AMAG PT 07 NUNO MELO SOUSA ONLINE sample PREVIEW

INDEX

AMAG PORTUGUESE ARCHITECTURE TECHNICAL MAGAZINE

AMAG PT 07 NUNO MELO SOUSA

1

07

EN | PT

SPECIAL THANKS TO Alcino Delgado Alejandra Gandía-Blasco Ana Assunção António Amaral Arménio Estima Carmen Estima Carolina Ladeira Cristian Tegas Diogo Alves Enrico Magistro Filipa Delgado Sousa Francesca Corbetta Hélder Gonçalves José Campos José Manuel Pedreirinho Laura Maifreni Laura Torchio Matteo Brioni Miguel Carvalho Nuno Melo Sousa Ok Draw Pedro Teixeira Rita Leite Castro Rui Caldas Sofia Teodósio

CURRENT TITLE AMAG PT 07 NUNO MELO SOUSA PUBLICATION DATE 2024 SEPTEMBER COLLECTION AMAG MAGAZINE SERIES PORTUGUESE ARCHITECTURE RUN NUMBER 2000 numbered copies FREQUENCY Quarterly PAPER Arena White Smoth 140 / 350gr TYPEFACE Cordia New DIMENTIONS 240x320mm TYPE OF PRINTING Offset CMYK 4/4 ISBN 978-989-35617-2-0 ISSN I2182-472X ERC REGISTRATION 126 164 LEGAL DEPOSIT 377392/14 PRINTING LusoImpress EDITOR-IN-CHIEF Ana Leal GENERAL MANAGER Filipa Figueiredo Ferreira EDITORIAL TEAM Ana Leal Filipa Figueiredo Ferreira João Soares TRANSLATIONS Diogo Alves OWNER AMAG editora LDA VAT NUMBER 513 818 367 SUBSCRIPTIONS AND SPECIAL ORDERS onlineorders@amagpublisher.com

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FUHRIMANN HÄCHLER ARCHITECTS AIRES MATEUS ALBERTO CAMPO BAEZA CARVALHO ARAÚJO EDUARDO SOUTO MOURA G ARQUITECTOS TOPOS ATELIER DE ARQUITECTURA MOUSSAFIR ARCHITECTS PHILLIPE MEYER STUDIO MK27 VALERIO OLGIATI THAM & VIDEGARD JOHANNES NORLANDER IN PRAISE OF SHADOWS PETRA VINCENT VAN DUYSEN SHINISH OGAWA BOW-BOW KATSUTOSHI SASAKI IKIMONO | DIG WESPI DE MEURON ROMEO ARCHITECTS AIRES MATEUS private work

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FREMANTLE HOUSE project: 2003 - 2006 location: Fremantle, Western Australia team: Simon Pendal and Rebecca Angus gross built area: 105 sq.m. images: © Rob Frith NORTH LB 20 PERTH TOWNHOUSE LB 21

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001

INDEX

THOUGHTS FROM THE EDITOR

by Ana Leal INTERCULTURALITIES OF THE DIASPORA

by José Manuel Pedreirinho KICKBOXING

by Matteo Ghidoni

DRAWINGS, CONSTRUCTIONS, 003 AND OTHER FORMS

by Paulo David TÂMEGA 005 BURRA TÓ ENGENHO I 007 QUINTELA

SILVOSA HARAMBEE 011 CORCET SOUTO 015 CEREJA 025 CHARLOTTELUND KIRKE 033 041 CREDITS 051

061 069 077 087 095 103 111

ABOUT THE AUTHOR

José Manuel Pedreirinho, architect, graduated from the Lisbon School of Fine Arts (ESBAL) in 1976 and has a PhD from the Architecture Faculty of the University of Seville (2012).

He has been working independently since 1980 and has also been a professor since 1985, teaching in Porto, as well taking on the role of director at Coimbra’s University School of Arts (EUAC) from 1990 to 2014. Since 1979 he has contributed to several newspapers and publications, and has authored several books on topics concerning the “History of Portuguese Architecture of the 20th Century”.

From January 2017 to 2020, José Manuel Pedreirinho was President of the Portuguese Association of Architects and of the Iberian Docomomo Foundation, as well as a member of the Executive Committee of the Architects’ Council of Europe (2018-2020). He is currently VicePresident of the International Council of Portuguese-Speaking Architects (CIALP).

005

BY JOSÉ MANUEL PEDREIRINHO

INTERCULTURALITIES OF THE DIASPORA

As a vehicle for highlighting some of the architecture being produced in Portugal, AMAG continues to be one of the few platforms for the necessary dissemination of works and authors who are still relatively un-known.

A characteristic of many of these studios, generally small, is that many are located outside the main urban centers, yet they maintain an activity that extends far beyond their region, often with projects abroad.

Following a European trend, this shift is a recent development from what for many years characterized the distribution of architects in Portugal, which was almost exclusively limited to the major urban centers.

This change reflects multiple factors, both internal (within the country and the profession) and external, all of which, in their diverse ways, are fundamental to improving the quality of the built environment that we all desire and need.

This is precisely what we observe in this issue, entirely dedicated to the work of Nuno Melo Sousa. His studio is based in Penafiel, but his teaching activities are split between Europe and the East. The various pro-jects he has completed are spread across the country and Brazil, in addition to his participation and shortlisting in the competition to design a church in Norway.

