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ORIGINAL STORY OF THE BAIAO AT HOUSE A couple with two children would like to build a house in the Bai達o hill, near the river Duoro. The architect, Eduardo Souto de Moura receveived the commission of the work. 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. 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.

VERB > Plan of Bai達o House and the site where it is located, characterized by terraces and slopes. The naturalness of the territory has barely been touched by the intervention of the architect.

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 fireplace 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.

Isometric view of the house, where you can see the partition of the interior.


READING STORIES Behind every house there is always a story, more or less interesting. Were selected in the blog "Stories of Houses" seven stories, using as the sole criterion interest. In fact, every home, with its history and its protagonists, involves the reader in different ways, depending on the sensitivity. Know the reality behind for a project is a useful step to really understand compositional choices architect. It can be said that the shape of the house reflects its history.

House in Lege, Lacaton and Vassal

De Blas House, Alberto Campo Baeza

House in Pembrokeshire, Future System

Rogers' House in Wimbledon, by Richard Rogers

The project represents the possibility that natural and artificial coexist. They have demonstrated the two architects commissioned by two young brothers. The peculiarity is that in this case the man respects the trees.

A member of British Parliament spent his vacation in a timber old army barrack in the coast and wants to turns into the barrack in his home. They used a traditional boulding method of the Northern of the Scandinavia, with layers of soil and turf.

The house was conceived as a place to listen to the silence, at the request of the customer. is located in an isolated place, perfect to listen to the sounds of nature. For this, the architect has designed a glass box

The house was designed to be a new project with numerous references to the old Florentine house of the parents of the architect. Modern but as regards the materials and cost.

House in Bai達o Eduardo Souto de Moura

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 Bai達o 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. So the house is nestled in this pristine landscape, and is camouflaged, so that human encroachment is imperceptible, even with regard to the pre-existence, become an integral part of the project. The house can interact with the environment as well as those who live.

The U-House in Tokyo, Toyo Ito Is a site designed with a therapeutic function, as a place to live mourning, in this case of the husband of the sister of the architect. The design of this house affects mainly because each element is an expression of a condition and a state of mind. The house has helped the widow and daughters to grow and overcome the grief, to have the courage to face the outside world.

Villa Saint-Cast in Brittany Dominique Perrault The project is designed by the architect of the same family, particularly his wife, who loved the sea. So the house is a reminder to the world of sailing, where the waves are given by the uneven ground. So the man instead seems to live in a cave dug in the area. He wants to experiment if the contemporary man could live underground, in a primitive cave.

Two of the seven stories read were selected for study in greater depth. The selection was made according to own taste, and especially this time according to own emotions. The study of the history of the two houses and their design has led to understand the concepts and the essence of the home. In particular, the research has focused on the cultural significance behind Stories of Houses, which focuses on the needs and desires of a couple, a family or an individual person with specific needs and desires. So the aim of the two texts is to create connections to socio-cultural level relative to a community or to a singularity about the houses.


BLAS HOUSE in Sevilla La Nueva Madrid Alberto Campo Baeza The house was intended by the architect and his client Francisco De Blas, who wanted that the structure of the house were the emotions and thought. This work represents the way to create somethings that really satisfied the requests of the client. His desire was to live in a place where you can listen to music without any distractions, in silence. To understand that de Blas gave a book of poems by Luis Cernuda to Campo Baeza, thanks to wich the architect was ale to understand the desires of the client. So the art of music and poetry are an integral part of the creative process of the work, the idea starts from an emotional process that involves the client and the architect too. The site, apparentli hostile, seemed however perfect for the silence necessary. The concrete box is the place of the estrangement from the city and all that surround us, the glass box is a place where you can enjoy the natural landscape. This story illustrates how the development of contemporary society only serves to create a desire to return to the origins of closeness to themselves and to the nature

U-HOUSE in Tokyo, Toyo Ito The U House is a residence in concrete commissioned by the sister of the architect, after the death of her husband. The building is thought as a plase to mourn and where the widow and her doughters can get a way from the outside world to live in close contact with their emotions. The structure expresse exactly this emotional state and it is so melanchonic. This is the state of mind of the family, the sense of emptiness and lack. The light and the sound help to create spaces and play of shadows that accompany the inhabitants of the house in a research emotional, that ended twenty years later, when the three women are ready to continue their life outside. The spirit of the U-House continues in a sort of Virtual Shelter for the woman and the architect.


The beauty of this house and its history is given by the fact that it represents a cultural concept that involves the whole contemporary Western society. Increases more and more the need to escape from the chaos of the city to find himself in the world of nature, but rather simply to not hear more noise. The only sounds you will hear are the natural ones. This requirement is now widespread, so the house is the manifesto of this collective condition. To this is very interesting.

