LB 16 ÁLVARO SIZA monte da lapa vol l ONLINE sample PREVIEW

ÁLVARO SIZA

MONTE DA LAPA VOLUME I

ÁLVARO SIZA Álvaro Joaquim Melo Siza Vieira was born in Matosinhos in 1933.

He studied Architecture at the former School of Fine Arts of the University of Porto, between 1949 and 1955. Being his first work built in 1954.

He was a teacher at the Oporto School of Architecture of the University of Porto, city where he works.

He is a member of the American Academy of Arts and Sciences; he is an “Honorary Fellow” of RIBA/ Royal Institute of British Architects; he is a member of BDA/Bund Deutscher Architekten; “Honorary Fellow” and “Honorary FAIA” of AIA/American Institute of Architects; he is a member of Académie d’Architecture de France; of Royal Swedish Academy of Fine Arts; of IAA/International Academy of Architecture; National Geographic Portugal; Honorary Partner and Honorary Member of the Portuguese Architects Association; member of the American Academy of Arts and Letters; Honorary Professor at China Southeast University and the China Academy of Art and Honorary Member of the Academy of the Portuguese Language Architecture and Urbanism Schools.

PEDRA LÍQUIDA With a dynamics based on team work, Pedra Líquida atelier enjoys analysing and living the contemporary city and believes in its evolution and progressive consolidation. As a multifaceted collective, Pedra Líquida works over rehabilitation, housing, service and hospitality projects, as well as curatorial and exhibition projects.

Although different, these interventions seek a unitary and particular identity, bearing in mind the stucture of the city and the action of time, society, culture and the rest of the intervening agents in urban life.

The component of developer, building and construction management is an effective way of reaching Pedra Liquida’s architectural goals.

NUNO GRANDE Nuno Grande (Luanda, 1966).

Architect, researcher and curator in Architecture.

Associate Professor at the Department of Architecture, University of Coimbra. He obtained his degree in Architecture at the University of Porto (1992) and his PhD at the University of Coimbra (2009). He is a researcher at the Social Studies Centre (CES/UC).

He curated international exhibitions at the: 1st Lisbon Architecture Triennale (2007); 7th São Paulo Architecture Biennale (2007); Cité de L’Architecture et du Patrimoine, Paris (2016); Portuguese Pavilion at the 15th Venice Architecture Biennale (2016); Serralves Museum of Contemporary Art (2019).

He is author of publications on Portuguese Architecture, and writes for architectural magazines.

LB 16 ÁLVARO SIZA MONTE DA LAPA VOLUME I is the first volume of a serie of two, from THE AMAG LONG BOOKS COLLECTION. VOLUME I features the work under construction.

VOLUME II will feature the completed work.

ÁLVARO SIZA

MONTE DA LAPA VOLUME I

MONTE DA LAPA VOLUME I features the project and the work under construction from the homonymous project. apresenta o trabalho em construção do projecto homónimo.

MONTE DA LAPA VOLUME Il will feature the completed work. apresentará o respectivo trabalho completo.

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MONTE DA LAPA? WHERE? WHY?

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Alexandra Coutinho and Nuno Grande Pedra Líquida atelier, project developer

Few residents of, or visitors to, Porto will know where Monte da Lapa is. In a casual search, we ourselves discovered this promontory full of old worker estates (known as ilhas or islands locally), and we immediately understood it to be a kind of condensed form of the surrounding city: its urban evolution, architecture and landscape. Located between the downtown central Porto area and the expansion of the city to the west, Monte da Lapa competes in terms of scale with the beautiful church of the same name that emerges in the surrounding urban profile.

Taking place during a phase of strong tourism-driven gentrification of the city, the regeneration of this place, presented herein, emerges as a counter current to the usual processes of urban and architectural enhancement. We have always believed that Porto should be lived in and visited in a way that is different to that which “generic” tourism has made possible in the city’s fabric. To this end, as part of the work of our firm, we have created, over the last decade and longer, hotel spaces that do not erase but showcase and narrate the collective memories of the city, inscribing them in contemporaneity: those of a late 19th century bourgeois house – Casa do Conto; those of an artisanal workshop – Tipografia do Conto; and now, those of the city’s former worker housing estates or islands – Monte da Lapa.

We also wanted this trilogy to be completed in the best way possible and invited Álvaro Siza to join this emotional “adventure” as author of the Monte da Lapa Renovation Design, in the knowledge that no other architect would know how to respect the project in all its scales and memories. Conscious of the inevitable historical distancing, Siza evokes, with his design, the decade of the 1970s, when the hidden fabric of the Porto islands became a work theme for local architectural culture, maintaining the same desire as back then, to retain them, link them, showcase them and transform them into urban fronts with dignity. He says so himself in the interview granted for this publication.

