A manifesto by brea mann-lewis, ďŹ rst year master of architecture student at Carleton University In collaboration with Carleton University and University of Alicante
manifesto of re-reading of house in baiĂŁo A 7 week design intensive study of the action of House in Baiao
A manifesto by Brea Mann-Lewis, Master of Architecture student at Carleton University In collaboration with Alicante University students: Agueda Contreras Garcia, Alba Maria Castillo Marques, Claudia Carrisi, Cristina Carpintero, Eduardo Gonzalez, Silvia Capone, Alvaro Madero Carrasco and Kasey Camire Under the supervision of Halld贸ra Arnard贸ttir and Javier S谩nchez Merina
In further reading 1. Reading Stories of Houses 2. Video Presentations 3. House in Baiao 4. The House 20 Years Later 5. Photomontages 6. Architectural Action Proposals 7. Technical Detail 8. Conversations 9. Manifesto 10. References
Reading Stories of Houses
The choice to read these 14 stories was based on initial interest in the form and expression of the building.
Villa Eila in Guinea by Heikkinen + Komonen
The use of natural building supplies and local construction techniques made this house an extraordinary example of the potential of sensitive design.
House in a Plum Grove by Kazuyo Sejima
This house challenged the typical Canadian understanding of a house to explore the concepts of temporary space, minimalism and functionalism.
Frank Gehry’s House in California
Frank Gehry’s house explored the construction process and questions the assumed building materials properties and their typical applications.
The House of the Rain (Santander) by Juan Navarro Baldeweg
This house deals with the element of rain that determines the overall form and appearance of the building.
Ernest Mourmans’ House in Belgium by Ettore Sottsass
The house was built with the intention of showing of the expansive art and bird collection of the owners.
House in La Moraleja by Miguel Fisac
In order to deal with the loud noises that surround the site, the architect designed an innovative exterior enveloped that functioned as a sound barrier and an interesting skin.
Can Lis and Can Feliz in Mallorca by Jørn Utzon
The two houses demonstrated the simplicity of site specificity architecture and traditional techniques.
Blas House in Sevilla la Nueva by Alberto Campo Baeza
The Blah House’s dialect between dark and light, up and down, transparent and solid revealed the theme of transcendence through the program of reading poetry.
The Stretto House in Dallas by Steven Holl
The house, situated beside a small brook, was designed to mimic that delicate movement of flowing of water. This was reflected in both the exterior roof system and interior flowing programming.
The U-House in Tokyo by Toyo Ito
This house deals with the delicate subject of mourning and demonstrates how the typical process of mourning occurs for a Japanese family.
Maison à Bordeaux by Rem Koolhaas
Faced with a challenge of a handicapped client, the house demonstrates how power can shift from the entire family to the man with the largest disability.
Villa Saint-Cast in Brittany by Dominique Perrault
Although the house was no where near the water, the client’s love for sailing was reflected in the rhythmic pattern of the building’s minimalistic design. The reading of the Stories of Houses provided a perfect chance to learn more about houses that aren’t highly published. The house chosen to study in more detail was the Blas House.
House in Pembrokeshire by Future Systems
Challenged with building limitations of construction on a national park protected land, the house blends into the vast landscape and causes minimal visual impact.
The Gugalun House by Peter Zumthor
In order to maintain a sense of building history, the addition onto the original house included traditional building materials and construction techniques.
What is transcendence ?
What is revival ?
After studying the reading of Stories of Houses publications, the two themes of transcendence and revival were brought forth. Although these themes are present in many examples in the houses, the most relevant examples of the themes were found in the House in Baiao and the Blas House. Further studying of these two homes explored both the architectural features of the dwelling and the implications of the themes of transcendence and revival.
Video #1: Personal Reflection
The video assignment was intended to explore the person interests and beliefs of the two group members: Kasey Camire and Brea Mann-Lewis. Through a narrative and corresponding images, it explained the interests of each individual and how those beliefs are applied to the choice to study the Blas House and the House in Baiao.
>>Reflection This video clearly displayed the personal interests and beliefs of both group members. It also showed how those interests relate to the Canadian architecture culture: an advantage to marketing the ideas to international students who may not be aware of the culture in Canada. Although it did explore the concepts of transcendence and revival through both form and words, it did explore them in a more formal sense and lost the idea of creative expression.
Video #2 Transcendence and Revival Video Intent
The video assignment was intended to explore the greater concepts of transcendence and revival through a less personal video. This video included an exploration of the themes in a more abstract representation.
>>Reflection The video clearly demonstrates how, in everyday life, the themes of transcendence and revival are present. Through recording a busy entrance, it is possible to understand how the themes are represented in todayâ€™s society.
Life: Normal >>
Life: Revival <<
>>Reflection Since both the Blas House and the House in Baiao both demonstrated the themes of transcendence, priority to study the House in Baiao was brought forward in order to continue the study of the theme of revival. The ruins gave the perfect opportunity for revival exploration: an aspect that was not as strong in the Blas House.
The House in Bai達o by Eduardo Souto de Moura
Stories of Houses
feature examples of dwellings from which we can all learn - both the clients during their contemplation about the needs of their house, and the architects process to understand and evaluate those requirements
Narrated by: Halldóra Arnardóttir Phd Art Historian Javier Sánchez Merina PhD Architect
House in Baiao
The Portuguese architect, Eduardo Souto de Moura, received a commission for a small house from a couple with two children, which would be built by the river, Duoro, set in the Baião hills. The client wished the house to have the character of a shelter used for weekends and requested that the existing ruins on the site would be the starting point for the project.