Composed from simple geometric forms, the house is an abstracted translation of the traditional composition, with the light dynamic box over the solid static pedestal. Getting rid of the superfluous helped the architect in developing a design that distills the most essential in architecture and following the valued modern principle that “less is more.The glass box extends almost to the edge of the northern facade and is set in the southern facade to be in the shade. Below, the cave becomes space for refuge.


VERB > Madrid in the night, XXI century The photo rapresents the contemporary city, made of lights, cars and chaos. This is also beauty.

From one century to another a lot of things have changed. The society began to go faster and faster, and man began to slow down, they become more and more lazy. The element that most of all has changed the face of cities is the development of internet and communication. Today, computers have become so affordable that every home can have one. In addition, the Internet evenconnected people around the world and made on-line business transactions and learning possible.In the twentyfirst century, there are more telecommunication products

that are going to come out. This development has made unnecessary the contacts live, becouse the contacts through internet is faster. Physical movement is equally simple now, but why leave the house if you can shop, download music, movies, books, paying bills sitting on the sofa? This has led to the extraordinary changes in socio-cultural level over the years. The person born in the mid 1900 is very different from that of the end of the century. Between one generation and another is a changed world. Now we are spectators of these transformations.

MEMORY THROUGH REVIVAL AND TRANSCENDENCE... Casa De Blas represents the need to escape from the city, which goes back to being distant, while nature is getting closer. The building is the place to totally alienate or where to enjoy the sounds of nature. For this reason is formed by two boxes, one of heavy concrete and the other of glass, just to symbolize this dual need. The third element which is composed of the house is poetry. Through the poetry a person is able to escape the physical world and enter into a more spiritual mood, the mood of the memories.

First photomontage Poetry from Quisiera estar solo en el sur by Luis Cernuda

WHAT DOES POETRY MEAN IN 2012? Poetry is an integral part of the house. It was already in the 90's, when the house was designed and built. Now it is even more. The first day that the client, Francisco de Blas, visited the architect he gave him a book of poetry from 1950 with the complete work of the Spanish poet Luis Cernuda (19021963) who had been a member of the group of poets, Generation 27, with Federico García Lorca among others. Cernuda’s poetry was dense with intense emotions, describing sensitivity and love, pain and solitary, and the contrasts between the realisation of his personal desires and the limits imposed by the world around him. In the twenty-first century poetry is even more a moment of escape from reality, a moment in which they no longer feel the noise of the city.

Second photomontage Poetry is the means by which the spirit rises like a bubble on top of the contemporary city.


final photomontage

An architectural space has the ability to evoke memories through two forms of expression: transcendence and revival. Through the exploration of the human sense, a person is able to experience the building in the present while also simultaneously experiencing the past of the space. This changing of time evokes memories of place. It also allows a person to transcend from the physical constraints of the building and enter into a more spiritual realm. This realm is unrestrained from order and rule but instead it allows the person's memories to be in control. A building that integrates the past of the site through the restoration of any existing building elements is crucial to reviving its memory. The ability to explore the history of a building, through both physical elements and the transcendence of space, infinitely increases the qualities of the architecture.


VERB >The Bai達o House is located in Portugal, along the banks of the Douro River, in the district of Oporto, where the cultivation of vineyards is widespread.

So the visitor expected in Baiao house is a person who seeks contact with nature, a time to spend with friends or family enjoying the panorama that the house offers and products typical of the Portuguese territory. But not only. He not simply wants to taste the local products, but also to know the production, in order to better understand the local cultural aspects through food and wine.

He wants to know the stages of wine production and to participate in the harvest of crops allows to fully enter into contact with the territory. The Baiao House becomes the means through which visitors can enjoy all that the Douro region offers. The house is been conceived as the place where meditate and spend time with the dear around a table or with a good wine, in out to restore a contact with himself.


The harvesting period is between July and October (in the northern hemisphere), and depends on many factors, although in general terms coincides with the period when the grapes have reached the desired degree of maturity, that is when the nell'acino relationship between the percentage of sugars and that of acids has reached the optimum value for the type of wine to be produced. If this parameter is generally valid for table grapes, in the case of grapes for wine production is necessary to consider additional parameters to decide when and how to harvest. The harvest time may depend on: - climatic conditions: the higher the latitude, the grapes ripen later; - production area: the grapes of the vineyards face south ripen earlier than those exposed to the north, with increasing altitude, the grapes ripen earlier; - type of grapes: the white grapes ripen normally before the red grapes; - type of wine to be obtained, determined by the greater or lesser presence of some components, such as: sugar, more sugar content will increase the alcohol content of wine produced, also a right sugar content is essential to start the alcoholic fermentation; - acids, acidic substances are needed both to prevent the proliferation of bacteria (and therefore of diseases), and for subsequent storage of the wine; - aromatic compounds, vary during the ripening of the grapes, and help to determine the organoleptic characteristics of the wine.


second drawing

The vines should be planted with precise distance measurements and also guidance North - South The grape harvest must take place during specific times of the day, preferably in the morning, and there are certain rules to follow: the grapes must be dry and the cluster must be placed in a specific cassette of small size to avoid squeezing.