Enquanto veículo de divulgação de alguma arquitectura feita em Portugal, a AMAG continua a ser dos poucos meios para a necessária difusão de obras e autores ainda pouco conhecidos. Uma das características de muitos destes gabinetes, em geral de pequena dimensão, é que muitos deles se situam fora dos principais centros, mas mantêm uma actividade que se estende muito para além da sua região, não poucas vezes mesmo já com trabalhos no estrangeiro.

Acompanhando uma tendência europeia, esta é uma mudança ainda recente daquilo que durante muitos

anos caracterizava a distribuição dos arquitectos em Portugal, quase limitada aos grandes centros urbanos.

Reflexo de múltiplos factores, quer internos (ao país e à profissão), quer externos, todos eles, na sua múltipla diversidade, são fundamentais para a melhoria da qualidade do ambiente construído que todos desejamos e precisamos. É mais uma vez o que verificamos neste número inteiramente dedicado aos trabalhos de Nuno Melo Sousa, com o gabinete em Penafiel, mas com actividade docente repartida entre a europa e o oriente. Os diversos projectos já construídos, esses estão espalhados pelo país e pelo Brasil, além da participação, e seleção para a short list dos finalistas, do concurso de uma igreja para a Noruega.

ABOUT THE AUTHOR

Matteo Ghidoni is an architect based in Milan. He is the founder and principal of the architecture practice Salottobuono.

He teaches architectural design at MIT Architecture and Politecnico Milano. He was co-founder and editor-in-chief of the architecture magazine San Rocco.

BY MATTEO GHIDONI

007

KICKBOXING

Nuno methodically produces drawings. The drawings are colorful geometrical compositions traced with wax crayons, usually on A3 sketchbooks or A2 sheets.

Sometimes the format is larger and the technique shifts to acrylic, turning them into proper paintings.

The signature below each drawing consolidates their status of autonomous artworks. At a first sight the drawings look childish, as originating from naive, spontaneous gestures. The bold lines aren’t as straight as they should be. The sparse color fields rarely match the boundaries. The fact that they seem to ignore the basic rules of three-dimensional representation - or refer to some pre-modern principle, or maybe just portray volumes as a kid would do - makes them rather enigmatic to an educated eye. You can guess there’s a plan there. It seems to partially expand into an axo. Maybe two points of view overlapping.

A worm-eye view? An unfolded volume?

The rigor behind this production starts to emerge when one looks at a certain number of sheets: the density of lines is rather constant, a consistent color code appears, the quantity of filled-in surfaces never exceeds a certain ratio within a predominantly wire-framed, x-rayed territory. The repetition of the gesture certainly plays a role. When asked about the relationship between these drawings and the actual projects, Nuno refers to kickboxing workout: you repeat a certain move over and over, by yourself, anticipating an actual fight condition, in order to be ready and perfectly perform the move when the attack of your opponent requires it.

The martial analogy suggests a particular kind of abstraction operating on the project: an abstraction that works both by subtraction and addition. The drawings contain no trace of program, no trace of client, no links to a particular place. The path of Nuno’s practice, conversely, can be described as a relentless construction of the trust needed by a

very young architect, radiating from the epicenter of Penafiel and from very close friends to larger and more ambitious commissions. A trust based on a radical honesty in reading and interpreting the cultural, technical and economic conditions offered by the context, without surrendering to the vernacular (a renewed form of critical regionalism?).

While the built works are often described by the author himself in terms of promenades, the drawings insist on isolated fragments: parts and elements detached from the whole and from any cinematic sequence. Perspective views are completely absent, as the drawings are diagrams, not simulations: their ultimate goal is anticipation, not re-presentation.

Similarly, the use of color holds no mimetic connection with the built work (Nuno’s material syntax is so far intentionally reduced: exposed concrete, white plaster, natural pine wood for window frames and interior finishings, a very frugal use of marble sometimes underlines a threshold). The use of color in the drawings rather disconnects different parts. It corresponds to a tectonics based on primary geometries and their overlapping, rotation, displacement. The structural elements never merge or compose in a unitary whole: they accumulate, pile up, sit on top of each other maintaining their individual identity.

It is also possible that Nuno’s drawings are a way of gently distancing himself from the masters, namely Siza and Souto de Moura. In a recent edition of Porto Academy he worked with the students on what you can call a three-dimensional version of the drawings, made with cardboard and colorful duct tape.

Columns, beams and other sculptural fragments have been delicately placed against the walls of the FAUP, commenting on the architecture of the school, both a moving tribute and a generational handover.

ABOUT THE AUTHOR

Paulo David is full Professor at the School of Architecture, Politecnico di Milano, Italy; Visiting Associate Professor at the Instituto Superior Técnico, Lisbon; Appointed foreign member of the Académie d’Architecture in Paris in 2022; Project coordinator within the framework of Cattedra UNESCO | Mantova, through a studio made up of professors and doctoral students from the Politecnico di Milano, in 2023 and 2024; He received his highest honour with the Alvar Aalto Medal awarded in Helsinki in 2012; AICA Award from the International Association of Art Critics/Ministry of Culture in 2007; 2017 Global Award for Sustainable Architecture in Paris.

As a complement to his activity, he is an intervener, creating an Atelier Funchal Architecture Laboratory, centred on emerging themes in his city. He founded and coordinated an urban studio called Gabinete da Cidade as a result of the major fires in Funchal in the summer of 2016.