Between nature and the artiﬁce
A ruin can be understood as the edge between architecture and nature. In other words, the moment when a construction ceases to be architecture and becomes nature. The work of Souto de Moura shows an interest in this dialectic between nature and artifice. A dialectic where the building site changes into a tool, it becomes a mental and an intellectual exercise in itself. This sensitivity towards the site goes hand in hand with the belief in simplicity as a means to transmit thoughts. Following the words of the poet, Eugenio de Andrade, "... only the exact word is of public interest...", Souto de Moura believes that the tools used by the architects to write - with materials such as stone, iron and glass, as well as their joints, which are of no less importance - have as their final goal to create an anonymous and serene work in relation to time. In other words, to become poetry and to arose feelings. Architecture of high complexity based on its contextual textures is, however, a consequence of this simplicity in the use of materials and its joints. It was inherent in the profound integration with the site, of camouflaging new spaces with nature, of fusing borders, underlining characteristics and expressing judgements of all the surrounding elements. The ruin becomes important when understanding it as a division which defines the limits, as a fundamental element of spatial definition and of obtaining a concept of time. It maintains a dialogue with the context where it is placed. It is an architecture that is
not forced, a silence where nature is seen as architecture and culture as nature.
The ruin Wall House 1990 - 1993
Responding to the wishes of the client, the ruin of the old farm which was attached to a retaining wall became interpreted as a kind of a bridge between internal culture (of the inhabitant) and an external reality (of time). The work began with the demolition of the retaining wall of big granite stone blocks, a traditional material of North Portugal. This was followed by the movement of earth, shaping a "negative" of the house in the ground and the old ruins began to take the form of a sort of a closed garden that served as a entrance hall for the house. This was a second building which consisted of a concrete box which was supported by the ruin and inserted into the earth. In this way, the ruin served as a joint between the past and the new rectangle house which, because of being partly set into the earth, was 'blind' on its side walls except the front facade which opened towards the river, Douro. From the interior, next to a fire-place built of stones from the old retaining wall, one could enjoy a view to the far away valley of Cerdeira through the glass facade. The simple programme of the house is laid out in one level under a grass roof which forms part of the topography of the place. Being faithful to the concept of the ruin ceasing to be architecture and becoming nature, the house is camouflaged by the landscape in such a way that it is not the trees' foliage which acts as a second skin but the landscape itself.
Interior and exterior views of the house show the relationship between the dwelling, the historic ruins of the farmhouse and the expansive landscape that literally begins to blend into the built form
>>Reflection After further exploration, the houseâ€™s beauty was revealed through its approach to the landscape. The ability for the house to delicately touch the history of the site through the integration of the ruins both into the exterior facade and interior walls demonstrates its timelessness. It brings fourth the ideas of modern life while also constantly reflecting back on the historic qualities of architecture from the past. Even though it does integrate the stone ruins into the design, it did miss key opportunities to further collaborate between the new and the old. If the house would have engaged the actual farm house to place a program space within it, then it is possible for the house to be even more seamlessly integrated into the history of the site.
Site Plan 10m
How can memory and time be represented in architecture?
How can a rental property maintain a sense of history?
What is ecological tourism?
How can we maintain memory in a new architectural action?
A Study of the House 20 Years Later >>Reflection To bring the story of the House in Baiao forward into 2012 faced many challenges. Since the house is currently listed as a vacation rental property, this reality must play out in the new ending. But in order to maintain a sense of memory and history, the original owners of the property must also maintain a sense of ownership. Through discussion, the concept of ecological tourism allowed for the true reality of the rental qualities to be integrated while also maintaining the grandparents crucial role in the house.
The House in Baiao, as commissioned to Eduardo Souto de Moura, contains the historic ruins of a family farmhouse that used to be used as a small vineyard in the district of Oporto. Two generations later, the new homeowner, Cesar decided to keep this house as a family home for him, his wife Elaine and their two sons. Twenty years later both sons had moved out and had began their lives with their own families. The house quickly became empty with Elaine and Cesar contemplating its emptiness. In an attempt to revive the house, the couple decided to restore the historic vineyard status of the land. But because of the size of the work, the couple were unable to maintain proper health of the grapes without help. Their sons were too busy to be of any significant use so the couple turned to ecological tourism to help their vineyard. Every week, tourists now come to the house to enjoy not only the beautiful landscape of Oporto but also to participate in the immensely cultural act of wine making. This return back to the traditions of the land increases the value of the stone ruins and allows the house to be appreciated as a place of nurturing and learning.
The intent of the photomontage was to communicate the ideas of transcendence and revival without using the actual structure of the studied buildings. This allowed for creative understandings of how transcendence and revival are present in todayâ€™s society and how it can be proposed for further representation of the themes in 2012.
Photomontage 1 and 2 were personal reflections of the concept of transcendence. Photomontage 1 intended to demonstrate how the different individuals, through a similar experience of viewing architecture, can experience a memory or feeling that is beyond the physical form of that space. Photomontage 2 demonstrates how, in the busy 21st century world, in order for a person to be able to attain a sense of transcendence, there must be a buffer between the high energy of the world and the space in which transcendence can be achieved.
