas construídas se afastam desta rua central, passam por um processo de rarefação que as dissolve na paisagem, e revelam a sua presença desvanescente ao nível do solo através de pequenas mudanças de nível que as fundem com condições originais.

Dès le départ, le projet opère à différentes échelles de définition spatiale. En oscillant entre un signe lisible depuis le ciel et un ensemble de points presque invisibles pour un observateur in locus, la proposition est un objet susceptible de différents niveaux de compréhension. Cette intention ne constitue pas un but en soi mais une tentative de répondre à l’endroit selon les mêmes lignes interprétatives qu’il suggère lui-même.

La proposition choisit la terre comme matière première de construction. Le projet poursuit une stratégie de matérialisation, qui explore jusqu’à leurs limites des concepts tels que la masse, le poids, la densité et la compression. Avant tout parti pris esthétique, cette option se justifie par la recherche d’une solution constructive globale, dans laquelle la définition architectonique peut résoudre d’emblée la plupart des exigences techniques imposées par le site et le programme.

On prône ainsi une nouvelle approche de certains savoirs qui seraient tendanciellement spécialisés: la pratique de l’architecture, le paysagisme, l’ingénierie structurelle, la régulation thermique, les réseaux de service, l’acoustique, peuvent être réunis par une sorte de mode de construction primordial. De cette façon, on peut établir une analogie avec l’architecture traditionnelle du lieu d’implantation du projet, sans recourir aux mêmes matériaux, ni aux mêmes technologies constructives, mais en appliquant une notion exacte d’économie et d’efficacité à la gestion de ressources extrêmement simples.

Ao escavar para construir, a arquitetura aproxima-se da arqueologia, que reconstrução enquanto escava. Em certa medida, a proposta é semelhante à edificação de uma pegada.

Desde o seu início, o projeto opera a várias escalas de definição espacial. Ao oscilar entre um sinal legível a partir do céu e um conjunto de marcas quase invisíveis ao observador in loco, a proposta é um objeto suscetível de vários níveis de interpretação. Esta intenção não constitui um objetivo em si mesmo, mas uma tentativa de responder ao lugar nos mesmos moldes das linhas interpretativas que ela própria sugere.

A proposta escolhe a terra como matéria-prima de construção.

O projeto segue uma estratégia de materialização, que explora conceitos como massa, peso, densidade e compressão até aos seus limites. Antes de qualquer investida estética, esta opção justifica-se pela busca por uma solução construtiva global na qual a definição arquitetónica possa resolver a priori a maioria dos requisitos técnicos impostos pelo local e pelo programa.

Desta forma, exalta-se uma nova abordagem a determinadas áreas do conhecimento tendencialmente especializadas: a prática da arquitetura, paisagismo, engenharia de estruturas, controlo térmico, redes de serviços e acústica podem reunir-se através de uma forma de construção primordial. Assim, é possível estabelecer-se uma analogia com a arquitetura tradicional do local, sem se recorrer ao uso dos mesmos materiais nem das mesmas tecnologias construtivas, mas sim pela aplicação de uma noção precisa de economia e de eficiência na gestão de recursos extremamente simples.

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PRIVATE WORK

CASA EM ALENQUER project: 1998-1999 location: Alenquer, Portugal built area: 115 sq m site area: 655 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus project leader: Jorge P. Silva collaborators: Gabriela Gonçalves, Nuno Marques and Cristina Fuertes Miguel images © Daniel Malhão CASA EM AZEITÃO project: 2000-2001 location: Azeitão, Portugal built area: 408 sq m site area: 14.800 sq m authors: Aires Mateus project leader: Mafalda Neto Rebelo collaborators: Maria Rebelo Pinto and Ana Rita Rosa images © Daniel Malhão CASA EM CORUCHE project: 2006 location: Coruche; Santarém, Portugal built area:297,30 sq m site area: 1.153.000 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus project leader: Humberto Silva collaborators: Francisco Caseiro, Humberto Silva, Marina Acayaba and Franziska Pfyffer images © João Soares CASA EM MONSARAZ project: 2007-2009 location: Monsaraz Alqueva Lake, Alentejo, Portugal built area: 174 sq m site area: 21.100 sq m authors: Aires Mateus project leader: Inês Cordovil and Helga Constantino collaborators: Humberto Silva, André Passos, Susana Rodrigues and Joana Simões projecto leader interior design: Maria Rebelo Pinto images © Nelson Garrido pages 046, 050, 052, 055, 059, 066 image © Rui Cardoso page 056