His design starts from what had by 2014 become a “ghetto” of urban remains, a mixture of completely degraded, abandoned or unhealthy housing, and transforms it into a living space capable of advancing intersocial, intercultural and intergenerational junctures.

The intervention programme includes the construction of a new building (a small sixroom hotel), the redevelopment of an old mill/lookout point into a commercial and leisure space (the pivotal space in the complex), as well as diverse housing groups serving different purposes: a student hall of residence and short, medium and long-term rental housing, with some of the former residents to remain living there. Furthermore: the design revisits and reinvents the history of this space on an urban height, memories of which go back to, at least, the Siege of Porto in the 19th century, by connecting platforms and streets; the overall aim was to create a new urban circuit by “de-ghettoising” the difficult-to-access areas. Essentially, Siza adopts here strategies with which he experimented in so many other historic neighbourhoods: São Victor (Porto), Kreuzberg (Berlin), Chiado (Lisbon)…

This particular re-encounter between Álvaro Siza and the city in which he now lives and works, after a lengthy international career, deserves to be told and divulged, which is the reason for this publication, which was so readily and kindly embraced by the publisher AMAG. The publication will be in two volumes; this first one, about the Monte da Lapa redevelopment process, including the aforementioned interview with the design’s author; and a second volume that will showcase the completed work and the contemporary

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MONTE DA LAPA

PORTO, PORTUGAL 2021-2025

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Monte da Lapa was an abandoned acropolis full of history that was crowned by a mill with a cleverly zig-zagging access path in granite.

The site was partially occupied by islands, housing rows built for the working class, which was attracted by the first wave of industrialisation in Porto. The adopted model, which apparently was influenced by the British presence in the city in the 18th and 19th centuries, resulted in a compact ring around the historic city centre. It was an occupation that SAAL (Serviço de Apoio Ambulatório Local), a state-funded, post-revolution housing design organisation – from 1974 to 1976 –, sought to maintain, inverting the original design spirit and giving it the right to be an open and communicating urban fabric: the right to the city.

I was invited to produce a preservation and transformation design of the site.

The mill, once used as a lookout and communication post in the fighting between liberals and supporters of Prince Miguel, became the location of a new cafeteria. A small hotel of just six rooms was built on a plot that was previously home to since demolished military installations.

Parts of the islands, formerly dilapidated but with some houses still lived in, were renovated following negotiations involving residents, giving rise to 28 new dwellings of various types, in three new nucleuses.

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The aim of the design was to give the city back its acropolis and return the islands to the remaining urban fabric while serving old and new residents, tourists, students and other citizens who wish to (re)discover this unique place.

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MONTE DA LAPA: WHEN LANDSCAPE BECOMES DESIRE

EN Interview to Álvaro Siza conducted by Nuno Grande on the 5th September 2021

RETURN TO PORTO’S ISLANDS [01] Nuno Grande (NG) – First I would like to thank you for this interview and your commitment to this architecture design for the regeneration of the Monte da Lapa islands.

This place is familiar to you, as you have been interested in the urban fabric of Porto’s islands for fifty years now, and I recall your involvement in the operations of SAAL (Local Ambulatory Support Service, a housing support service) after the Revolution of April 1974 and the neighbourhoods that you studied and designed… Álvaro Siza (AS) – One of them is close by, i.e., Bouça.

NG – Yes, Bouça neighbourhood but there is also the São Victor neighbourhood. Your generation of architects was that which taught us the importance of Porto’s islands, contradicting their hygienist demolition and fighting for their regeneration as an identitarian part of the urban fabric. How did that process start decades ago?

AS – At the time there was a very special political context. There was a whole history of people being expelled from the city centre islands, where communities had been built.

They began removing people from the centre – this was all in the centre or around the historic centre of Porto – and placing them in neighbourhoods outside those communities. This gave rise to strong reaction from the people themselves to keeping their communities of mutual help and solidarity.

People clung to where they lived, their central locations.

Translator’s note: ilha or, in English, island is a term used specifically in Porto to denote a worker housing estate that was built after the Industrial Revolution began.

[01]

The island populations grew tired of being sent to the outskirts, to large-scale neighbourhoods that were subject to unbearable regulation, together with inspectors, some of them members of the PIDE [political police of the Estado Novo dictatorship], which had absolute control over the population. In the new apartments, people were not al-

lowed to hang a picture on a wall, or keep a pet without a permit. So, the people were tired of all that and of having their communities divided.

However, in terms of the city’s housing policies, there was nothing to replace the islands; perhaps, in the long term and with the correct financial capacity, which was non-existent at the time, one could think about demolishing all the islands.

The SAAL operations in Porto concentrated on regenerating the islands, in an attempt to invert the situation. In some cases, the islands fronted onto the street but most of them were located isolated in the plot interiors. That is why they were called islands.