>>Reflection The final photomontage, which was a collection of all 9 members of the groupâ€™s work, represented how transcendence and revival relate to one another and in the greater sense, how the themes relate to architecture. Through this exploration the idea of time and memory was developed to show how it is crucial for the memory of the space to be maintained in any architectural design. But it would have been more effective if the design demonstrated more modern examples of architecture and how these 21st century buildings deal with the concepts of transcendence, revival, time and memory.
Architectural Action Proposal #1
cooking process in/out
Architectural Action Proposal Intent
The intent of the architectural action proposal was to draw the ideal conditions of the intent of making wine. This would include all actions of picking, fermenting and tasting the wine and all of the conditions that would make it ideal. Proposal 1 focused on a built intervention on the farm house ruin while proposal 2 focused on the current House of Baiao and how wine making could be integrated into the current house.
Architectural Action Proposal #2
>>Reflection Proposal 3 demonstrated some of the actions that are needed to make wine. Yet the last three action proposals do lack the required ideal qualities that are required to make wine. Although they demonstrated some qualities, the drawings overall lack the ability to communicate the actions in drawing form.
start in the 2nd year from first bud till mid July
early spring and late fall
at least 8 month process to get to the glass
3 to 4 months after bloom
Architectural Action Proposal #3
Architectural Action Proposal #4
> Can hold up to four overnight guests and two permanent residents
> 7 to 18 degrees celsius > Capacity of 600 bottles (two years of production) > 7-10 m2
>Table for up to 8 guests: two permanent, four overnight, two day visitors > 10-15 m2
>1 barrel = 119 litres > x2 = 240 litres > 0.6 metres in width > Rows are 2 metres apart > Rows are 0.5 metres wide
> 1000m2 = 0.1 hectare > 0.1 hectare = 350 kg of grapes > 350 kg of grapes = 220 litres > 220 liters = 291 bottles (0.75 litres)
>>Reflection The architectural action proposal 4 demonstrates the required area for each specific action. It shows the spatial relationships between the different areas and how these spaces should flow in order to optimize both the function and experiential aspects of wine making. This action, once again, lacks to demonstrate the ideal conditions of making the wine. Instead it simply communicates the required space.
Storage (support materials)
Architectural Action Group Proposal Intent
The intent of the group action proposal was to combine all individual action drawings of the group members into an overall ideal drawing of the action of making wine. By breaking down each action to each member of the group, the amount of research per action was greatly increased and was reflected in the group drawings.
Architectural Action Group Proposal
>>Reflection Although the group was able to communicate the ideal conditions for all the actions for making wine, there was a critical aspect of time missing. Since wine deals with a scale of time in terms of daily, weekly, monthly and yearly issues, if this concept would be reflected in the action drawing, then all the conditions would have been met.
Architectural Action Group Proposal Redo
Architectural Action Group Proposal Redo Intent
The intent of the redo was to integrate the house into becoming part of the action of making wine. The architectural space of the House in Bai達o opened up towards the vineyard, welcoming the visitors to use the kitchen space for dining and the terrace for more dancing area. There is a seamless bridge between the old architecture (the house) and the new (the vineyard). The stomping of the grapes now became joined with the dining and dancing area. The stomping has its own rhythm and can be said to be a dance itself. Therefore the two movements become one.
>>Reflection By introducing the site specificity of the current house and its ruins, the action of making wine became more placed. It also demonstrates how the movement through the site and the movement of making wine intertwine to produce an ideal atmosphere for making and enjoying wine.
Technical Detail Intent
The intent of the detail was to develop an architectural intervention that would allow the action to occur in an ideal setting. 7
12 11 10 9 8
1. Canvas sun shade 2. Wire stop 3. Pulley 4. Open/close switch 5. Window wall 6. Retractable blinds 7. Metal flashing 8. Gravel 9. Vapour barrier 10. Insulation 11. Concrete 12. Gypsum board
>>Reflection The detail intended to provide optional sun shade for the grandfather in order to look over his land and instruct the visitors on wine making. This sun shade functions similar to the interior retractable curtain by being able to retract during winter months to allow for optimal solar gain and extend in the summer to provide shading. The canvas shade and the thin wire system ensures that the view from the interior is not damaged when the shade is both extended and retracted.
Retracted winter shade
Extended summer shade
The intent of the cross continental partnership was to experience a design process with the challenge of distance. Yet this challenge also brought forward advantages such as new opinions, skills and experiences.
>>Reflection The conversations, and the resultant cross continental design relationship was an overall enjoyable experience. The cultural differences, teaching methods and design process made the chance to work with students from another country a worthy project.