CASA EM MELIDES I client: Prismosfera - CEO Miguel Charters project: 2010-2013 location: Melides. Grândola, Portugal built area: 590 sq m site area: 189.250 sq m authors: Aires Mateus project leader: João Esteves collaborators: Maria Rebelo Pinto, François Brunner, Marco Campolongo, Matteo Foresti, Mariana Mayer, Mizuho Anzai, Bernardo Sousa, Mariana Pires, Rui Cardoso, Maria Vale, Sergi Sauras, Constança Eiras and Inês Potes project leader interior design: Maria Rebelo Pinto images © João Guimarães CASA NO TEMPO client: Private project: 2010-2012 location: Montemor-o-Novo, Alentejo, Portugal built area: 335 sq m + 400 sq m (pool) authors: Manuel Aires Mateus / Francisco Aires Mateus project leader: Maria Rebelo Pinto collaborators: Luz Jiménez and Matilde Girão images © Rory Gardiner pages 076, 082, 088, 089 images © Nelson Garrido pages 080, 081 image © Rui Cardoso page 084 CASA EM MELIDES II client: Private project: 2012-2014 location: Melides, Alentejo, Portugal built area: 206 sq m site area: 6.8750 ha authors: Manuel Aires Mateus / Francisco Aires Mateus project leader: Jorge P Silva collaborators: Vânia Fernandes, François Brunner and Sofia Paradela images © Francisco Martelo CASA NA ESTRELA client: Private project: 2012-2014 location: Lisboa, Portugal built area: 792 sq m site area: 334 sq m authors: Aires Mateus project leader: João Esteves and Inês Potes collaborators: Helga Constantino and Sara Calem project leader interior design: Maria Rebelo Pinto images © Francisco Martelo pages 102, 104 image © Maria Masia page 106 images © Rui Cardoso pages 108, 117 images © João Guimarães pages 110, 113, 119

CASA NO BARREIRO client: Private project: 2012-2015 location: Barreiro, Portugal built area: 653 sq m site area: 420 sq m authors: Aires Mateus project leader: Inês Potes and Ana Rita Rosa collaborators: Luz Jiménez, Daniel López, Bernardo Sousa, Gilberto Hernández and Mariana Mayer images © João Guimarães pages 120, 133 images © João Feijão pages 124, 126, 128 CABANAS NO RIO client: Silent Living project: 2013 location: Comporta, Grândola, Portugal built area: 26 sq m authors: Aires Mateus project leader: Maria Rebelo Pinto collaborators: Luz Jiménez and David Carceller images © Nelson Garrido CASA EM CAMPO DE OURIQUE client: Private project: 2016-2018 location: Barreiro, Portugal built area: 583 sq m site area: 286 sq m authors: Aires Mateus project leader: Helga Constantino collaborators: Margarida Borges, Tiago Atalaia, Paulo Pina, Carolina Coppola and Johanna Ceret images © Juan Rodriguez pages 148, 152, 154, 157 image © João Guimarães page 159

CREDITS

PUBLIC WORK 417

CENTRO DE ARTES DE SINES client: Sines Municipality project: 2001-2005 location: Sines, Alentejo, Portugal built area: 8065 sq m site area: 1950 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus project leader: Jorge P. Silva collaborators: Rodolfo Reis Dias, Bruno Moura Anes, Pedro Anão, Cristina Fuertes Miguel and Amparo Burgos Garcia images © Daniel Malhão REABILITAÇÃO DO COLÉGIO DA TRINDADE client: University of Coimbra project: 2001-2013 location: Coimbra, Portugal built area: 4093 sq m site area: 2300 sq m authors: Aires Mateus project leader: Susana Rodrigues collaborators: Valentino Capelo Sousa, Patrícia Marques, Mariana Barbosa Mateus, Joana Carmo Simões, Vânia Fernandes, Olga Sanina and Sara Nobre images © Nelson Garrido MUSEU DO FAROL DE SANTA MARTA client: Municipality of Cascais project: 2003-2004 location: Coruche; Santarém, Portugal built area: 435 sq m site area: 1750 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus collaborators: Sofia Chinita Janeiro, Filipe Boim and Paola Marini images © FG + SG pages 192, 196, 198, 202, 203 image © Francesco Martello page 200 RESIDÊNCIAS ASSISTIDAS EM ALCÁCER DO SOL client: Santa Casa da Misericordia de Alcácer do Sal project: 2006-2007 location: Alcácer do Sal, Portugal built area: 3640 sq m site area: 10.435 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus collaborators: Giacomo Brenna, Paola Marini, Anna Bacchetta and Miguel Pereira images © FG + SG

ESCOLA BÁSICA EM VILA NOVA DA BARQUINHA client: Municipality of Vila Nova da Barquinha project: 2007-2010 location: Vila Nova da Barquinha, Portugal built area: 4600 sq m site area: 5929 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus project leader: Humberto Silva collaborators: Miguel Valério, Francisco Caseiro, João Caria Lopes and Humberto Fonseca images © Juan Rodriguez

CENTRO DE CONVÍVIO DE GRÂNDOLA client: Santa Casa da Misericórdia de Grândola project: 2011-2012 location: Grândola, Portugal built area: 670 sq m site area: 670 sq m authors: Aires Mateus project leader: Jorge P Silva collaborators: Marco Campolongo, Matteo Foresti and Elõd Golicza images © Nelson Garrido