011

BY PAULO DAVID

DRAWINGS, CONSTRUCTIONS, AND OTHER FORMS

It became unquestionable for me to approach this monographic document on the work of Nuno Melo Sousa.

To wander in the “mode of words,” seeking the meaning that arises when we stop reading the letters and begin to read the names.

This is how we learn to read, within the condition of a basic relational principle that exists from A to B, knowing that each letter precedes the next and, in turn, one is anything but the other. But it is when we stop reading them in isolation that we move from spelling out words to structuring the reading.

It is necessary, long before anything else, to draw the letters to establish an understanding of their meanings.

There is a side of discovery in this action that is not far removed from the emergence of drawing in the construction of Nuno’s work.

It is with this inscription that I find myself interested in addressing the reference to his work, the sensitive and unique gesture in the way he draws.

My relationship with Nuno’s drawing begins at the very first meeting, where I receive a Drawing. I keep it in a place that neighbors architects, painters, sculptors, photographers, poets, and philosophers.

In a certain way, it participates in the breadth, in the construction of the uncertainty of its classification, and that pleases me.

Siza describes somewhere that he draws a lot because he has doubts. Nuno draws a lot because he structures his thinking through the “pleasure of drawing” to create his forms. “Drawing is represented, experienced and experimented with as a compulsion like the effect of an irresistible impetus.” says Jean-Luc Nancy about “the pleasure of drawing.”

Nuno’s drawings, which even climb walls, are deposited in many different media, always in the sensitive condition of the density of a verb. In the search for the “visible and sensible form of the structure of the idea,” he establishes a graphic alphabet to give us the reading of his constructions.

Drawing is the initiatory condition of the structure of form; it is the idea of construction; form is the idea that seeks drawing.

In the incessant and repetitive exploration of Nuno’s drawing, there is no initial revelation of any anticipatory image of the work. He doesn’t sketch perspectives, nor does he seek imaginary alignments, and this is what impresses and fascinates me the most. Instead, from the beginning, he declares the precision of the work’s thought as a condition of “ruin,” an anticipatory condition of its construction, inquiring into the value of essence.

He knows that a building is expected to provide a concrete response, a precise and clear solution to answer a question, to fulfill an objective, in a specific moment and place.

There is an evident making in the construction of his drawings.

They are strokes, lines, and solids that express themselves, simultaneously constituted of matter in the representation of their colors. He uses all colors, visible and invisible; green, blue, yellow, and red. There is a chromatic significance in the instance of his drawings. They exalt the meaning of the solids.

Establishing the “way of seeing” his drawings has become irrefutable... pausing for his drawings, as an opening, as the beginning of making form.

015

2014 - 2020

TÂMEGA

Favões - Marco de Canaveses, Portugal

A house with four bedrooms, a living room, a kitchen, and a swimming pool.

The plot was complex and immeasurable, with no scale references or directions a hill of fern and stones.

From the trail that leaves the asphalt road towards the forest, we follow the topography that descends towards the river and jump between the rolling stones until we find a furrow, marked by the passage of rainwater. It was the perfect spot - far enough out of one’s sight and between two stable heights.

A sculpted concrete volume with 45º thin and thick patterns hides the river and imposes its opaque horizontality.

To frame each dimension of a rough topography: the river, the hill, the quarry.

A concrete foot is a staircase and a structural base which supports and divides the private and public spaces of the house. While approaching, an elongated entrance introduces us to a long corridor that meticulously frames the rocky massifs in a small reading area.

The living room is long, facing the land’s green vibration, with a large window that frames the Tâmega river and the summer dips into the pool. The house materiality is a return to this very place: the stereotomy wrinkles of stone made on-site to be embraced by time and rain...

Uma casa com quatro quartos, sala, cozinha e piscina. O terreno era complexo, imensurável, sem referências de escala, sem direcções – apenas vegetação baixa e pedras.

Do trilho que sai da estrada asfaltada rumo à floresta, seguimos a topografia que desce em direcção ao rio e saltamos entre as pedras rolantes até

encontrarmos um sulco marcado pela passagem de água da chuva. Foi a implantação perfeita – longe o suficiente da vista e entre duas alturas estáveis.

Um volume de betão, esculpido com padrões finos e grossos rodados a 45º, esconde o rio e impõe opaca horizontalidade. O enquadrar de cada dimensão da topografia acidentada: o rio, o morro, a pedreira. Um largo pé de betão é escada e base estrutural que suporta e divide o espaço privado e público da casa. À medida que nos aproximamos, uma entrada alongada introduz-nos a um longo corredor que enquadra os maciços rochosos numa pequena área de leitura.

A sala de estar é comprida, voltada para o verde que vibra lá fora, com uma grande janela que emoldura o rio Tâmega e os mergulhos de verão na piscina.

A materialidade da casa é um regresso a este mesmo lugar: os veios da estereotomia de pedra feita no local com a argamassa prensada com tábuas de madeira de pinho a misturar-se com o tempo e a chuva…

PROJECT CO-AUTHORED WITH HUGO MENDONÇA FERREIRA

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01. Concrete paving flag made on site 02. Geotextile mantle 03. 4cm thick thermal isolation 04. Exposed concrete wall 05. Smoothing layer 06. Asphaltic coating 07. Floor screed material 08. Solid exposed concrete slab

09. 2cm thick profile 10. 4 + 1.25 + 1.25 Gypsum board 11. Steel angle bracket 12. Aluminum frame 13. Embedding blackout 14. Waterproofing coating 15. 100x50 u-shape profile 16. Drain coating

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17. Drainpipe 18. Batten 19. 2cm thick wooden floor 20. Concrete rigging 21. Gravel screed 22. Ground concrete floor 23. Iron sheet coating 24. Iron sheet

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BURRA

Santa Cruz do Douro - Baião, Portugal

A very unsophisticated renovation of an existent agricultural structure.