Photomontage #2 Thanks so much for submitting your photomontages, they were great!! We do believe that with the Baiao house there is that idea of coexistence with nature. But the theme chosen was for the revival of the past memory of the site. The way that the architect intervened was not to overshadow the former site, and uses nature (more specifically the site) as a common binder between the memory and the present, only by which he uses the site. The architect believed that we must first see what already exists in order to make an intervention. The focus should be on the ruin of the old farmhouse. The means of integration and being part of a process are all contributing factors of fabricating memories of the place, but it is not necessarily one that is only with nature, it is one that is intervening with the architectural manifestations. Again, we are not focusing on the house but merely on the themes of the revival of memories. The Baiao house is the revival of past memories by making them more tangible. The Blas house uses the theme of transcendence to reflect on past memories. Through the minimal structure and vast exposure to the landscape, a person is able to escape the physical world and enter into a more spiritual area. This area is the area of memories. The Blas House was intended to be a space for reading poetry. But poetry has a lot to deal with emotions and memory. By allowing the house to be a platform for poetry, it automatically becomes a platform for memory. If, for example, the walls on the second floor were made of concrete, it would be much more difficult for a person to escape the physical world and enter into a spiritual reality. Even when poetry is read at night and therefore the second floor can no longer see the landscape, a person is surrounded by natural darkness. The darkness is not caused by harsh, confining architecture. We reviewed all of the photo montages today with Halldora. She was very happy with the results from our group. We have just been given our deadline for Wednesday. It involves another photo montage. The thing to design for Wednesday is the following: Question/Analyze the idea that generated the house (Baiao or Blas). So for the Blas House, the question would be “How do you read poetry in 2012?” and “What does poetry mean in 2012”? You are to take the idea of the house and to question the placement of those ideas in 2012. So for the Blas House, does transparency even need to be in a space to read poetry in 2012? We were told to look at John Heartfield and Richard Hamilton as two case studies for their ability to translate an idea into a picture form. The montage is used to question how the concepts of the memory through revival translates in our present day.
For the house in Baiao, I’m going to be focusing on our loss of memory in the present day. So our lack of diversity (suburban nightmares) and the idea of conservation, that we must not just sustain the buildings but we must make an intervention in order to be a part and integration with the memory of that place. The way the architect interpreted the site was not to conserve the landscape and the farmhouse but to become a process of the life of that space. Anyway! You lads and lasses can email us anytime if you have questions! Also, do you all have facebook accounts? We’ll talk soon! Cheers Brea and Kasey We just spoke to Halldora and she would like me and Kasey to break our ideas into further categories for you all to work on. This way everyone takes a different perspective on the idea and all of the photo montages come out as unique and different. For the Blas House’s idea of poetry, I suggest the following breakdown: 1. What does poetry mean in 2012? 2. How do you read poetry in 2012? 3. What kind of space do you need to read poetry in 2012? 4. Do spaces exist without poetry in 2012? Reference to Peter Zumthor For House in Baiao, Kasey suggests the following breakdown: 1. Recycling and conservation (in 2012) 2. Suburbanism and the lack of diversity (in 2012) 3. Aldo Rossi’s interpretation of the city in 2012 Brea Thanks Brea, talk tomorrow!!!! ;) Ok!i think We are going to talk tomorrow morning about those breakdowns and when we skype you maybe we have some ideas or questions about the photomontages and how to drive them...because those breakdowns were headlines for books or what??it will be rough to explain that into one picture... Hey! I know we are going to skype today but we thought we would send an email earlier just in case you all were working on the photos before the skype meeting. So the idea behind the categories is that the two buildings were not built in 2012. What we want to study now is if the buildings were going to be built in 2012 within our present day conditions. How are the ideas viewed in architecture in today’s society and culture?
For example: a library built in 1905 would be very different than a library built in 2012. But it still has the same essential concept of a place to learn, read and educate. We are interested in how our buildingâ€™s outcome may have changed if they were to be built today. The breakdowns are just proposals for you all to think about (and to avoid getting the same picture montage repeated). Brea Mann-Lewis
Photomontage #3 So today we went over all of the photomontages about the two concepts. Thanks for submitting on time! The next step, which is due on Friday, is another photomontage. But it is only one photomontage for the entire group of us. So we are going to be working on it all together. The main idea is to combine the two themes of transcendence and revival into a greater theme of memory. The way to combine these ideas is through memory: trying to see how a space brings back memories. So our photomontage should now talk about both transcendence and revival due to the presence of memories. This way we are incorporating both Kasey and my themes into one. And now our group will be united in one main theme. So we are no longer thinking about the Blas House and House in Baiao has individuals - we are thinking of them together. The two photomontages from Cristina and Alba are great examples of the type of photomontage that may express our theme the most. Our class was able to really understand your ideas without even reading the text. This is going to be a tight deadline but it is definitely possible! Since you all have identified Kasey as the strongest with photoshop what we need from you is one (or more) pictures of what everyone thinks of memory in terms of transcendence and revival. We will then take those photos and either use them as inspiration or use them in the final photomontage. We want you all to be involved in this process so please feel free to send emails and as many photos as you want! We will create a file on dropbox so you can add your photos. Brea and Kasey
A Study of the House 20 Years Later So we have our next assignment. We are to, in a written text, come up with the ending of the story for our house. After talking about the two main concepts of transcendence and