REQUALIFICAÇÃO DE ENVOLVENTE DA LAGOA DAS FURNAS client: SPRAçores project: 2008-2010 location: Furnas Lagoon, São Miguel, Azores, Portugal built area: 1130 sq m aite area: 80.000 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus project leader: Patrícia Marques collaborators: Valentino Capelo Sousa, Mariana Barbosa Mateus, Susana Rodrigues, Joana Carmo Simões, Catarina Bello, Francisco Caseiro, Vânia Fernandes and João Caria Lopes images © FG + SG

CENTRE DE CREATION CONTEMPORAINE OLIVIER DEBRÉ project: 2012-2013 location: Tours, France built area: 5700 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus project leader: Anna Bacchetta collaborators: André Ribeiro, Pauline Pontisso, Mário Serrano, Lourenço Amaro, Alexandre Branco, Mafalda Girão, Cristina Vasconcelos, Vega Solaz Soler, Anca Maria Pasarin and Boldizsar Medvey images © Benoit Fougeirol

SEDE CORPORATIVA DO GRUPO EDP client: EDP project: 2008-2011 location: Avenida 24 de Julho, Lisboa, Portugal built area: 46.222 sq m site area: 5696 sq m authors: Aires Mateus project leader: Francisco Caseiro, Ana Rita Rosa, Pedro Ribeiro collaborators: Mariana Barbosa Mateus, Vânia Fernandes, Paolo Agostini, Francesca Lupo, Marco Campolongo, João Ortigão Ramos, Teresa Mascarenhas Marques, Patrícia Marques, Neus Beneyto, Olga Sanina, Luísa Sol, Humberto Fonseca, Humberto Silva, João Esteves, Rita Conceição Silva, Filipa Ferreira, Diana Mira, André Passos, Catarina Bello, João Caria Lopes, Carlotta Fantoni, Valentina Del Motto, Francesca Gagliardi, Martina Palocci, Borja Fernández, Duarte Madrugo, João Pedro Miguel, Mizuho Anzai and Susana Fernández Moreno images © Francisco Caseiro pages 242, 246, 252 images © Juan Rodriguez pages 248, 255

FACULTÉ D’ARCHITECTURE DE TOURNAI client: Catholic University of Louvain project: 2014-2015 location: Tournai, Belgium built area: 7010 sq m site area: 6200 sq m authors: Aires Mateus project leader: Jorge P Silva collaborators: Susana Rodrigues, Joana Carmo Simões, Vânia Fernandes, Sara Nobre, Sofia Paradela, Inês Gulbenkian, Bernardo Sousa, Isabel Sousa, Aiden Thornhill, Théophile Legrain, Antoine Pruvost and Charles Cossement images © Juan Rodriguez pages 282, 286, 288, 290, 292, 295 image © TVDV page 297 ELYSÉE MUDAC, LAUSANNE client: Canton de Vaud project: 2015-2017 location: Lausanne, Switzerland built area: 14.300 sq m site area: 6400 sq m authors: Aires Mateus project leader: Francisco Caseiro collaborators: Inês Monteiro, Mariana Mayer, Charles Cossement, Daniel López, Bernardo Sousa, Luz Jiménez, Christophe Gourdier, Nicole Addati, Andrea Auerbach, Diogo Castro Guimarães, Leonardo Marchesi, Vega Solaz Soler, João Ortigão Ramos, Josh Ehrlich, Théophile Legrain, Olga Sanina, Ana Rita Rosa, Paulo Pina, María Morales, Carolina Coppola, Isabella Pagliuca and Luís Norton dos Reis images © Francisco Caseiro pages 298, 311 images © Matthieu Gafsou pages 302. 304 image © Valentin Jordil page 306

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UNBUILT WORK

BIBLIOTECA CENTRAL E ARQUIVO MUNICIPAL DE LISBOA client: Lisboa city council project: 2003-2006 location: Vale se Santo António, Lisboa, Portugal built area: 61500 m2 site area: 8570 m2 authors: Manuel Aires Mateus e Alberto de Souza Oliveira project leader: Inês Cordovil collaborators: Sofia Passarinho, Ana Cravinho, Fátima Mendes, Valentino Capelo de Sousa, Cristiana Lopes, João Caria Lopes, Jorge P Silva, João Guimarães, Francisco Caseiro, João Miguel Esteves, Pedro Martinho images © Aires Mateus CENTRO DI SVILUPPO PATRIMONIO E ATTIVITÀ CULTURALE DI BENEVENTO client: Municipality of Benevento project: 2006 location: Benevento, Italy built area: 14017 sq m authors: Manuel e Francisco Aires Mateus with Carlo Palazzolo, Jorge P Silva, Margherita Vanore collaborators: Valentino Capelo de Sousa, João Esteves, Catarina Bello, Miguel Pacheco, Franciska Pfyffer, Humberto Fonseca, Pedro Ribeiro, Giacomo Brenna, Walter Fantino images © Aires Mateus TOWER AT DUBAI client: The Edge project: 2006 location: Dubai, United Arab Emirates built area: 450.000 sq m collaborators: Humberto Silva, André Passos, Miguel Valério, João Guimarães, Diogo Bleck, Paolo Evolvi, Valentino Capelo Sousa images © Aires Mateus MUSEU DE ARQUITECTURA DE LISBOA client: Lisboa city council project: 2007-2011 location: Mitra, Lisboa, Portugal built area: 2200 sq m site area: 850 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus collaborators: Patrícia Marques images © Aires Mateus