The initial project for Quinta da Raposeira was to renovate an old barn. From that point on, other small structures should be subject to intervention. The first project was detailed and ready to start construction, and this small addition to a shed would be the 1:1 mockup/trial.

A little granite masonry house, painted in white, where the farm’s Donkey used to sleep - “a casa da burra”.

An add-on portico holds two slabs to create a living room, sustained by a central concrete pillar. This pillar provides a pause in the 180º panoramic view.

The section of the four-sided ceramic tile roof serves as a new shelter.

Only bones and glass.

A concrete skeleton meets the old body - to be all painted in white. To shine big time under the sun.

Yellow aluminium frames on the archaic constructive solution.

The cows, goats, and sheep still live alongside dogs and chickens, underneath the new shelter.

A circular pond with a stretched pool nearby.

No other project was finished in Quinta da Raposeira and Burra stood still until a new owner re-renovated it to a more “rustic” version.

Uma reabilitação pouco sofisticada de uma estrutura agrícola existente.

O projecto inicial da Quinta da Raposeira foi elaborado para a recuperação de um antigo celeiro. A partir daí, outras pequenas estruturas deveriam ser alvo de intervenção. O primeiro projecto foi pormenorizado e pronto para iniciar a

construção, mas antes este pequeno acrescento a um anexo serviria de maqueta/teste 1:1.

Uma pequena casa de alvenaria de granito pintada de branco, onde dormia o burro da Quinta - “a casa da burra”.

Um pórtico adicional suporta uma sala de estar, sustentada por um pilar central que proporciona uma pausa na vista panorâmica de 180º.

A secção da cobertura de quatro águas de telha cerâmica serve como novo abrigo.

Apenas ossos e vidro.

Um esqueleto de betão encontra o corpo antigo - todo pintado de branco. Para brilhar muito sob o sol.

Caixilharia de alumínio amarelo numa solução construtiva arcaica.

As vacas, cabras e ovelhas ainda vivem ao lado de cães e galinhas, debaixo do novo abrigo.

Um tanque circular com uma longa piscina a seu lado.

Nenhum outro projecto foi concluído na Quinta da Raposeira e a Burra ficou parada até que um novo proprietário a renovou para uma versão mais “rústica”.

NUNO MELO SOUSA

SOUTH ELEVATION

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BURRA

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2020 - 2021

TÓ

Penafiel, Portugal

I’ve been visiting this house for half of my existence. There was a music studio in the lower level which one could visit anytime during the night. It was perfect for insomnia, for late-night talks and reflections, and for a stop when at the final submission of a design studio project.

These memories had to be overlapped by something else - something new that was also very much wanted by my dear friend Rui, a meticulous multi-instrumentalist who would better be living in the middle of the mountain.

Music studio on the ground level, empty intermediate level and the living floor on the first. That is how they used to live.

Then the family grew and Tó wanted a new home where the old one is.

A Late seventies development with thin walls, thin slabs and random windows.

To switch to square windows and few walls with a new music studio on the ground level, a long stretched living space on the first level and a new service core with a large triangular skylight on the last level.

And a pinocchio chimney facing the second most busy street the city has: the one connecting to and from McDonalds.

Visitei esta casa durante metade da minha existência. Havia um estúdio de música na cave que se podia visitar a qualquer hora da noite. Foi perfeito para insónias, para conversas e reflexões nocturnas e para uma pausa na entrega final de um projecto do atelier. Estas memórias tiveram que ser sobrepostas por outra coisa - algo novo que também era muito desejado pelo meu amigo Rui, um multi-instrumentista meticuloso que preferia viver no meio da montanha.

Estúdio de música na cave, piso 0 vazio e a casa toda apertada no último andar.

Era assim que ali se vivia. Depois a família cresceu e a Tó quis uma casa nova onde estava a antiga.

Um loteamento do final dos anos setenta com paredes finas, lajes finas e janelas aleatórias.

Mudar para janelas quadradas e poucas paredes dentro, com um novo estúdio de música na cave, uma longa área de estar no primeiro piso e um novo núcleo de serviços com uma claraboia triangular no último piso.

E uma chaminé à pinóquio, voltada para a segunda rua mais movimentada da cidade: a que liga ao McDonalds.