revival, Kasey and I have decided to continue on in the project using the House in Baiao. We are still going to apply the concepts and ideas from The Blas House but because of the requirement of revival to have actual building ruins on the site, House in Baiao is the one we are going with! So for the next part of the project, which is due Monday, we have to come up with a story that essentially captures from the moment the clients (of the House in Baiao) moved into their house up until today. This story can be anything we want it to be. We could say that they have moved out, or they still live there. We could say that they now live with 100 cats. It is completely up to us. We can change the family but we cannot change the conditions and concepts that were applied to originally design the house. So we must continue working with transcendence and revival. Brea Mann-Lewis
Architectural Action Proposal #1 Hi, Sorry for this email coming to you late at night but we have had a very rushed and busy day! We have been assigned what we need to do for Wednesday: translating our built intervention (the three levels of platforms in the ruins) into a drawing. Both Kasey and I are going to be quite busy over the next week so we need lots of help with this! What we need from all of you is at least one sketch/drawing of this built intervention. Kasey and I will also be doing sketches and posting them on dropbox. So if you could also do sketches/drawings and upload them in the folder ‘Built intervention sketch’ that would be great! Then on Wednesday, we can present all of the ideas from each member of the team. Ideally, we would be working all together on one single sketch but because of our busy timeline that may not be possible but we will keep you updated! Be creative and sketch/draw how you feel you best represent yourself! Brea Mann-Lewis I think the house was built as a holiday´s house,and so that is the main problem to sell the house, maybe now the idea of been a shared house for some families and keep the house occupied almost the year. this way we incorporate the idea of sustainability in the project and how the house can be modified for many families requirements. also we must think about some parts of the house that makes memories, like how they use in some ways the ruins, like... for reading, or for have lunch on windy days...-alvaro
What if the renters were different types of families, like the typical family with parents and 2 childs, other like a couple, other just friends, or a single dad with a child on his own, what can they want for a house? maybe more or less rooms, some flexibility, maybe the finality for the house is to forget that another family were there with the capacity to change. maybe there is differents closets with family`s possesions -alvaro I think that the significant items will are an remembers that they want to keep outside for their minds or just things that they feel represented or memories for the experience of the time that they stay there. One idea could be that everyone who stay here will share their experience with the next tenants. I think that although the house change, we would need to know your origins. The Baiao house connect the past with the present, the old with the new, and i think that we shouldn’t forget it. Why not merge all these ideas that Brea has pose before?- Cristina Maybe the idea that we can project is how can a temporary place retain memory and transcendence.-alvaro That is an idea, for sure. I guess it would be that the occupants are temporary and not the architecture in this case. I sort of imagined a man who had lost ties with his family, that he had no recollection of his roots or ancestors. Then discovers this place his family once owned. He tried to bring up memories of the past and of family by living in that space. Tries to get a better sense of what kind of people lived here, how did they experience the space. I dont know if you guys have seen the documentary that Louis Kahn’s son made. But he didnt know his father very well, or even at all because the architect was never home. So after his father’s death he decided to travel around the world and visit the places his father designed. He did that so he could get a sense of what kind of man his father was, and how he had affected those around him. I just thought it was a beautiful gesture, so he experiences what his father once did through the senses in order to bring up memories or formulate images of the past.- KC Important: We are suppose to use the condition of the house now being a rental. So we have to use that in our story. I really like the idea that Alvaro brought up - how does a space that is temporary for people bring up the ideas of transcendence and revival. Since in reality, which we cannot change, the house is being rented, I think we need to address that situation. I also really like the closet idea from Alvaro. What if we were to do something like the lantern at the Museum of natural history. That way the ruin becomes inhabitable instead of being rather touchless right now - Brea Haha im afraid of the word tourist, because it is true that tourist do rent the space, but how much do those people integrate themselves into the space. Well...not much. I cant imagine them making a mark or a “memory” to that space. Or else the owner wouldnt be happy :P.-KC
So it is as if this holiday house is part of a community, this family, and they are able to insert part of themselves into the house. And it is therefore a collective memory of the families ancestors (the ruins/farmhouse) and what family values are like in the present. So that if we lose sight of our memories of families and of fun and vacation, we just end up there. And everyone has their own interpretation of the space, but the sensation of being there and living in that environment is understood by that community (that family)KC I think we need to maintain focus on the ruins. This is where we are going to find transcendence and revival. Especially because the land is protected, I donâ€™t know how much land intervention we can include. Isnâ€™t it a protected park? - Brea If we are talking about multiple families spending time in the one space, this space almost acts a community space. Even though they all spend their time there separately, it is ultimately more of a communal space. Perhaps we could treat the ruin as either a more public or a more private space? Make it a place of retreat from the community space? Have it protected from the elements (like the lantern in the museum of natural history) but also make it like the second floor of the blas house. It could be a very spiritual space. - Brea The idea is that its a single family (but it is split amongst other relatives, likes aunts and uncles, grandparents...etc.) and it once belonged to the ancestors of that family. I know, but say the owner decided to use it only for his family. I dont think we have to follow the condition of the building to an exact tee. We have to be imaginative, but not create fantasies (like Javier said) and in this sense we are still continuing a similar story, and working with the conditions but simply changing it slightly. I think Halldora will have to explain the idea behind the project again...because she said we have to invent a new story, not continue it...right :S? -maybe there is a way to imagine the story but being natural...not that a dragon lives there and has a treasure...or similar, there is something natural in this time of crysis that a hole family rent a house for all the members to have holidays- alv Kasey and I are initially thinking of this: What if once every month all the extended family got together at the house to eat together. This would mean they could grow their own food in the garden, prepare the food in the kitchen and the eat in the ruins. We are planning on developing this action even more and keeping you all posted. But what we need from you is for you to think of a social action of the story. Please post any ideas you have. It does not have to focus around food. Please be as creative as possible!! So we have established that the region of Baiao is firmly rooted to its agriculture of wines. We now know that in order to take care of the farm it only requires the wine keeper to revisit the site only a few times a week or every two weeks. If we combine the stories then it should work great. We have a very accurate story of how the region