PARQUE DE LOS CUENTOS EN MÁLAGA client: Ayuntamiento de Málaga project: 2007-2011 location: Málaga, Spain built area: 7810 sq m site area: 10700 sq m authors: Aires Mateus with Javier López and Ramón Pico project leader: Jorge P Silva collaborators: Neus Beneyto Falagán, André Passos, Ivan Iemma, Horie Kohsuke, Carlos Martinez Sanches-Izquierdo, Javier Acedo, Humberto Silva, Helga Constantino, Catarina Bello, Vânia Fernandes images © Aires Mateus HOTEL DO BARROCAL client: Aquapura project: 2008-2010 location: Herdade do Barrocal, Monsaraz, Portugal built area: 21703 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus with João Pedro Falcão de Campos project leader: Inês Cordovil collaborators: Gabriela Raposo, Susana Rodrigues, Francisco Caseiro, João Esteves, André Passos, Joana Simões, João Caria Lopes images © Aires Mateus ATRIO DE LA ALHAMBRA client: Patronato de la Alhambra y Generalife project: 2011 location: Alhambra, Granada, Spain built area: 6900 + 4380 sq m site area: 11875 sq m authors: Manuel Aires Mateus with Antonio Tejedor collaborators: Neus Beneyto, Blanca Morales, Matilde Girão, Germán Pró, João Esteves, Olga Sanina, Ania Aguilar, Elod Golicza, Ezio Siciliano, Luz Jiménez, Alexandre Branco, Francesca Lupo images © Aires Mateus MUSLIM CENTER OF BORDEAUX client: Federation Musulmaine de la Gironde project: 2014 - 2016 location: Bordeaux, France built area: 11500 sq m site area: 5985 sq m authors: Manuel Aires Mateus project leader: Jorge P Silva collaborators: Susana Rodrigues, Sara Nobre, Sofia Paradela, Inês Gulbenkian, Bernardo Sousa, Tomohiko Komatsu, Luz Jimenez, Daniel Lopez images © Aires Mateus

THE ART MUSEUM OF THE 20TH CENTURY IN BERLIN client: Prussian Cultural Heritage Foundation – SPK project: 2016 location: Berlin, Germany built area: 24150 sq m site area: 10200 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus project leader: Jorge P Silva collaborators: Bernardo Sousa, Isabel Sousa, Aiden Thornhill, Roberto Pasquali, Antoine Pruvost, Alaa Hariri, Isabella Pullmann, Paulo Pina images © Aires Mateus MUSÉE DES AUGUSTINS À TOULOSE client: XXXX project: 2017 location: Toulouse, France authors: Manuel Aires Mateus / Francisco Aires Mateus project leader: Anna Bacchetta collaborators: Pedro Frade, Alexandre Branco, Pietro Tentori, Fulvio Capsoni, Diogo Castro Guimarães, Aurnaud Fromet, Lavinia De Benedetti images © Aires Mateus THE GRAND EGYPTIAN MUSEUM location: Cairo, Egypt built area: 392500 sq m authors: Manuel Aires Mateus / Francisco Aires Mateus project leader: Jorge P Silva collaborators: Patrícia Marques, Valentino Capelo Sousa, Tiago Mestre, Pedro Anão, Susana Rodrigues, Ana Rita Rosa, Bruno Moura Anes, Sofia Janeiro, Jaime Vidal, Afonso Almeida images © Aires Mateus

CREDITS

AIRES MATEUS Manuel Aires Mateus (Lisboa, 1963) e Francisco Aires Mateus (Lisboa, 1964), são licenciados pela Faculdade de Arquitetura de Lisboa (1986 e 1987) tendo fundado o atelier Aires Mateus em 1988.

419 Na área do ensino colaboram com diversas universidades desde 1986, como a Graduate School of Design, em Harvard, a Cornell University College of Architecture, Art and Planning, a Escola de Arquitectura de Oslo, a Faculdade de Arquitectura da Universidade de Liubliana, ou a Escola Técnica Superior Arquitectura de Navarra, em Pamplona.

São professores desde 1998 na Universidade Autónoma de Lisboa e desde 2001 na Academia de Arquitectura de Mendrísio.

O trabalho do atelier é desenvolvido em diversos países a partir dos seus ateliers em Lisboa e vários dos seus projectos têm sido publicados em monografias, como o Guia de Arquitectura A+A, a El Croquis, a Arquitectura Viva, a GA, a A+U, a 2G, a C3, a d’Arco, a TC Cuadernos, a DOMUS, a AMAG, entre outras.