The SAAL/Norte operations were in part based on a vision of this “other” city, this hidden city, making a new urban front. In another sense, internal communications were established between several islands – many of them were united by back-to-back houses – enabling them to “breathe”.

NG – Today the landscape in Porto has changed much. Some islands were abandoned or shuttered up, many residents left, and others died, and the new generations don’t want to stay in the houses… Many places have begun to be redeveloped for tourism purposes, others maintain a coexistence between residents and visitors, as is the case of this design project you are involved in. The resident population remains in place and the empty spaces will be opened to tourism. How do you see this ongoing process of regeneration or renovation for these places?

AS – It is seen, and I am aware of that, as a kind of “betrayal”, or as a degradation, bearing in mind the interventions carried out subsequently by various architects.

I don’t see things that way, as I watched closely the changes in Bouça, which I knew well. Bouça neighbourhood, contrary to what many people think, after the redevel-

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opment and extensions carried out (after years of abandonment), was put up for sale, whereby priority was given to the cooperative members. One cooperative got in touch with former residents, who occupied less than half the built area and entered into long and difficult negotiations with the remaining residents, as far as I know. Of these, very few wanted to come back. The strength and the sense of community, as well as the political struggle related to alternatives I have spoken of before, had disappeared.

For many, the island was considered an outward sign of poverty, misery actually… Accordingly, what they desired from life was no longer the redevelopment of the island but, instead, to live in an ordinary building with apartments on the left and apartments on the right. And this was what happened.

The cooperatives themselves began working towards this. Generally speaking, it is fair to say that there was little support for remaining in or going back to the island among cooperative members. Instead, there seemed to be a strong desire on the part of young people, students, teachers and others to live there, considering the improvements generated by the Porto Metro network. Through Bouça, now the Metro offers a direct access to the Boavista Avenue, so a new and very positive situation was created in the city.

NG – So, you don’t see a “betrayal” – the word you used – in the fact that these places are changing and becoming multiclass and multicultural?

AS – I think not, although I understand that feeling among those who involved themselves intensely in the social movement at the time. But that’s a minority view today.

Over the years, housing alternatives have seen to a disappearance of that spirit of solidarity among the poor. So, today, there no longer is the strength that existed back then.

There are other housing initiatives, though few, today. After all, the housing problem persists, both in Porto and Lisbon…

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NG – Do you think tourism can be introduced in a sensitive way, treating the urban and social fabric with respect, as you strive for in the Monte da Lapa design? Or is tourism to be condemned as a predator of urban areas?

AS – Tourism is a predator but also one that enables improvement in the conditions for intervention in the city. This has been well visible in Porto. Before the COVID-19 pandemic, the presence of tourism was important, making it possible to sustain many activities in this city. And in other cities, too.

There is a very complex evolutive environment, that is crossed by sudden events, such as the pandemic. But there is also a crisis in terms of the role that tourism has played in the creation of better ways of life, at least in the city of Porto.

NG – The tourism we had before the pandemic generated a very generic hotel offer in Porto. That offer became very similar, regardless of where in the city it was located.

Your design for Monte da Lapa, on the other hand, is generated from the unique conditions of the place and wishes to belong exclusively to that place; in a way, it strives for what we normally would call “authenticity”.

Do you agree?

AS – I think architecture in general has to be sensitive to the place. And to the transformations of the place.

NG – Independently of the programme?

AS - Independently of the programme and the ongoing evolution, in which the architect will have limited capacity to intervene. Future cannot be seen in isolation. You essentially have to have one eye on the past, on the history and what already exists. And the other on the present, looking to the future.

Interventions in specific locations are full of ambiguities and there’s always a need for

IMG 01 Alto da Lapa in the city plan of Porto, 1892

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imagination if one wants to not only rely on the present but also on the past as the creator of the future.

NG – Do you think that anyone who visits or stays here, in this work of yours, will be aware of those different times in the city?

AS – I think so. You already accept that the human environment will be very different.

But the perception of history as a support point for new architecture, I have no doubt will be felt. And in a more complex way, it will also be felt in relation to the city, because the Monte da Lapa islands are atypical. Generally speaking, they have the same dimensions and volumes of the existing islands – one storey only, at times two; but they are in a very special place; they are in this “acropolis”, to use a glorious name.

This place has a weight that comes from its history. The highest point of the acropolis is not a temple; it is an old mill that once served as a look-out point, for observation and communication used by the liberal troops of Dom Pedro IV in the Civil War of the nineteenth century [1832-1834]. It is intimately connected to the Siege of Porto and the victory of the liberal faction over the troops of Prince Miguel. It is a building of historical importance in the island environment but also in the topography of the place. It is now a look-out point, no longer for enemy troops but of the city. It is fantastic because from here you can see the whole city. You see the sea, the historic centre and its architectural landmarks.

So, it has all that power, to give you an understanding of what the city is through its movements.