PROJECT CO-AUTHORED WITH HELDER DA ROCHA

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01. Plasma white ceramic tile 02. Solid wood wedge 03. 10cm thick thermal isolation 04. 2cm thick waterproof plastering 05. Reinforced concrete 06. Concrete gutter 07. Blackout roller 08. Internal tin plastered plaster 09. 8cm thick white cappotto 10. Metallic profile 11. Plaster board 12. Thermal isolation 13. White lacquered aluminum frame 14. Double glass 15. Marble sill 16. Smoothing layer 17. Water proofing with asphaltic coating 18. 2mm thick bended plate 19. Concrete rigging 20. Existing slab 21. 15cm height birch plywood footer 22. 2cm thick pinewood floor 23. Wooden batten

24. Lightweight concrete 25. Pre ring in metallic tube 26. Metallic door 27. 3mm thick metallic plate jamb 28. Suspended plaster board 29. Mat type cairo 30. Metallic sill 31. Pre ring 32. 2cm thick thermal isolation 33. Grounded concrete landing 34. Geotextile 35. Draining screen 36. Waterproofing system type imperalum 37. Gravel box wrapped in anti-contamination geotextile 38. Draining pipe 39. Grounded concrete 40. 13cm thick lightweight concrete filling 41. Waterproofing coating + vapor barrier 42. 15cm thick concrete rigging 43. 15cm thick gravel box 44. 15cm thick tout venant 45. Anti-contamination geotextile 46. Compacted soil

47. Plasma roof tile 48. Support wooden batten for roof tile 49. Universal support for top edge tile 50. Ventilated aluminum membrane 51. Plasma white roof tile 52. Batten 53. 2cm thick tin plastered plaster 54. Brick masonry liner 55. Birch plywood door 56. Birch plywood jamb 57. 2x2cm batten 58. Sill 59. Metal box for mat 60. Plaster board wall 61. 6cm thick white cappotto 62. Kitchen cabinet 63. Metallic profile 64. 2cm thick marble 65. Smoothing layer/tile adhesive 66. Reinforced porous concrete with electrowelded wire mesh 67. Gravel box 68. 11cm thick brick masonry wall

041

2019 - 2022

ENGENHO I

Canelas - Penafiel, Portugal

An abandoned stone barn - a ruin.

A standalone element facing the valleys and the interception of both Douro and Tâmega rivers.

The mountains sit in the backdrop.

To build a shelter.

We approach a vertical and an oblique element, without understanding what this primary structure will be, at the junction of the dirt path between the vineyard and the horizon.

The masonry wall was kept, and a new portico arose, sustaining a sliding blackcoated wooden structure insulated with a black waterproof film. This portico stands alone, outside the heavy masonry wall, with two straight-up pillars - a circular and a square. Both have strong feet digging deep into the ground.

A ground floor connected to the exterior black and granite stone plateau - once used to dry corn in the most sun exposed area of the plot - continues visually until the green fields and trees ahead.

An upper level is made of a compression between the rhythmic structure of the beams and the wood raft which is floating between rock-stone-mortar walls - only lifted by elegant/fragile wooden stilts.

Uma eira e uma ruína em pedra.

Um elemento autónomo voltado para os vales e para a intersecção dos rios Douro e Tâmega.

As montanhas como pano de fundo.

Construir um abrigo.

Aproximamo-nos de um elemento vertical e outro oblíquo, sem compreender o que será esta estrutura primária, no enfiamento do caminho de terra entre vinha e horizonte.

Fora das paredes de alvenaria existentes,

ergueu-se um novo pórtico que sustenta uma estrutura de madeira revestida com tela mineral negra. Este pórtico surge sozinho, distante das pesadas paredes de pedra, com dois pilares alinhados entre si - um circular e um quadrado.

Ambos com os pés de fora a cavar o fundo do solo.

O interior do piso térreo liga-se à plataforma exterior de pedra de granito e ardósia - outrora utilizada para secar milho na zona mais exposta ao sol do terreno - e deixa-se continuar visualmente até ao verde dos campos e árvores.

O piso superior é espaço de compressão entre o ritmo estrutural das vigas de madeira e uma jangada que flutua entre paredes de pedra e argamassa segura por elegantes e frágeis pilares de madeira.

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ENGENHO I

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ENGENHO I

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051

2019 - 2022

QUINTELA

Penafiel, Portugal

A sunken plot in a countryside made of a fragmented landscape.

From the street, one does not perceive a house: only a blind facade with a long narrow stair leading to the exterior concrete porch. This concrete umbrella welcomes us, followed by a light well and a small hall to introduce the private realm of the ground level.

Two squares intersect to generate a central core - a triple-height space that connects living and sleeping areas.

There is no corridor. Each space is autonomous, demarcated by the structural grid, but visually merges as a continuous being.

This matrix of beams and columns organizes and paces the interior spaces. From walls to ceiling, these gray elements, in opposition to the white plastered walls, visually constrain actions and modulate the habitat.

Outside, the plot remains sunken, with plenty of space to grow vegetables.

Um terreno submerso numa paisagem fragmentada, num contexto rural.

Da rua não se percepciona uma casa: apenas uma fachada cega com uma escada longa e estreita que conduz ao alpendre exterior de betão. Este guardachuva de betão recebe-nos, seguido de um poço de luz e um pequeno hall que nos introduz ao privado do piso térreo.

Dois quadrados que se cruzam para gerar um núcleo central - um espaço de pé-direito triplo que liga a área de estar e de dormir. Não há corredor. Cada vazio, demarcado pela grelha estrutural, tem a sua autonomia, mas funde-se visualmente como um ser contínuo.

A matriz de vigas e pilares organiza e

orienta as zonas interiores. Das paredes ao tecto, estes elementos cinzentos em oposição às paredes rebocadas e pintadas a branco contêm visualmente as acções e modelam o habitar.

No exterior, o terreno permanece submerso e com espaço de sobra para o cultivo da horta.

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NUNO MELO SOUSA

QUINTELA

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061

2021 - 2022

SILVOSA

Canelas - Penafiel, Portugal

“From this terrace one can see mountains for miles and miles” - thirty?-, my grandfather would say, while resting under the shade of a sunshade, tasting a cold beer.