The blend: usually the wine is not obtained by the fermentation of a single quality of grapes, but with the combination of different quality. The mashing, also known as pressing: is the process that produces the escape of the juice from the grapes. Crushing begins the process of fermentation that takes place by micro-organisms (yeast, bacteria and mold) content in the wort itself. The product of crushing is put into vats, where, if the ambient temperature is appropriate, immediately begins the fermentation caused by enzymes that are found mainly in the skin of the grapes. The fermentation: is the conversion of sugar content in grapes, into alcohol and carbon dioxide and is accomplished by substances called "enzymes" secreted from the yeast. The alcohol remains in the vat, while carbon dioxide, bubbling, comes to the surface of the must and is free in the air.The fermentation has to be very accurate, to avoid development in the wort bacteria and harmful microorganisms. The bottling: through special machinery Storage of the bottles. At the end of the baiao House offers several places where you can taste the product in the company and with a breathtaking view.


ABOUT THE STORY_About the revival of trascendence and memories What if we dealt with one of the children living in the house losing a sense? Like what if one of them lost their vision or became deaf? This could deal a lot with how you experience a building through a heightened sense and its affect on memory. At home, the sense of sight is the most easily differentiate areas. We could try to describe: how that user "sees" the house through the other senses and as previous memories affect their lives at home. How lived before and after.

The idea of Rent can live with the idea of Memory? I think the house was built as a holiday´s house,ad 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... Who is the client nowadays? What are the looking for when renting that house? Would the house be more successful to rent if you add, remove or transform something? So perhaps we should focus more on the house as a rental property. [...] Or can a house hold different memories for multiple families? (I think yes). What role does the ruins play in this multiple memory situation? 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 there is differents closets with family`s possesions. I think this idea now brings into question the problems of making a more generic space that will allow everyone a feeling of revival and transcendence. [...] My opinion is that people rent the house to enjoy a relaxing holiday with family, with couple, whit friends... or even alone. This is a lost place with beautiful views with a large space in which the children can play and all people can walk. In addition, the ruins can serve to attract tourists because this is something curious and now there aren´t any houses with ruins that you can see! I think that this house not is a house for stay all the year, only for holidays because normally on the rest of the year you have to go to work and it will be difficult on this house because it’s on the middle of the nature, so far than the city. So we have to think about some families that they rent the house for weeks or months on holidays. I agree with create an space that it can be change for the customer, if you want a big living room you can do it or if you want more privacy in the room you also can do it.[....] So some of the main things that have been said so far: the idea of temporary users (vacation rental), further integration of the ruins into the house, flexible space because of the temporary users, the memories that come from all of these temporary users. What if, as more and more people visit the house, they are required to leave behind something significant of their own to add to the memories of the space. [...]

Im not quite sure if this idea of “temporary” fits in with our theme of memories (revival and transcendence of those memories). It sort of reminds me of the buildings we studied in Japan. That once the family left the house, then it was wiped away and a new user took up that land. I think we can all agree that nature is a main character of the story, since that is the driving force for someone to seek this place. I think Halldora wants us to talk more about the origins, and then later we will get into the clients new preferences of the house. [...] 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 [...] 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. 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. I do think it would be interesting to talk about temporality of the occupants and how they generate new memories. The closet idea is cool, but I dont really understand how it works with transcendence. [...] The house nowadays is a space that is expressive of the present because we are trying to slow down that process of modern day living. Its a contemporary way of thinking in todays society. Like we are trying to grow more organic food, trying to eat “slower” (i mean, less fast foods), trying to make life healthier. But also turning to nature, and our environment in order to generate more thinking, less materialism and more idealism. [...]

The idea of Memory leads to the idea of Family 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. If there is a family that can use the house with freedom, its a possible thinking, they can be a lot of different family units but they organized themselves to take care of the place and have a holidays maybe once each 2 months or similar [...] I think we need to maintain focus on the ruins. This is where we are going to find transcendence and revival. 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?

The ruins must be changed to be part of the house That space must be a platform that rise the vision over landscape, maybe just stairs and a little platform on the top This way, it is a very soft and quiet intervention but it will have a large impact on the significance of not only the connection to the ruin, but also to the beautiful landscape that surrounds it. Its like the glass house by Philip Johnson, it is a gesture that is respectful to the landscape by making a light and airy space. So I think what we are all agreeing on is making the ruins a habitable space through the introduction of platforms that ultimately lead up to the sky.This intervention allows for a further connection with the ruins (revival) while also making a space for an individual to experience transcendence. This also ensures that since it is a rental property, anyone can have these emotional and physical connections to the space. It is a temporary space, but not for tourist, for a large family. [...]