São muitas as participações em exposições, com presença assídua, por exemplo, na Bienal de Arquitectura de Veneza (Itália 2010, 2012, 2016, 2018 e 2021). Fizeram parte da Bienal de Arquitectura, Villa et Culture de Rabat (Marrocos, 2018) da exposição no Centre de Création Contemporaine Olivier Debré CCCOD em Tours (França, 2015), da Milan Design Week, com a instalação Branco na Cidade (Itália, 2017), da Chicago Architecture Biennal com a peça Ruins in Time e recentemente, na Seoul Biennale of Architecture and Urbanism (Coreia do Sul, 2021), com o projecto TO INHABIT. Ao longo do tempo, o atelier Aires Mateus recebeu múltiplos prémios, nacionais e internacionais, destacando-se o prémio AIT (2012, 2020), o Prémio Valmor (2002, 2002, 2018), o Prémio Secil (2020), os Prémios FAD (2001, 2008, 2010), o Prémio Escola (2019), o Prémio ENOR (2006), os da Bienal Iberoamericana de Arquitectura (2001, 2012, 2019), a seleção para os Prémios Mies Van Der Rohe (2007, 2013) e em 2017, a atribuição do Prémio Pessoa a Manuel Aires Mateus.

AIRES MATEUS

Gabriela Gonçalves 1991 – 1999 Nuno Marques 1993 – 1999 Henrique Rodrigues da Silva 1994 – 2001 Filipe Mónica 1996 – 2000 Maria João Patronilho 1997 – 1998 Rodolfo Reis Dias 1997 – 2000 Jorge P Silva 1998 – –––– Amparo Burgos 1998 – 1999 Cristina Fuertes 1998 – 1999 Ricardo Borges 1999 – 2001 Valentino Capelo Sousa 1999 – 2008 Maria Rebelo Pinto 2000 – –––– Ana Rita Rosa 2000 – –––– Mafalda Neto Rebelo 2000 – 2004 Ricardo Jacinto 2000 – 2000 Elena Albert 2000 – 2001 Carla Leitão 2000 – 2001 Iñigo Yoldi 2000 – 2001 Patrícia Marques 2000 – 2009 Victoria 2000 – 2000 Susana Rodrigues 2001 – 2016 Susana Chambel 2001 – 2002 Stephanie Durand 2001 – 2002 Bruno Antunes 2001 – 2002 Pedro Anão 2001 – 2003 Bruno Anes 2001 – 2007 Filipe Boim 2001 – 2006 Sofia Chinita 2001 – 2008 Jordi 2001 – 2001 Paulo Valente 2001 – 2001 Hugo Marques Amado 2001 – 2001 Vitória Amaro 2002 – –––– Tiago Baldaque 2002 – 2003 Manuel Bellagamba 2002 – 2003 Mafalda Neuphart 2002 – 2003 Selina Siegrist 2002 – 2003 Tiago Mestre 2002 – 2006 Irene Yerro 2002 - 2002 Pietro Malone 2002 - 2002 Teresa Tona 2003 – 2004 Yaiza Terré 2003 – 2004 Luís Prates 2003 – 2004 Madalena 2003 – 2004 Afonso Almeida Fernandes 2003 – 2005 Giacomo Brenna 2003 – 2007 Pedro Ribeiro 2003 – 2011 Alice Perugini 2003 – 2003 Jaime Luaces 2003 – 2003 João Caria Lopes 2003 – 2003 João Esteves 2004 – –––– Francisco Caseiro 2004 – –––– Joana Carmo Simões 2004 – 2017 Maria Vasconcelos 2004 – 2005 Karin Pereira 2004 – 2005 Elisa Laval 2004 – 2005 Alberto Figgucio 2004 – 2005 Ana Maria Lopes 2004 – 2005 Filipe Marco Taboada 2004 – 2005 Sofia Torres Pereira 2004 – 2005 Andrea Molteni 2004 – 2005 Rafael Marques 2004 – 2005 Ana Neves 2004 – 2006 Pedro Martinho 2004 – 2006 Cristiana Lopes 2004 – 2007 Arnau 2004 – 2004 Tiago Barros 2004 – 2004 Martinho Meneses Pita 2004 – 2004 Anna Bacchetta 2005 – –––– Teresa Alves 2005 – ––––