As the loved ones departed, my mother and aunt asked me to renovate the house.

It is always difficult to open a box of memories of baths in the water tank and evenings sitting in front of the fireplace.

A townhouse facing the village’s main road.

A small but pleasant outside area, above the street level, to grow vegetables and flowers.

A bucket of green paint for the patio.

Buckets of different whites for the interiors.

Three new windows for the existing walls.

A new fireplace sitting on a stone from the demolished wall where the old fireplace was.

The water still flows from a long narrow mine into a granite water-tank.

Desde o terraço dizia-se que se podia avistar montanhas por quilómetros e quilómetros - trinta -, dizia o meu avô, enquanto bebia uma cerveja gelada à sombra de um guarda-sol.

Os avós partiram e a minha mãe e a minha tia pediram-me para reabilitar a casa. É sempre difícil abrir a caixa de memórias de banhos no tanque de pedra e serões à lareira. Uma casa de aldeia à frente da rua principal. Um pequeno, mas agradável quintal, acima da cota da rua, para plantar vegetais e flores.

Um balde de tinta verde para o pátio.

Baldes de diferentes brancos para os interiores.

Três novas janelas para as paredes existentes.

Uma nova lareira pousada sobre uma pedra retirada da parede demolida, onde a velha lareira estava.

A água da mina ainda corre até ao tanque de granito.

SOUTHEAST ELEVATION

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SILVOSA

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2021 - 2023

HARAMBEE

Florianópolis, Brasil

Roberto is my friend since the Delft days.

He says we’ve met in Albert Heijn’s cash register while waiting our turn to pay for the classic pasta, “jupiler” and canned tuna. I thought it was on our weekend football 7x7 at the incredible sports center the TU has. We have been friends since those Erasmus days.

One regular day with no big story, Roberto sent me photographs of this plot in Ratones, Florianópolis. He wanted a new home in a mountain setting, not so far from the coast.

For me, without actually visiting the site, the whole process started and ended in a surreal state - my mind could not process the fact that it was happening in that intangible landscape.

One straight line as a house - a white wall.

One curved line as a plateau that creates a social area around the pool and leaves the natural descending topography around it.

A split-paved promenade lead to two opposite porches on each side of the house. On the other side, a long stretched porch connects all the interior areas to the swimming pool semicircle. An intimate low space that also works as a sun protection to the glazed facade.

Inside, only white walls and concrete floor and slab. The finishing is raw and simple, as they only can be when you are very far away from the construction site.

Last February I could finally visit the gray cardboard model, the goofy sketchup ‘print screens’, the printed plans and sections, and WhatsApp annotations.

It was very good to finally meet Laurinha, Romeo and Lucas.

And of course, the house.

O Roberto é meu amigo desde os tempos de Delft. Ele diz que nos conhecemos na caixa registadora do Albert Heijn, enquanto esperávamos para pagar a clássica massa “jupiler” e atum enlatado.

Achava que tinha sido no 7x7 semanal no incrível centro desportivo que a TU tem. Somos amigos desde esses tempos de Erasmus.

Num dia normal, sem grande história, o Roberto enviou-me fotos de um terreno em Ratones, Florianópolis. Queria uma casa numa região montanhosa, não muito longe da costa.

Para mim, sem realmente visitar o local, todo o processo começou e terminou de forma surreal - a minha mente não conseguia processar o que acontecia naquela paisagem intangível.

Uma linha recta como uma casa - um plano branco. Uma linha curva forma uma plataforma que cria uma área social em redor da piscina e deixa a topografia natural com ligeira pendente.

Dois percursos pavimentados levam a dois alpendres opostos em cada lado da casa. Do lado oposto, um longo alpendre liga todas as áreas interiores ao semicírculo da piscina - um espaço baixo e intimista que também funciona como protecção solar à fachada envidraçada.

No interior, apenas paredes brancas e piso em betão. Os acabamentos são crus e simples, como só podem ser quando se está muito longe da obra.

Em fevereiro passado pude finalmente visitar a maqueta de cartão cinza, os “print screens” desajeitados do sketchup, as plantas e cortes impressos e as anotações do WhatsApp. Foi muito bom, finalmente poder conhecer a Laurinha, o Romeu e o Lucas.

E claro, a casa.

NORTH ELEVATION

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HARAMBEE

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NUNO MELO SOUSA

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01. Soil 02. Ground concrete ramp 03. Video doorbell mailbox 04. Gate 05. Ground concrete exterior floor 06. 6 Mm thick flat bar 07. 4x4 cm “l” shaped steel angle bracket 08. 4x4 cm electroweld grille 09. Mailbox/video doorbell material: - Stainless steel case (aisi316) with 2mm thick - Stainless steel plate (aisi316) for speaker - Interior video doorbell - Piano hinge for mailbox 10. 1cm thick gap 11. 20cm ø exposed concrete round pillar 12. 40 X 40 x 40 cm exposed concrete

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2021 - 2024

CORCET

Penafiel, Portugal

The site is a small acropolis.

The program was suitable for this “top of the hill” situation - a headquarters building for a local family business.

A complex set of different programs is to be adjusted and articulated. A shop for motorcycle sports, navigation hardware and software development. Office space, cafeteria and living area. A showroom for heavy machinery and equipment.

A technical assistance area with loading docks.

Three storage rooms.