MEMORIES OF MONTE DA LAPA

IMG 02 Alto da Lapa in the city plan of Porto, 1939

NG – Was it your interest in the place that led you to accept, almost immediately, our invitation to design the project? I remember we, Alexandra and myself, came to invite

you to conduct the design project and you said: “First, we must see the place”. Then we asked: “Shall we schedule a visit?”. And you replied: “Now. Let’s go now!” What led you to sign up so quickly?

AS – What led me to sign up was our friendship. But of course, as I have said already, this is a decisive place in the city that is occupied by islands and a past that has left its marks. Nobody has ever dared to demolish that humble mill. The islands were already partly uninhabited. There has been a constant exodus, so only a part is inhabited.

NG – The islands still house some residents that you met and talked with them about how they live there. Were you reminded of other previous participatory processes?

AS – Yes, that also attracted me to this project. Firstly, because it is a beautiful acropolis, a place of celebration that provides an understanding of the city. Moreover, it reminded me clearly of the time I worked on the São Victor islands. Nearby is the Bouça neighbourhood, that has had a bizarre history, with years of abandonment of the population who occupied the land and still lives there in part. People who have been there since the early days of the SAAL operations and lived in many islands in the vicinity. So, there remains the memory of that time, for an architect that worked in it and observed the evolution and, dare I say, the obvious outdated imaginary of the islands all over the city.

NG – In São Victor, your design proposal was inserted into the fabric of the existing islands…

AS – That strategy was established in a plan. The area was dense with islands and the intervention revealed the externalisation of that human presence, remaking or establishing for the first time certain con-

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nections between them. It was, essentially, a negation of the notion of “island” itself.

NG – Is that the same here in the Monte da Lapa design? The experience of opening up, of connecting?

AS – This no longer has anything to do with the SAAL working experience directly. What matters in the city is establishing connections between people and between institutions. So, to intervene in a city, particularly in the historic centre, is to strike the fundamental balance between that which is preserved and that which must evolve, to the extent it has sufficient strength.

NG – In Monte da Lapa you paid particular attention to the platform overlooking the landscape, and also the mill, as spaces to visit…

AS – In the Porto Plan of 1892 I saw that there was once a construction at one end of that platform. In my proposal, the volume of a small hotel occupies that vacant area, where a previous construction may have existed; but which doesn’t seem to have been for housing purposes.

NG – Maybe it had to do with that military campaign in the nineteenth century that you talked about…

AS – Exactly. There was already an internal organisation to that platform that I retained.

NG – And you also provide treatment to the access road to the hotel…

AS – Yes. The street with the repaired paving leads to an area that is more open. The hotel is positioned laterally to the street and at the top end I placed some stone

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benches, a place for rest and observation.

From up there, as I already said, you get a full understanding of the surrounding city: an immediate view of the church of Lapa, the historic centre, the military barracks, and then the sea…

NG – When you started this project, I remember seeing you analysing old maps of Porto, moving your fingers across them as if you were reading the texture of the old city.

To what extent is the old cartography and reading the pre-existing fabric important to the final design?

AS – They are very important because from the start they provide indications as to the difficulties generated by the topography in a terrain that is not flat. There was greater sensibility in relation to topography a few hundred years ago. It was very important to know the terrain well and where to intervene and overcome the technical difficulties of the time. What you find in old maps provides an all-important indication for a new design project. Not to just go with what you find there, but as a basis for understanding a project’s complexity. So, it’s not simply following; it’s about comprehending.

NG – In Monte da Lapa there are other elements that belong to the history of the city after the Liberal struggles. I refer here to the many stone battlements placed there as a kind of nostalgic romanticism and not for military reasons. Why did you decide to keep them?

AS – That is something you find a lot in the parks of the period, cement constructions that simulate stone. I wanted to base the intervention on analysis of the physical pre-existences, and that was one element that had to remain. If I had knocked everything down, that romantic part of the intervention would be lost, and the rest would lose out too.

Because those walls with the battlements, or with stalactites upside down, greatly in-

IMG 03 Monte da Lapa, stone battlements

MONTE DA LAPA

IMG 04 São Victor Neighbourhood, SAAL/Norte, 1976

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fluence the understanding of the rest. They influence, for example, the stone steps.

In a recovery project where there is a full physical presence, you have to be careful deciding what parts have to go because then the other parts will reflect that loss. In heritage matters you have to attend to many details, not only to the general, and not only to the plans. There is a little of all of these things going on here. In the end, there is a lot of character to that element.

NG – Some people say it is very picturesque. To what extent does picturesqueness matter in this design?

AS – It is part of all European cities. And of the evolution of literature, the arts, painting, sculpture… You have to think a lot before throwing everything away because the spirit of today is no longer the same as during Romanticism. That doesn’t mean we are going to throw away the books of that era. They are important for what followed. That importance cannot be erased. There is a permanence, which we call a city’s “identity”, and it requires the readability of that evolution.