works in relation to its landscape, culture and so on. So I guess the story would start out with the grandparents starting the farm, that takes time and a lot of effort so they live there during the year in order to start the farm. This generates the raison dâ€™etre of the house (this need for the shelter- the existing ruin- to become a home). The grandparents become consumed by the work, they fall in love with their creation. Their family begins to grow along side their vineyards. Eventually, like the seeds of their grapes and then into wine, the children mature and begin one by one to leave home and to experience life outside of Baiao. The two parents stay within the village, in order to care for the vineyards as the children are gone. But sadly the mother dies (and this is where that sad bit comes in) The mother dies near harvest season, and the flowers and fruit die as well, as they are no longer being cared for. The ruin of the space then takes over, becomes an overpower presence of what has been neglected. The family then decides for the time being to rent the space. By renting the space in that moment of grievance of the grandfather, it still plays in with the existing condition but gives a good reason for the family to momentarily give it up for rent (and also makes it more human- to talk about social conditions but also of human conditions). After coming to terms with his grievance the father then decides that with the help of his now older children (and their families) to use the space as a vacation home in order to care for the vineyards. The father being too old and frail, lives with his sons and daughters throughout the year. The house becomes a place in which the entire family can reflect on the past and create new memories with their young families. This is achieved by harmoniously working together to help care for the vineyards, each family having their own designated time to care for the house and the land. (ACTION) The house comes about because the vineyards need care. Ever year the family come together to share a feast of the garden in memory of the grandmother and to harvest the grapes in order to make wine. (EVOLUTION- evolution of the vineyard too- the family matures as the vineyards do too) The grandfather who was once the provider is now becoming the person in need. (much like ancient buildings are being treated in society-they are in need, and no longer powerful figures that contribute to modern society) This is the evolution of the fatherâ€™s role in the family that corresponds to the use of the house. Just like the house and garden was a place that supported the family, without care and repair or growth, the house reverts back to its ruins. It is life that sustains it. - KC The Baiao House is situated in the district of Oporto, (an area of) Portugal, which is characterized by an extension of vineyards. The local cultural tradition is to organize many events related to wine tasting, there are in fact many wineries in the area.
So halldora wants an action and evolution ...maybe in 80s house began to be thought... yes im with you, there are sutil changes, but really small...perhaps the society has changed...difficult concepts....but i understand i think..the question here is how they interact and use the landscape and how we use it now maybe the family was disconnect and the death of grandma makes grandpa wants more connection with all family. hahahaha the lieu was what i meant for nuclear site...hahahaha I think that taking into account these elements we think of the House Baiao as a place that attracts the type of customer who wants to enjoy the resources of the territory along the Douro, and at the end of the day with your family rediscover the joy of living in the nature enjoying around a table of products from the land of Portugal Brea: Vineyard Requirements - steady water supply - adequate drainage (relates to slope) - rooting depth of 30 inches - slight slope is important (2-5%) - avoid depressions, valleys - eastern exposure (slope faces east) - average small vineyard is 0.2 square km - vignette: 500 square meter vineyard which is part of a larger consolidated vineyard that deals with grape maintenance and production operations (this could be an option since the site doesn’t seem to be that large. It could also be interesting to link the House in Baiao to another vineyard near by that also deals with ecotourism) - about $100 per square foot for construction of vineyard and $50 000 for all mechanical equipment (should we introduce monetary issues of this story? But I guess if you had enough money to hire an architect, maybe you could easily afford a small vineyard) Agueda: Wine tourism is seen as a visit to vineyards, wineries, wine festivals and shows where the wine tasting and / or experience of the attributes of the wine regions are the main motivating factors for visitors.I propose that the rent of the house was present as a quality tourist destination, offering the opportunity to immerse themselves in the culture, tradition and customs of a wine country. Thus will exploit to the maximum the magic of one of the “cradles of wine” is global and northern Portugal. Rural tourism is now in a consolidation phase of product as a result of a life cycle that begins timidly in the early 70s. Some authors, such as Cánoves, Herrera and White (2005), identified three stages to the present: -An early stage, between 1970 and 1980, in which there was only the possibility to stay in homes in rural and posed espacion complements provinientes income from agriculture. -A second stage, from 1980 to 1995, the decentralization policy characterized by the appearance of autonomy and a greater or lesser degree, were linked to the development
of rural tourism. There were three main objectives: first to recover traditional housing to preserve the architectural heritage. Second, promote complementary economic industry to agriculture and eventually halt rural depopulation through creation of new jobs. During this period, largely arises from the law concerning the type of rural housing. -A third phase, from 1996 to the present, in which the product has grown and consolidated, being sued by consumers and strongly promoted by public entities.