It all starts with an exterior gallery to connect the three cores, implying cadence and rhythm through the pillar repetition: perhaps evoking a certain monumentality before entering the void.

Two patios bring light and green to the industrial gray, opposing the expected.

An axial entrance to a lobby with two long stairs and four columns that reach a higher ceiling. A cross circulation on the second level.

Interior boxes for offices, toilets and locker-room.

Granite pavement and walls, made of local rocks, sustain the topography and create a continuous floor to visually detach the concrete mammoth.

Uma pequena acrópole.

O programa era adequado para esta situação de “topo da colina” – um edifício-sede para uma empresa local, de cariz familiar.

Um conjunto complexo de diferentes programas a serem ajustados e articulados entre si. Uma loja de equipamentos de desportos motorizados, ‘hardware’ de navegação e desenvolvimento de ‘software’.

Espaço de escritório com áreas comuns e de convívio. Showroom para máquinas e equipamentos pesados. Uma assistência técnica com área de cargas e descargas.

Três grandes armazéns.

Uma galeria exterior para ligar os três núcleos, incutindo uma cadência e ritmo através da repetição dos pilares: quiçá evocando uma certa monumentalidade, antes de entrar no vazio.

Dois pátios para trazer luz e verde ao cinza industrial, contrariando o esperado.

Uma entrada axial para um lobby com duas longas escadas e quatro pilares que suportam um tecto alto. Uma circulação em cruz no segundo piso.

Caixas interiores que contêm gabinetes, sanitários e balneários. A calçada de granito e muros, feitos de pedras do lugar, sustentam a topografia e criam um piso contínuo para soltar, visualmente, o mamute de betão.

NUNO MELO SOUSA

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CORCET

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2022 - 2024

SOUTO

Rio de Moinhos - Penafiel, Portugal

Nine squares. One is covered and receives us when arriving home. One is uncovered and allows rain in when the skies are gray and heavy.The living area relates to these two outside patios. Living, eating, and cooking aligned.

The sleeping rooms are on opposite squares. The bathrooms are partitions which don’t touch the ceiling. In the very core of the house, the height triples into two small openings, bringing light both in the morning and late afternoon. This is where one shall gather and eat.

From the street, one can only look at that central window.From the corner one can perceive the concrete hat with a concrete pillar sticking out of the perimeter of the white walls. We can also look at the small vertical gap that points out the entrance.

Under, there is a basement space that collects the whole upper floor area.

Isidro - the client - builds houses like he is building his. He built Quintela and, after doing so, asked me to design his own home. Which I did.

So, he needed space for the tools and things which people who build houses need. Therefore, a big garage/basement as a depot.

Nove quadrados. Um está coberto e recebe-nos ao chegar a casa. Outro é descoberto e permite a entrada de chuva quando o céu está cinzento e pesado.

A área de estar relaciona-se com estes dois pátios exteriores. Viver, comer e cozinhar alinhados.

Os quartos de dormir ficam nos quadrados do fundo. Os sanitários são divisórias que não tocam no tecto.

No centro da casa a altura triplica e duas pequenas aberturas trazem luz tanto pela

manhã como no final da tarde. É aqui que se deve reunir e comer.

Da rua só se vê uma janela ao centro.

Do canto percebe-se o chapéu de betão com um pilar fora do perímetro de paredes brancas. Podemos também percepcionar o pequeno vão vertical que assinala a entrada.

Por baixo, existe uma cave que recolhe toda a área do piso superior. O Sr. Isidro - o cliente - constrói casas tal como constrói a sua. Foi ele quem construiu Quintela e depois disso pediu-me para desenhar a sua. Assim o fiz.

Deste modo, precisava de espaço para as ferramentas e coisas que as pessoas que constroem casas precisam.

Portanto, uma grande garagem/cave como armazém. As paredes da cave abrem-se como se de uma caixa se tratasse, deixando uma varanda para cada um dos lados.

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095

2021 - under construction

CEREJA

Penafiel, Portugal

A house for a dear friend.

We have played tons of shows in dirty and smoky basements, humid rehearsal rooms, and talked and listened to each other’s stories for hours inside a packed van. These days, Pedro crafts some amazing images of buildings to be, with his mothership “OKdraw”.

A couple of years back, Pedro and Joana asked me if I could design their house.

The request was simple: a house with one bedroom and a closet.

A white volume with a veranda and a window facing the street.

From the street corner, one understands a lifted box, over a red wine-colored Citroën with eventually a rose wine-colored pillar.

This space becomes a reception patio, as an extended living space, under the other interior living.

Inside, one finds a living room with either a super low height or a very high height.

A chimney you can sit and talk inside.

The sleeping area is composed of two rooms: two “cellas” with a narrow window facing the garden.

Uma casa para um amigo.

Demos muitos ‘shows’ em caves sujas e fumarentas, salas de ensaio húmidas e conversamos e ouvimos, dentro de uma carrinha lotada, as histórias uns dos outros durante horas. Hoje em dia, o Pedro cria algumas imagens incríveis de futuros edifícios, com a sua nave-mãe “Okdraw”.

Há alguns anos, o Pedro e a Joana perguntaram-me se eu podia desenhar a casa deles. O pedido era simples: uma casa com um quarto e um closet.

Um volume branco com varanda e janela voltada para a rua.