To remove those elements at certain points, where we think they have nothing to do with the modern-day period, would be an abuse.

NG – A kind of amputation of the historical process…

AS – Yes. NG – When, in Monte da Lapa, we walk among the walls you have retained, and see the bright shades of the plastered volumes emerging behind, it is impossible not to think of the wonderful black-and-white photos of the São Victor housing district. I never got to know São Victor at that time and, later the council tore down the stone walls in the vicinity, but I feel there is the same thing going on here: the new archi-

tecture emerges from behind the “curtain of history”…

AS – What was carried out in the São Victor neighbourhood was a hurried barbarity that reflected a political development that went as far as the deactivation of the SAAL itself. Demolition work had already been carried out in São Victor. And a design for a car park. So, when we arrived, everything had been demolished already and only ruins remained. The ruins were important for integration of the new dwellings and the typological approaches. It was very important that the project was supported on certain old elements that were still standing. Moreover, it was favourable to the life of the neighbourhood to maintain the vacant spaces in São Victor because they were places open to the public. They were not just ruins that an archaeologist would showcase.

They were part of the human environment of São Victor and our aim was not to destroy them, also because they were symbols of a past repression.

When the SAAL was shut down, the wooden windows were removed and replaced by aluminium ones. This was an immediate act of assault, one that spread a terrible vision of what the SAAL intervention had been. It was painful, but also had another effect. Many of us were left without work and became totally marginalised; but what I had done led to foreign interest in my work and invitations to take part in other architecture projects in the Hague and Berlin. Therefore, in purely personal terms, it caused great pain, on the one hand; but on the other, it proved to be the opening of a wider field for my architecture.

NG – Alfredo Matos Ferreira coordinated one of the SAAL operations in the Lapa area.

Did you follow that project?

AS – No, I knew Matos Ferreira well and was very friendly with him. But I didn’t follow the project.

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the client who may have other opinions or patory processes, the architect’s intentions options. How is that dialogue going? frequently did not coincide with the ideas that were manifested by the population. A crossing of conflicts was necessary, or more AS – I’m used to that. I don’t oppose it. I heated debates, otherwise there would be enjoy it. The worst thing is when the devel- zero authenticity. The next day, a newspaper oper does not care about anything or the article said I loved conflict. quality of the work. The dialogue and confrontations, the debate and the resolution – all that is good for the work. They improve NG – In your case, conflict leads to soluthe quality. We need dialogue and the will to tions. The fact that you intensely debated dialogue; but this is less and less the case. this design project wakened you more to it?

I remember when I joined the SAAL process, people told me “You are not a good fit for the SAAL. All you have done is bourgeois houses, and only a few”. I replied: “no, I am well prepared for SAAL because when I make a bourgeois house I have to talk to the client, to the father, to the mother and the children, all of whom may have spoken about the design project already. Also, with the mother-in-law. And the neighbour. And the friend from Lisbon, or from somewhere else, who comes to visit them. So, if there is something I am used to, that is dialoguing.

The problem is that that dialogue must be extended to all stakeholders”. That was one of the purposes of the SAAL: participation.

So, difficulties become the base of a design project, they are first and foremost. If there are no difficulties, there is a void and a tendency for self-absorption, which, as I see it, is bad for the exercise of architecture.

AS – Of course, there are things one hears… some enter into the mental process as a benefit; others become incompatible. So, we need to debate and explain why. What cannot be in a debate is a lack of authenticity and a lack of explanation of the reasons why.

Often, at night, at home, I make sketches, which are increasingly unpresentable. They are a bit like a doctor’s writing in addition to prescriptions… They are notes that help to fix an idea and clarify it.

NG – This is one of the few works you can visit, as you don’t travel much today. It is good to have an architecture design in the city where you live and work…

AS – Stopping travelling was a terrible restriction for me. In this specific case, the role of the collaborators was very important NG – You also don’t agree that the architect because, in general, they realise when a is “the hand of the client”. After all that dia- problem needs (or not) to be presented to logue, must there be critical distance? me, or I have to visit the site; all is resolved through conversation.

AS – Of course. In the case of SAAL, both in São Victor and Bouça, that dialogue was the case, often involving 300 persons. That was an important factor for the design project.

Problems drive a design on. Participation led to some misunderstanding when I started working in the Netherlands, because the dialogue there was very controlled. It was not as explosive and instantaneous as it was in the SAAL process. In the first meetings in the Netherlands, I explained that in partici-

NG – In the Monte da Lapa design project you had a remarkable collaborator – the architect Francisca Lopes – who introduced to you pre-discussed or filtered issues, often serving as the project spokesperson.

Here you managed to achieve an almost perfect situation: having, in the city, a work you are able to visit, an experienced collaborator, a demanding client and a quite slow building process, which allows the architect

to think about various issues between the office and home.