Architectural Action Proposal #2 So here is all that happened today: We went through all of the drawings from every group. In general there was a lack of understanding about the purpose/execution of the drawings. One issue brought up was the choice between hand drawing and computer drawing. In the end, it does not matter. But it has to be a strong drawing and not simply a sketch. The drawings should not represent the action, they should show the action. Thus do not use symbols, idealistic or overly artistic images, make the drawing demonstrate the action. Also, another issue brought up was the word precise. The drawing has to be precise. This does not mean that it has to be an architectural drawing. In these terms, precise means that it must effectively communicate the action. The drawing should also demonstrate the humanistic qualities of the action; such as measurement, proportion and information. Essentially, the drawings have to be more informative for Friday. There was a lack of information communication today. The drawings for Friday are also individual work. Halldora suggested looking at Cedric Priceâ€™s Fun Palace for inspiration. He was an architect from the early 20th century that was able to communicate an action in his drawings.
Architectural Action Proposal #3 For Monday we have to do the action drawing again! My notes from this afternoon:
- Group 5 action: making wine - Draw the process of making wine - include minimum square feet to produce a certain amount of bottles, time it takes, number of people it requires, circulation - Essentially you are taking all the minimum requirements of making wine and illustrating it. Illustrate all the steps (all the major steps such as fertilization, watering, seeding etc) So for Monday, our group individually should have many little drawings that add up to the total process of making wine. Brea Another question should be how many bottles we want, maybe not more than 1000, and according to a minor amount of work a higher quality for the wines because its easier to control.
Architectural Action Proposal #4 Brea: Hey everyone! So here is the update from today: For Wednesday, we must make ONE drawing amongst all of us. So that means all 9 of us have to somehow work together to produce one final drawing. This drawing is the same thing that we have been trying to achieve for the past (3) drawings - the action of making wine. As you might have read, Alvaro’s drawing from submission #2 is a perfect example of an action being drawn. We should use that as a point of inspiration for our group drawing, Good job Alvaro!!! I didn’t take too many notes today but I do have two important things; - draw activities with enjoyment - draw the activity like how you would want to do it (ex: how would you want to pick a grape? Alone, in the dark, in the rain, with big scissors etc). Take these issues that make grape picking desirable and draw it! So what does all of this mean? Kasey and I were talking and after looking at Alvaro’s drawing we think it would be best if we all took an action of making wine and draw it. We all must draw the action in both plan and section (or elevation) and then we will compile all of those actions onto one main plan and section (or elevation). That way we have one drawing with 9 actions. In order for this drawing to look cohesive, we are going to ask you to have you upload your action drawing onto dropbox (I am making a folder called Version 4 Action Drawing)
by 20:00 spain time. Then Kasey and I can add our drawings and we will combine all of them into one. Since there are 9 of us, we need to come up with 9 actions of making wine. Here is the list we have so far. Please choose an action reply to this post with what action you are doing. We can only have one person per action. Actions 1. Drinking the wine (sorry Kasey I know you had a fancy word for this but I can’t remember it) - Kasey 2. Harvesting the grapes 3. Pruning the grapes 4. Dining and wining (eating food while drinking the wine - a less formal way of wine tasting - Agueda this sort of relates to the drawing you proposed last) - Agueda? 5. Stomping the grapes (maybe Silvia can do this one - we all really liked your plan of the person moving but Javier suggested that if you showed it in elevation it would look great) - Silvia? 6. Fermenting the grapes (placing them in the barrels etc) 7. Storing the wine (once it has been put into bottles) 8. The process that someone mentioned on whatsapp about specific Oporto wine methods of reducing from 4 barrels, to 3 to 2 9. The grandparents teaching the visitors about the wine (this way we remain focused on eco tourism) - Brea SO here are 9 proposed topics. Please choose one and draw!!! If you want to do a different topic, feel free. Or just do one of these topics but make sure you reply to this post with which topic you are drawing so no one does the same one. Brea Alvaro: In order to the possibility of research and improve the main section next week,in my opinion we all could think about an innovation in our activities to make them more atractive to the enotourists, more than show how those actions are in reality, which i think could be fine. we agreed that ecotourists wanted to come to baiao house to know the culture of the wine in that place, but if we gives another specific activities that only take place in our house could be easy to rent the house for our purpose. -Stomp/prune: the action of dancing to prune grapes its really good, just wondering if there are some music and dance tipical of the zone, the tipical music of portugal is the ‘’fado’’ but dont know if it has a special dance... its a very slow and emotional music. if there are some steps, the form of the big barrel where are the grapes could be what dance needs, and no more. maybe a better place for this action could be over the cellar, so there is no need to transport the juice to any place, also the juice could fill the barrels on the top.(only suggest you all to project with a porto glass and fado music to feel a bit
of the place :)) -Harvesting/teaching of taking care: if you see the google earth of the place, there is enough space to grow up vineyards, so the difficulty is to adapt the master lines of them to the irregular place and keeping the views of some views, or maybe to avoid the sun in summer, giving some places to hide from hard heating. -Enjoyment: Im not able to add anything to this because i already think about it many times, but sure you have some new ideas. -Dining/sampling: maybe all this actions could take place in the same place i already projected, and this could make this public space more diversity and complexity, then more attractive. -Storing/ fermentation: this action needs to go beyond the simple storing of barrels and bottles. dont know how, but this could be a very special place, where you can feel the land, a mistical place, magical, here how the light comes inside could be the main concept of this project. the experience of going down to a cave, to take a bottle as a treasure. I just don´t know how can we reflect all this into the drawing, but any suggestion would be great. No more to add, just think about it and if we have time make some changes in the final draw next week.or when we finally needs to rediseign the house!!