Da esquina, percebe-se uma caixa elevada sobre um Citroën cor de vinho tinto e eventualmente um pilar cor de vinho rosa. Este espaço torna-se pátio de recepção, como um espaço de estar extra, sob os demais ambientes internos.

No interior, encontra-se uma sala com um pé-direito super baixo ou muito alto.

Uma chaminé onde nos podemos sentar e conversar.

A zona de dormir é composta por dois quartos: duas “cellas” com uma janela estreita voltada para o jardim.

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2023 COMPETITION TOP 5 SHORTLISTED

CHARLOTTELUND KIRKE Trondheim, Norway

A suburban and anonymous context.

To build a castle. Brick with mortar.

No battlements, just high walls on the outside.

Three cloisters. Two with native vegetation and one made with water falling from the roof.

A big square. In its center, the great hall.

A circular table with four pillars that protects from the large voids of light: the four towers of the castle that bring the light that comes from above.

Pale light, warm light, strong light.

Another tower stands outside, skeletal and monumental, with bells that sing the hours and call for celebrations of life and death.

Um contexto suburbano, anónimo.

Construir um castelo. Tijolo com argamassa. Sem ameias, só com paredes altas por fora.

Três claustros. Dois com vegetação autóctone e um com a água que cai desde a cobertura.

Um grande quadrado. No seu centro, o grande salão.

Uma mesa circular que protege dos grandes vazios de luz: as quatro torres do castelo que trazem a luz que do alto vem.

Luz pálida, luz quente, luz forte.

Uma outra torre fica do lado de fora, esquelética e monumental, com sinos que cantam as horas e chamam para as celebrações da vida e da morte.

PROJECT CO-AUTHORED WITH FJORD ARKITEKTER

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TÂMEGA index project project co-authored with Hugo Mendonça Ferreira project: 2014 - 2020 location: Favões - Marco de Canaveses, Portugal collaborators: Paula San Nicólas gross built area: 300 m2 images: © José Campos

HARAMBEE project: 2021 - 2023 location: Florianópolis, Brasil collaborators: Ana Dias and Diogo Veiga gross built area: 300 m2 images: © Nuno Melo Sousa

BURRA project: 2021 location: Santa Cruz do Douro - Baião, Portugal gross built area: 30 m2 images: © José Campos

CORCET project: 2021 - 2024 location: Penafiel, Portugal collaborators: Ana Dias and Diogo Veiga gross built area: 4400 m2 images: © José Campos

TÓ project co-authored with Hélder da Rocha Arquitectos project: 2020 - 2021 location: Vila Gualdina - Penafiel, Portugal gross built area: 270 m2 images: © José Campos

SOUTO project: 2022 - 2024 location: Rio de Moinhos - Penafiel, Portugal collaborators: Ana Dias and Diogo Veiga gross built area: 186 m2 images: © José Campos

ENGENHO project: 2019 - 2022 location: Canelas - Penafiel, Portugal collaborators: Ana Dias and João Taveira gross built area: 90 m2 images: © José Campos

CEREJA project: 2021 - under construction location: Penafiel, Portugal collaborators: Ana Dias and Diogo Veiga gross built area: 150 m2 images: © Okdraw

QUINTELA cover project project: 2019 - 2022 location: Penafiel, Portugal collaborators: João Taveira gross built area: 150 m2 images: © José Campos

CHARLOTTELUND KIRKE project co-authored with Fjord Arkitekter project: 2023 - COMPETITION TOP 5 SHORTLISTED location: Trondheim, Norway collaborators: Diogo Veiga, Ana Dias, Maria Inês Correia, Nora Paulsen, Ask Aune and Finn Magnus Rasmussen gross built area: 1400 m2 images: © Okdraw

SILVOSA project: 2021 - 2022 location: Canelas - Penafiel, Portugal collaborators: Maria Helena Coelho and Isabel Maria Coelho gross built area: 100 m2 images: © José Campos

NUNO MELO SOUSA

NUNO MELO SOUSA

Nuno Melo Sousa (1988) lives and works in Penafiel, northern Portugal. Attended the Porto School of Architecture - FAUP and did an Erasmus programme at the TUDelft and Balkrishna Doshi’s International Studio in Ahmedabad, India.

He has briefly collaborated with [a] ainda arquitectura and Nuno Brandão Costa.

Since 2012, Nuno has been working at his atelier where he draws and sometimes paints too, but he mostly draws: on walls, on papers and on tables as the slowness of the act of building leaves him yearning for the immediate. Some of these drawings have been exhibited around Europe most recently at Premio Lissone 2024.

Nowadays, the atelier plays either noisy or silent compositions with Diogo Veiga‘s meticulousness and Ana Dias’s subtle precision.

Nuno likes to sit alone at the building site and prefers to draw on-site rather than in CAD. None of the showcased works would be possible without the commitment and intensity of the ones who actually build our ideas on-site.

Nuno has taught at INDA - Chulalongkorn University, Bangkok, Thailand, at the Porto School of Architecture - FAUP and at the Accademia di Architettura di Mendrisio. He has led workshops like Porto Academy and lectured at several universities and venues.

Writing and playing music is a therapy and Nuno plays drums and synth with Muay, a non-stop feeling of relentless sleepingbag tours and half-empty shows. He likes listening to albums (or live sessions) from beginning to end.

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His works have been published in a wide range of printed publications and selected for various prizes and awards - Nuno and Hugo Ferreira won the 2023 BigMat International Architecture Award for small scale with casa no Tâmega.