AS – It is slow, and I’m grateful.

NG – You can look back on a career of over sixty years and also have a very good knowledge of Porto. To what extent has this project presented you with something new?

What have you learned that you didn’t know previously?

AS – All works have something new. All have humanity and doubt, which come either from the programme analysis of the site or the demands of the developer. If there are no problems, then there is a lack of authenticity. Doubt is the most efficient material for architecture, the use of that doubt and the resulting reflexion. Which is why, as I always say, the most difficult client is that which does exactly what I want.

NG – Was this place hence a discovery?

AS – I didn’t know it well, never having gone up to Monte da Lapa before. I discovered it on the first visit. As I say, there are no “virgin” places. There are always constraints, and, above all, there is always a tension between what the place once was, what it is now and what it will be.

NG – If you could sum it up in one sentence what you learned in this architecture project, what would you say?

AS – No matter how much experience and years working you have, each work always brings something new, new opinions, and new trends. There is always a balance to be struck between what is stable, in temporal terms, and the transformational tendency.

That is the key to making architecture.

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D

C

E

E C

E B

A

N

A

A

A. Houses B. Viewport and Bar C. Guest Houses D. Hotel E. Apartments A. Casas B. Miradouro e Bar C. Alojamento Turísticos D. Pousada E. Apartamentos

0

2

10m

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SITE PLAN IMPLANTAÇÃO

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MONTE DA LAPA

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40

Houses Casas

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1

5m

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SECTION A CORTE A A

A

GROUND FLOOR PLAN PLANTA DE PISO TÉRREO

NORTH ELEVATION ALÇADO NORTE

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MONTE DA LAPA

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EAST ELEVATION ALÇADO ESTE

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Viewport and Bar Miradouro e Bar

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1

5m

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SOUTH ELEVATION ALÇADO SUL A A

GROUND FLOOR PLAN PLANTA DE PISO TÉRREO

SECTION A CORTE A

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01 Roof suitable for Marseille type tiles 02 Marseille type tiles 03 Thermal insulation fixed with wooden lath and water drainage channel 04 Vapour barrier 05 Osb, 19mm 06 Beams, 80x100mm + rock wool, 80mm 07 Wooden lath, 20mm 08 Lime-based water-repellent plaster with a tinned finish, 20mm 09 Stone masonry wall 10 Thermal mortar (Isodur), 40 mm 11 Terrazzo floor 12 40mm reinforced screed 13 Electric underfloor heating 14 Extruded polystyrene (eps) 20mm 15 Screed 80mm 16 Waterproofing Sprayable emulsion based on labo vitgris waterproofing resins 17 Concrete slab 18 Finishing concrete 19 Stone Pavement (Portuguese type) 20 Gravel, 50mm 21 Geotextile 22 Tout venant, 100mm 23 Stone ground

01 Telhão adequado à telha marselha fixo através de argamassa bastarda - c/ cal aérea hidrófuga à cor da telha 02 Telha marselha 03 Isolamento térmico com fixação através de ripa em madeira e canal de escoamento de águas 04 Barreira pára vapor 05 Osb,19mm 06 Barrotes, 80x100mm + lã de rocha, 80mm 07 Ripado em madeira, 20mm 08 Reboco hidrófugo à base de cal com acabamento estanhado, 20mm 09 Parede em alvenaria de pedra 10 Argamassa térmica projetada, 40mm 11 Marmorite, 5mm 12 Betonilha armada 40mm 13 Pavimento radiante eléctrico 14 Poliestireno extrudido (eps) 20mm 15 Betonilha 80mm 16 Impermeabilização Emulsão pulverizável a base de resinas, impermeabilizantes tipo vitgris da labo 17 Laje em betão com cocos 18 Betão de limpeza 20mm 19 Calçada portuguesa, 100mm 20 Areão, 50mm 21 Geotextil 22 Tout venant, 100mm 23 Terreno em pedra