Diego Calderón 2005 – 2006 Catarina Marques 2005 – 2006 Diana Bettencourt da Câmara 2005 – 2006 Pedro Cordeiro 2005 – 2006 Rita Burnay 2005 – 2006 Patrícia Pereira 2005 – 2006 Kohei Oshima 2005 – 2006 Pedro Martinho 2005 – 2006 Yoshitaka Miyauchi 2005 – 2006 Miguel Pacheco 2005 – 2006 Inês Pargana 2005 – 2008 João Caria Lopes 2005 – 2008 Humberto Fonseca 2005 – 2011 Catarina Bello 2005 – 2011 Humberto Silva 2005 – 2012 Valentina Cocco 2005 – 2005 João Leitão 2005 – 2005 Miguel Pereira 2006 – –––– André Ribeiro 2006 – –––– Iacopo Carboncini 2006 – 2007 Tomas Caloprisco 2006 – 2007 Duarte Lobo Antunes 2006 – 2007 Paolo Evolvi 2006 – 2007 Diogo Bleck 2006 – 2007 Miguel Valério 2006 – 2007 Tiago Santos 2006 – 2008 João Guimarães 2006 – 2008 André Passos 2006 – 2010 Luísa Sol 2006 – 2010 Mariana Mateus 2006 – 2011 Paola Marini 2006 – 2011 Marina Acayaba 2006 – 2006 Franziska Pfyffer 2006 – 2006 Mafalda Possolo 2006 – 2006 Helga Constantino 2007 – –––– Olga Sanina 2007 – 2016 Marco Arraiolos 2007 – 2018 Sebastian Murr 2007 – 2008 Gonçalo Oliveira 2007 – 2008 Bruno Gonçalves 2007 – 2008 Francesca Gagliardi 2007 – 2008 Martina Palocci 2007 – 2008 Koshuke Horie 2007 – 2008 Raquel Castanheira 2007 – 2008 Carlotta Fantoni 2007 – 2008 Ivan Iemma 2007 – 2008 Catharina Mark 2007 – 2008 Clara Bidorini 2007 – 2008 Filipa George 2007 – 2008 Borja Fernandez 2007 – 2009 Bruna Parro 2007 – 2011 Neus Beneyto 2007 – 2011 Noelia Linares 2007 – 2007 António Falcão de Campos 2007 – 2007 Inês Cordovil 2008 – 2016 Cristina Franco Pérez 2008 – 2009 Cristina Peres 2008 – 2009 Giorgia Cesaro 2008 – 2009 David Higuera 2008 – 2009 Tiago Frazão 2008 – 2010 Domingos Domingues 2008 – 2010 Alexandre Branco 2008 – 2012 Vânia Fernandes 2008 – 2015 Sofia Chinita 2008 – 2008 Valentina Del Motto 2008 – 2008 João Cravo 2009 – 2011 Sara Coelho 2009 – 2010 Paolo Agostini 2009 – 2010 Josep Pons 2009 – 2010 Javier Azedo 2009 – 2010 Mizuho Anzai 2009 – 2010

Chiara Catterini 2009 – 2010 Matteo Clerici 2009 – 2010 Alice Dolzani 2009 – 2010 Rafael Aguilar 2009 – 2010 Pedro Canotilho 2009 – 2011 Wilson Pires 2009 – 2011 Serena Santini 2009 – 2009 Benedita Nunes de Almeida 2009 – 2009 Inês Potes 2010 – –––– Luz Jiménez 2010 – 2016 Matilde Girão 2010 – 2011 Marta Aranha 2010 – 2011 Joana Sousa Cardoso 2010 – 2012 Anca-Maria Pasarin 2010 – 2012 Cristina B. de Vasconcelos 2010 – 2014 Ariana 2010 – 2010 Beatrice Azzola 2010 – 2010 Cory Dear 2010 – 2010 Marta del Árbol 2010 – 2010 Otto Peréz 2010 – 2010 Susana Fernández 2010 – 2010 Előd Golicza 2010 – 2010 Ezio Siciliano 2010 – 2010 Francesca Lupo 2010 – 2010 Marco Campolongo 2011 – 2012 Matteo Foresti 2011 – 2012 Miguel L. Carvalho 2011 – 2012 Mário Serrano 2011 – 2013 Margherita Bernardi 2011 – 2011 Blanca Morales 2011 – 2011 Ignacio Rodríguez 2011 – 2011 Ania Aguilar 2011 – 2011 João Ortigão Ramos 2012 – 2016 Lourenço Amaro 2012 – 2013 Mafalda Girão 2012 – 2013 Inês Sanz Pinto 2012 – 2013 António Sardo 2012 – 2012 Inês Baptista 2012 – 2013 David Carceller 2012 – 2013 Sara Calem 2012 – 2014 François Brunner 2012 – 2015 Pauline Pontisso 2012 – 2012 Boldizsar Medvey 2012 – 2012 Maria Castilho 2012 – 2012 Ana González 2012 – 2012 Eduardo Azcunaga 2012 – 2012 Thomas Baptista 2012 – 2012 Carlota Salema 2012 – 2012 Bernardo Sousa 2013 – –––– Sara Roldão 2013 – –––– Vega Solaz Soler 2013 – 2017 Pedro Souto 2013 – 2017 Sara Belo Nobre 2013 – 2020 Joana Ribeiro 2013 – 2014 Barbara Mazza 2013 – 2014 Carol Calmon 2013 – 2014 Maria Castilho 2013 – 2014 Sofia Paradela 2013 – 2014 Rodrigo Henriques 2013 – 2014 Inês Gulbenkian 2013 – 2014 Teresa M. Marques 2013 – 2015 Alvaro Parra 2013 – 2013 Henning Zaenker 2013 – 2013 Ana Rodríguez 2013 – 2013 Karla Madrigal 2013 – 2013 Tadeo Itzcovich 2013 – 2013 Agustin Aguirre 2013 – 2013 Pablo Méndez 2013 – 2013 Javier González 2013 – 2013 Isabel Sousa 2013 – 2013 António Sardo 2013 – 2013