Technical Detail So the drawing today went really well. We got some helpful feedback from some of our class mates about integrating time into our ideas but not to worry, we don’t have to redo the drawing. I know there has been some frustration in some people’s designs or boards being present in the final drawing. I truly appreciate hearing all of your frustrations. Everyone’s opinion is valuable. But just remember, that when working in a group, sometimes it is more important that your idea is communicated rather than your actual brush strokes. But if you still have any issues, just let us know. For Friday we have individual work to do. So that means on Friday, group 5 will have produced 9 different drawings (one by each of us). We are now jumping away from the conceptual drawings of the action to architectural detail drawings!!! SO much fun!!! Each of us have to take a section of the original house in baiao and draw a building detail within that section. This detail should show how our action (of making wine) can
be added to the original design. Everyone must take a different section and therefore a different detail. For example, I am going to take the section vertically through the wall of the windows that look out onto the vineyard. I am going to detail at the roof parapet. My detail with include our action because I am going to add a sun shade at the parapet which will allow the grandfather to stand outside and watch over his vineyard without having the sun in his eyes. So this means I am the only person who can do a detail of the roof parapet. So please reply to this post with your proposed section cut and detail. Remember, only one person per detail/section. You also must show the action of the detail. For example, with my detail, I am going to show the top of the grandfatherâ€™s head and how it is not being hit by the sun. Brea
Manifesto So yesterday we presented all the details. In general, there seemed to be a lack of skill represented in the drawings for all the groups. We have to remember that those detailed drawings could possibly be used to someday build this design. So whatever you need to communicate with a potential builder needs to be shown in those details. If you are still confused, I believe Javier or Halldora emailed an image of a detail that explains the quality of work that was expected. But I do think many people brought up innovative ideas to address the action. I suggest that we all continue to explore our details and to explore the action. The next part (and final part of this assignment) is to create a manifesto of all of our work. This manifesto is done individually but will include the work that we worked on as a group. We have to collect everything that we have done since day 1 up till our details and put it into a book format. We need to reflect on all of our work (you can write text on the reflection). We must also look back on drawings and improve them. So over the next week and a bit, we have the time to redraw, continue development and explore our ideas even more. You have to include diagrams, text and images as well as a catalogue of our conversations from google group. This book, or manifesto, is intended to allow you to develop your own understanding of the action individually without having to worry about what the other 8 people might say. But of course, you can ask for help. But the intention is for you to now take the action and explore! The title for our book will be: Re - Reading House in Baiao
Manifesto Statement In an attempt to bring the House in Baiao into the year 2012 some design considerations had to be evaluated: its status as a rental property, its possibility to become a participant in ecological tourism and the role of the owners of the property. These issues, if correctly dealt with, could possibly create an ideal house. This house would not only include the aspects and necessities of a dwelling but also would include the studied themes of transcendence and revival. Through the respect of the history of the site, it may be possible to maintain a sense of time and memory even for the temporary guests. These guests could then return each year, with the skills they have gained from years before, and participate in the action of making wine. It would become a relationship between the life of the guest and the life of the grape. Year after year as the grapes grow, the guest grow too becoming wiser and smarter in the production and creation of wine. Soon the guests become teachers along with the grandparents, increasing both the social power of the house as well as the quality of the wine production.
>>Reflection Overall, the design intervention of the action of making wine into the House in Baiao creates a perfect example of ecological tourism. Further exploration about how the current architectural conditions could be integrated into the action of wine making would provide an ideal place to learn and celebrate wine.
References 1. “La Perla Del Priorat.”, accessed October 1, 2012, http://laperladelpriorat.
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3. Carleton University and Alicante University. “Re-Reading Stories of Houses.”,
accessed October 20, 2012, http://re-readingstoriesofhouses.blogspot.ca/.
Evans, Erv. “Training a Grape Vine.”, accessed October 1, 2012, http://www. ces.ncsu.edu/depts/hort/consumer/quickref/fruit-small/training_grapevine. html.
5. Grape Seek. “Freuquently Asked Grape Grown Questions.”, accessed
October 1, 2012, http://grapeseek.org/faq.html#18.
6. Iowa State University. “General Vineyard Information.”, accessed October 1,
7. Laflamme, Eric. 1999. “Architecture as Tourist Attraction - Broadening the Concept of ‘Terrior’ as a Design Methodology.” Master of Architecture, The University of Calgary.
8. Rental Port District. “Casa De Baiao.”, accessed October 1, 2012, http://
9. Vigilant Inc. “Construction and Planning Charts.”, accessed October 1, 2012,
Viver-Vid Coach. “How Much does Plant a Hectage of Vineyard in Spain?”, accessed October 1, 2012, http://www.vitivinicultura.net/2011/06/cuantocuesta-plantar-una-hectarea-de.html.
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1. Reading Stories of Houses 2. Video Presentations 3. House in Baiao 4. The House 20 Years Later 5. Photomontages 6. Architectural Action Proposals 7. Technical Detail 8. Conversations 9. Manifesto 10. References
Published on Oct 28, 2012
A manifesto by Brea Mann-Lewis, Master of Architecture student at Carleton University. In collaboration with Alicante University students:...