0

0.2

1m

01

05

04

03

02

06 09

07

08

10

18

23

22

21

20

19

17

16

15 14

13

12 11

ÁLVARO SIZA

48

MONTE DA LAPA

49

ÁLVARO SIZA

50

Guest Houses

N

Alojamento Turísticos

0

1

5m

MONTE DA LAPA

51

SECTION A CORTE A WEST ELEVATION ALÇADO OESTE

A

GROUND FLOOR PLAN PLANTA DE PISO TÉRREO

ÁLVARO SIZA

56

MONTE DA LAPA

57

ÁLVARO SIZA

N

58

Hotel Pousada

ÁLVARO SIZA

60

MONTE DA LAPA

61

62

WEST ELEVATION ALAÇDO OESTE

ÁLVARO SIZA

N

Apartments Apartamentos

0

1

5m

63

MONTE DA LAPA

F

D

G

C

B

E

D

F

2ND FLOOR PLAN PLANTA DO 2º PISO

SECTION A CORTE A

A

66

ÁLVARO SIZA

SECTION D CORTE D N

Apartments Apartamentos

0

1

5m

67

MONTE DA LAPA

F

D

G

C

B

E

D

F

A

GROUND FLOOR PLAN PLANTA DO PISO TÉRREO SECTION E CORTE E

70

ÁLVARO SIZA

01 OBS lining, e=12mm 02 Kambala iroco wooden purlins, dim.: 80x80mm + rock wool, e= 80mm, 70kg/m² density 03 Kambala iroco wood joist around the entire perimeter 04 OSB, e=19 mm 05 Perimeter beam to finish off the vapour barrier 06 Existing stone wall 07 Brushed 316 stainless steel scapula with clips securing the gutter 08 No. 16 pure zinc guttering 09 Wooden frame with tacks to be painted 10 Plaster, e=30mm 11 Plasterboard, e=2x12.5mm 12 Rock wool, e=50mm, 70kg/m2 density 13 Suspended ceiling in water-repellent plasterboard, GYPTEC system, e=15mm 14 Terrazzo floor 15 Reinforced screed (prepared to receive the marble), e=80mm 16 Plastic film 17 Thermal insulation, extruded polystyrene (EPS), e=20mm 18 Waterproofing 19 Filling, e=100mm 20 Reinforced concrete slab, e=200 mm 21 Cleaning concrete, e=20mm 22 Granite stone flooring 23 Marseille type tiles 24 Thermal insulation with batten fixing and water drainage and ventilation channel, type or equivalent Isoltecto

25 Treated pine batten, dim: 30x50mm 26 Vapour barrier, e=5mm 27 Suspended ceiling hangers 28 Portuguese granite paving 29 Coarse sand 30 Geotextile 31 Concrete masonry, e=100mm 32 Sand 33 Gravel 34 Drainage 35 Waterproofing

01 Forro em OBS, e=12mm 02 Madres em madeira kambala iroco, dim.:80x80mm + lã de rocha, e= 80mm, 70kg/m² massa volúmica 03 Viga cinta em madeira kambala iroco a todo o perímetro 04 OSB, e=19 mm 05 Barrote perimetral para remate da barreira para vapor 06 Parede existente em pedra 07 Escápula em aço inox 316 escovado c/ presilhas prendendo a caleira 08 Caleira em zinco puro nº 16 09 Caixilho em madeira de tacula para pintar 10 Reboco, e=30mm 11 Gesso cartonado, e=2x12,5mm

12 Lã de rocha, e=50mm, 70kg/m2 massa volúmica 13 Tecto falso suspenso em gesso cartonado hidrófugo, sistema GYPTEC, e= 15mm 14 Marmorite, e=5mm 15 Betonilha armada (preparada para receber o marmorite), e=80mm 16 Filme plástico 17 Isolamento térmico, poliestireno estruído (EPS), e=20mm 18 Impermeabilização 19 Enchimento, e=100 mm 20 Laje em betão armado, e=200 mm 21 Betão de limpeza, e=20mm 22 Soleira em granito 23 Telha marselha 24 Isolamento térmico com fixação de ripa e canal de escoamento de águas e de ventilação, tipo ou equivalente Isoltecto 25 Ripa em pinho tratado, dim: 30x50mm 26 Barreira pára vapor, e=5mm 27 Pendurais para o tecto falso 28 Calçada portuguesa em granito 29 Areia grossa 30 Geotêxtil 31 Masame de betão, e=100mm 32 Areia 33 Brita 34 Dreno 35 Impermeabilização

71

MONTE DA LAPA

02

01

23

24 25

07

05

06

04

26

03

08

27

09

28 29 10

10

30

31

30

11 12 13

22

19 18 17 16 15 14

32 21

33

20

30 34 35

0

0.2

1m

ÁLVARO SIZA

74

MONTE DA LAPA

75

ÁLVARO SIZA

74

MONTE DA LAPA

FEATURED WORK

75

MONTE DA LAPA PORTO, PORTUGAL 2021 - 2025 Area Área 2500 M2 Client Cliente Pedra Líquida Architecture Arquitectura Álvaro Siza | Álvaro Siza - Arquitecto Architecture Coordination Coordenação de Arquitectura Alexandra Coutinho | Pedra Líquida Project Coordination Coordenação de projecto Francisca Lopes | Álvaro Siza - Arquitecto Filipa Figueiredo | Pedra Líquida Structures Estruturas Ana Vale | AB Projetos Ricardo Santos | BEST project Hydraulic Installations Instalações Hidráulicas Miguel Vale | AB Projetos Electrical Installations and Ited Instalações Eléctricas e Ited Luís Oliveira | CPX Mechanical Installations Instalações Mecânicas Raul Bessa | GET Acoustics Acústica Rui Ribeiro | Amplitude Acoustics Security Segurança Aidos Rocha | Exactusensu Building Construction Construção Civil Pedra Líquida