TEAM

421

Beatriz Eyries 2013 – 2013 Clara Lorente 2013 – 2013 Ikue Tsunemitsu 2013 – 2013 Isa Esteves 2013 – 2013 Luís Jardim 2013 – 2013 Mariana Mayer 2014 – –––– Pedro Frade 2014 – –––– Roberta Bassi 2014 – 2018 Maria Bello 2014 – 2016 Daniel López 2014 – 2016 Leonardo Marchesi 2014 – 2015 Anita Morvillo 2014 – 2015 Tiphaine Delporte 2014 – 2015 Edorta Larizgoitia 2014 – 2015 Arianna Bavuso 2014 – 2015 Guglielmo Bertocci 2014 – 2014 Alejandra Padilla 2014 – 2014 Hanna Albrecht 2014 – 2014 Pauline Gasqueton 2014 – 2014 Federico Bressanelli 2014 – 2014 Giulio Montrasi 2014 – 2014 Jorge Flores 2014 – 2014 Vicente Rosado 2014 – 2015 Luís Reis 2014 – 2014 Patricia Gude Stokes 2014 – 2014 Fernando Rodríguez 2014 – 2014 Valentina Dellagiacoma 2014 – 2015 Mizuho Anzai 2015 – –––– João Gameiro Pais 2015 – –––– Diogo Castro Guimarães 2015 – 2018 Miguel Almeida 2015 – 2016 Pietro Gualazzi 2015 – 2016 Isabel Sousa 2015 – 2019 Josh Ehrlich 2015 – 2016 Mariana Pimentel Pires 2015 – 2020 Tiago Atalaia 2015 – 2019 António Sardo 2015 – 2019 Rui Cardoso 2015 – 2019 Filippo Gismondi 2015 – 2016 Lorenzo Campagna 2015 – 2016 Antoine Pruvost 2015 – 2017 Charles Cossement 2015 – 2021 Nicholas Nisi 2015 – 2015 Ludovica Franchetti 2015 – 2015 Tânia Neves Correia 2015 – 2015 Correntin Dalon 2015 – 2015 Andrea Auerbach 2015 – 2015 Gilberto Hernández 2015 – 2015 Nicole Addati 2015 – 2015 Christophe Gourdier 2015 – 2015 Francesco Martello 2015 – 2015 Ligia Agostini 2015 – 2015 José Maria Assis e Santos 2016 – –––– Bianca Salmoiraghi 2016 – –––– Paulo Pina 2016 – –––– José Maria G. Vieira 2016 – –––– João Nuno Machado 2016 – 2016 Sofia Martins 2016 – 2016 Aiden Thornhill 2016 – 2016 Alejandro Fernández 2016 – 2016 Jaime Jiménez 2016 – 2016 Gil Cardoso 2016 – 2021 Gino Baldi 2016 – 2016 Luís Reis 2016 – 2017 Margarida Borges 2016 – 2016 María Morales 2016 – 2017 Matilde Cortez de Lobão 2016 – 2019 Constança Girbal Eiras 2016 – 2018 Alaa Hariri 2016 – 2017 Carolina Coppola 2016 – 2017