Through the House being rediscovered Traditions I imagined them as a family that was very supportive of farming, and harvesting the land. Being a self-sustaining family that grew their own garden and lived off the land. “I came here to cultivate the real. I want to eat vegetables from my garden, make oil from olives on my trees and to get drunk on wine made from my own vines.” [...] Collective Story ideas - making the ruin more integrated into life - collective memory making of these temporary families - expressing revival and transcendence in ‘modern architecture’ that deals with ‘old architecture’ (the ruins) - expressing revival and transcendence in a home with temporary users (this can be also a very contemporary idea, because life now change so quickly, how can we stop family who rents the space comes back at a certain time every year, or comes back every year. Today the customer who rents the House in Baiao can be a family or a group of friends who want to enjoy a close contact with nature. A rediscovery and reinterpretation of the memory of the senses. The idea to imagine in this house for someone who wants to live a long life in contact with nature. But the house could be rented to someone who needs a place of inspiration, meditation and tranquility away from the bustle of the city. You could think about adding a room to the house completely empty. If it is a family maybe a room to devote to children to play, or a room where you can compose music or paint. We can transform the ruins of the house or in the hall or in a place where every "visitor" can leave a memory. Maybe a room in which to gather photos of all those who have lived a short snippet of their lives in this place, or where to leave a memory of what this place has allowed us to create photographs... This will transform the ruins in a small museum.

The Evolution of the Grandfather and his Role Ever year the family come together to share a feast of the garden in memory of the grandmother. 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 father’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. We thought having to write an action-transformation of the ruins. A new use of the site in accordance with the current needs of the family (the memory that is present in your text). but should not also be inspired by the cultural traditions of the place? periodic festivals, traditions, etc. I think we can play on the traditions surrounding agriculture in Portugal. Since the ruin is of an old farmhouse, it would be fitting to play in with agriculture. [...] 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.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 father’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. [...]

Activities with Wine New elements of the story - the wine is the connecting theme/action - don't kill grandma! - get architecture from vineyard traditions - look into ecological tourism - fixed vs. non fixed elements (like mobile furniture, modular units, technology) - idea of sharing the house with the owners (the grandparents) and the renters (through ecological tourism) - the concept of common space vs. private space

All have sought information about the production of wine and cultural elements of Portugal and the district of Oporto. The main argument is Ecotourism, the new phenomenon now widespread, a new type of vacation based on contact with nature and the direct vision of the production of wine or food products. Has studied the significance of the wine and the various uses that can be obtained: one of the many practices of wine therapy is to subject the body to total or partial baths in wine. Lately very successful cure "bath in a barrel of wine" In fact, this practice was already widespread in popular medicine in the past. .The group was also informed about the technique of wine production and the cultivation of vineyards territorial needs and the various stages of production.

ABOUT THE TEAM Working in a team is a very important experience from the educational point of view. In the business world the architect will never work alone, but will always be supported by so many people, with different ideas and different ways of working. To do well in a team is much more difficult as there are many people who belong to it. You must be able to be heard, we must be able to promote their own ideas and very often there is a tradeoff. The latter possibility can often lead to a kind of yield, the job is passed to other persons in the group. Of course this can not be considered a mature attitude, everyone has to do their job, trying to do their best. For this work in a team empowers you, because of your work depends on the other people. is an experience that can be pleasant or not, is an issue of character, but in the end all is a time of growth.

BIBLIOGRAPHY ABOUT THE WINE BUSINESS Imbottigliamento e conservazione del vino, Giuseppe Sicheri Hoepli Editore, 2004 Viticoltura moderna Manuale pratico, I.Eynard - G.Dalmasso Hoepli Editore, 2004

www.wikipedia .org

Explores the theme of good harvest in all its characteristics, the weather conditions and weather to the various types of collection.

This is all there is to know about the process of wine making at every stage, from the grape harvest to bottling

Website entirely dedicated to wine with their insights about the vinification, storage and tasting very well explained with detail.

It’s about the theme of the Wine Tourism, with the needs and demands of the tourist for the locations that he want to explore.


A journey through the stages of wine production in a large winery, where a guide shows the steps of treating the product with all'ainterno visit the winery.

Commercial Wine Production Filmography A good year Readly Scott, 2006

This is the plot of the story: a British investment broker inherits his uncle's chateau and vineyard in Provence, where he spent much of his childhood. He discovers a new laid-back lifestyle as he tries to renovate the estate to be sold.


manifesto of houses

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