Building Construction Coordination Coordenação de Construção Civil Jorge Gomes | Pedra Líquida Carlos Pedro Brito | Pedra Líquida Images © Pedro Cardigo with exception of pages com execpção das páginas 017, 027 São Victor Neighbourhood © Alexandre Alves Costa 076, dust jacket sobrecapa © Luís Araújo

PUBLICATION DATA INFORMATION

COLLECTION AMAG LONG BOOKS VOLUME Long Book 16 TITLE Álvaro Siza Monte da Lapa volume I ISBN 978-989-53906-8-7 PUBLICATION DATE November 2023 EDITOR AND GENERAL MANAGER Ana Leal COLLECTION CONCEPT Tomás Lobo EDITORIAL TEAM Ana Leal, architect Filipa Figueiredo Ferreira, designer João Soares, architect TRANSLATIONS Teresa Fonseca Liam Burke TEXT REVIWER Liam Burke PRINTING Graficamares LEGAL DEPOSIT 480255/21 RUN NUMBER 1000 numered copies

PUBLISHER AND OWNER AMAG publisher VAT NUMBER 513 818 367 CONTACTS hello@amagpublisher.com www.amagpublisher.com

ÁLVARO SIZA Álvaro Joaquim Melo Siza Vieira nasceu em Matosinhos em 1933.

Estudou Arquitectura na antiga Escola de Belas Artes da Universidade do Porto, entre 1949 e 1955. A sua primeira obra foi construída em 1954.

Foi professor na Faculdade de Arquitectura do Porto da Universidade do Porto, cidade onde trabalha. É membro da Academia Americana de Artes e Ciências; “Honorary Fellow” do RIBA/Royal Institute of British Architects; membro do BDA/ Bund Deutscher Architekten; “Honorary Fellow” e “Honorary FAIA” do AIA/American Institute of Architects; membro da Académie d’Architecture de France; membro da “Royal Swedish Academy of Fine Arts”; membro da “IAA/International Academy of Architecture”; National Geographic Portugal; Sócio e Membro Honorário da Ordem dos Arquitectos Portugueses; membro da Academia Americana de Artes e Letras; Professor Honorário da China Southeast University e da China Academy of Art e Membro Honorário da Academia das Escolas de Arquitectura e Urbanismo de Língua Portuguesa.

PEDRA LÍQUIDA Com uma dinâmica assente no trabalho de equipa, o Atelier Pedra Líquida gosta de analisar e viver a cidade contemporânea, acreditando na sua evolução e progressiva consolidação. Enquanto colectivo polivalente, envolve-se em projectos desde a sua concepção até à sua construção, seja nos campos de reabilitação arquitectónica, habitação colectiva, hotelaria e serviços, como também em projectos curatoriais e expositivos. Embora com caracteres distintos, os projectos do Atelier Pedra Líquida encerram uma identidade própria, acompanhando a acção do tempo no espaço e na vida urbana, no seio de cidades desejavelmente mais sustentáveis, sociáveis e inteligentes. A componente de promoção, gestão de obra e de construção é uma forma efectiva de dar seguimento às suas ambições projectuais.

NUNO GRANDE Nuno Grande (Luanda, 1966) Arquitecto, curador e investigador em Arquitectura.

Professor Associado do Departamento de Arquitectura da Universidade de Coimbra. Licenciouse na Universidade do Porto (1992), e doutorou-se na Universidade de Coimbra (2009), onde é investigador do Centro de Estudos Sociais (CES).

Foi curador de exposições internacionais: na 1ª Trienal de Arquitectura de Lisboa (2007), na 7ª Bienal de Arquitectura de São Paulo (2007), na Cité de L’Architecture et du Patrimoine, Paris (2016), na 15ª Bienal de Arquitectura de Veneza (2016) e no Museu de Arte Contemporânea de Serralves, Porto (2019). É autor de diferentes publicações sobre Arquitectura Portuguesa, escrevendo para revistas da especialidade.

LB 16 ÁLVARO SIZA MONTE DA LAPA VOLUME I, é o primeiro volume de uma serie de dois, parte da colecção AMAG LONG BOOKS COLLECTION. O VOLUME I apresenta o projecto e a fase de construção do trabalho homónimo. O VOLUME II apresentará a obra concluída.

ÁLVARO SIZA

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AMAG LONG BOOKS COLLECTION brings together a unique selection of projects that establish new paradigms in architecture.

With a contemporary and timeless conceptual graphic language, the 1000 numbered copies of each LONG BOOK document work with different scales and formal contexts that extend the boundaries of architectural expression.

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