Isabella Pagliuca 2016 – 2017 Isabella Pullmann 2016 – 2017 Giovanni Balestri 2016 – 2016 Fabio Baldo 2016 – 2018 Roberto Pasquali 2016 – 2016 Serena Comi 2016 – 2016 Ana Moniz 2016 – 2016 Saskia Fabris 2016 – 2016 Cassandra Carvas 2016 – 2021 Théophile Legrain 2016 – 2016 Nassima Iles 2016 – 2016 Elena Calabrò 2016 – 2016 Ludovica Cassina 2016 – 2016 Ricardo Carvalho 2017 – –––– Inês Monteiro 2017 – –––– Maria Vale 2017 – –––– Elena Calabrò 2017 – –––– Charlotte Schönberger 2017 – 2018 Capucine Haller 2017 – 2019 Isabella Cevolani 2017 – 2017 Laurine Menant 2017 – 2017 Waku Ishida 2017 – 2018 Pedro Patrício 2017 – 2018 Susana Álvarez 2017 – 2018 Damiano Urbani 2017 – 2017 Rikako Yamada 2017 – 2017 Elvira Fernández 2017 – 2017 Francesca Cappelli 2017 – 2017 Maria João Gordalina 2017 – 2017 Paloma García 2017 – 2017 Manuel Bouzas 2017 – 2017 Vera Leitão 2017 – 2017 Yaressi Treviño 2017 – 2017 Margarida Borges 2017 – 2019 Naomi Njonjo 2017 – 2017 Ludovica Tocci 2017 – 2017 Ghita Bennis 2017 – 2017 Franco Peviani 2017 – 2017 Margarida Gaspar 2017 – 2017 Pietro Tentori 2017 – 2020 Fulvio Capsoni 2017 – 2018 Arnaud Froment 2017 – 2018 Lavinia de Benedetti 2017 – 2018 Verena Tochtermann 2017 – 2019 Mariana Sevinate Pontes 2018 – –––– Francisca Pereira 2018 – –––– Candice Grojean 2018 – 2021 Adriano Niel 2018 – 2021 Margarida Pereira 2018 – 2021 Frederico Vaz 2018 – 2020 Sara Mantovani 2018 – 2019 Arcelindo Gomes 2018 – 2020 Martina Bertani 2018 – 2019 Johanna Ceret 2018 – 2019 Ina Stormoen 2018 – 2019 Manuel Carvalho 2018 – 2019 Juan Pablo Armendáriz 2018 – 2018 Iván Flores 2018 – 2018 Sergi Sauras 2018 – 2018 Ottavia Boletto 2018 – 2018 Cyrile Vanthournout 2018 – 2018 Murilo Gabriele 2018 – 2018 Laurine Menant 2018 – 2019 Matilde Guiomar 2018 – 2018 Kenza Guessous 2018 – 2018 Valentina Cocco 2018 – 2018 Martha Leiva Arana 2018 – 2018 Amílie Bés 2018 – 2018 Luca Forzi 2018 – 2018 Gloria Binato 2018 – 2018 Yao Zong Xi Hugh 2018 – 2018

Francisco Chico Aires Mateus 2018 – 2018 Marcelo Cardia 2019 – –––– Rui Serra 2019 – –––– Joana Alarcão Martins 2019 – –––– Luísa Lomelino 2019 – –––– Stefano Monicchi 2019 – –––– Marcela Melo 2019 – 2020 Francesca Parmiggiani 2019 – 2020 Mariana Ribeiro Ferreira 2019 – 2020 Francesco Caneschi 2019 – 2020 Junya Yokoyama 2019 – 2019 Eleonora Alviti 2019 – 2020 Federica Catalano 2019 – 2020 Eleonora Cristofori 2019 – 2020 Santiago Borda 2019 – 2020 Gabriela Torres 2019 – 2019 João Siopa Alves 2019 – 2021 Isabella Di Mille 2019 – 2019 Jef De Saedeleer 2019 – 2019 Paula Vallejo 2019 – 2019 Gabriele Catanzano 2019 – 2019 Isabella Cevolani 2019 – 2019 Remus Macovei 2019 – 2019 Francesca Robustelli 2019 – 2019 Alexis Corre 2019 – 2019 Ulysse Geroux 2019 – 2019 Rita Rodrigues 2019 – 2019 Garen Boghossian 2019 – 2021 Paul de Cathelieau 2019 – 2021 Federico Bettazzi 2019 – 2021 Monika Hulbert 2019 – 2020 Pietro Falchi 2019 – 2020 Niccoló Calabrese de Feo 2019 – 2020 Cecilia Da Pozzo 2019 – 2020 Costanza Croce 2019 – 2020 Cristina B. de Vasconcelos 2020 – –––– Beatriz Luz 2020 – –––– Ana María Endara 2020 – –––– Elia Cristaudo 2020 – –––– Tomás Ramos 2020 – –––– Mariana Serra 2020 – 2021 Filipa Sousa 2020 – 2021 Karolina Kotyrba 2020 – 2021 José Pedro Serra 2020 – 2021 Teresa Thomaz 2020 – 2020 Rita Gorjão Henriques 2020 – 2020 Maria Aublé 2020 – 2020 Stefano Landoni 2020 – 2021 Clizia Piatti 2020 – 2021 João Cravo 2021 – –––– Luca Giorgetti 2021 – –––– Marco Branquinho 2021 – –––– Duarte Seabra Alves 2021 – –––– Maria Morais 2021 – –––– Sebastião Rebolo 2021 – –––– Caetana Thomaz 2021 – –––– Rita Gorjão Henriques 2021 – –––– Lou Grossard 2021 – –––– Lou Lievaux 2021 – –––– Matias Nobel 2021 – –––– Maria João André 2021 – –––– Ludovic Dingreville 2021 – –––– Francisco Paulino 2021 – –––– Pedro Conde 2021 – –––– António Salgado 2021 – –––– Tommas Sala 2021 – –––– Ana Muñoz 2021 – 2021 Félix Cuvillier 2021 – 2021 Silva Zimarino 2021 – 2021 Victoria Gaspar 2020 – 2021

WALLS - SYSTEM CLASSIDUR PRIMER AND CLEAN & GO PAINT WHITE RAL 9003 WOOD – SYSTEM CLASSIDUR PRIMER E ROBBIDURO ACQUA ENAMEL WHITE RAL 9003

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