Page 1


Javier Sรกnchez Merina

Mateo Bernabeu Carbonell Universidad de Alicante Proyectos 4 2013-2014




05-09 Stories of houses 10-12 Choice & why? 13-20 Team and course content 21

Miranda Santos house

23-26 Ă lvaro Siza 27-36 History of the house 37-38 Interpreting the concept. House-Catalog 39-40 Projectinc client request 41-42 Updating the story 43-48 Drawing the house. Analysis drawings 49-56 Drawing the house. Final proposal 57-76 The catalog 77-78 A reflection on that kind of teamwork 82

Spanish manifesto




79-81 Manifesto

“Ordinary life can make extraordinary architecture” We do believe that architecture is part of specific stories, of affections and dreams, of interpersonal projects, as well as a result of negotiation and the unexpected. The course is built around the series of articles, “Stories of Houses”. During this workshop, students will deconstruct these single-family houses that are classified in architectural books as works by specific authors, and give value to the origins that belonged to cultural realities. Since these dwellings were built during the 20th century, the meaning of the cultural concept that generated them has changed in our contemporary society. This will allow us to rethink their architecture and update through transformations, extensions, demolitions, etc. The aims are: Take on a path around the following public interest and detect new social patterns and organization by linking production with consumption, acknowledging how the different articles are built up, from the primary material to the final product.

The metod is the way to approach reality during the course encourages different models of dealing with it. At the same time, certain kind of expectation builds up, leading an experience of emotional impact in order to design the final work driven forward by emotional memory. In order to do that, we need skills of analyzing and deconstructing a text, identify a culture concept in a dwelling, draw that concept through an action/event within the twelling, ability to develop an idea through different techiniques, scales and materials, gain different perspectives of the project and gain skills


to work in a team.



2 Selected houses


2 Selected houses

Why this choice? The most important aspect that my choice has, and share both houses, is dialogue, understanding, speaking, and in short, the relationship established at all times between the architect, Koolhaas or Siza, and their customers. In the first case , a tragic accident causes , the owner has to live in a wheelchair , completely changing his life , his family life , and therefore their lifestyle . Koolhaas , in response to the request of the owner, built a house that will become the owner habitat . His disability would prevent move freely , but did not want to settle for a one floor house . So the owner instructs Koolhaas, build a house in height , and he is responsible for putting it into reality. The house incorporates a platform that connects the three floors, and will lead to man in wheelchair over other users of the house in vertical communication , which seems a contradiction. Moreover, the situation of the family, of the owner’s life hangs in the balance. This concept is brought home literally, because the complex structure could say it depends on a cable. Such a tragic story , could not end with a happy ending . Ends with a tragic ending , which is the death of the owner who was in a wheelchair , which entails the death of the essence of the house. “Tempus fugit”, but not all alike. The architecture and people carry out two parallel lives, which run at the same time, but at very different rates. During the life of a good architecture, there may be many generations of people. At Bordeaux Maison, the end of life of the owner, gives way to a new life of architecture to be adapted to new generations of people and so on. In the second case, the Miranda Santos House by Alvaro Siza, there is a tragic story, but it is very interesting and curious, the amazing relationship that have kept the architect, Álvaro Siza, and the house over the years. EVOLUTION is the word that defines the history of this house. From the entrance of the first owner in the 60s, Siza has been commissioned to realize the needs of the owners. The first was a writer and needed indirect light, privacy and a quiet environment to develop their profession. Subsequently, in 1987, Miranda dos Santos bought the house (this is the time when the house takes the name by which is known) and fits his needs. To do so, dos Santos contacted with Alvaro Siza, and asked him to adapt his home to his new life, with more light, etc.. A few years later, the property passes to the son of Miranda dos Santos, an engineer, who more than his father, is passionate about Alvaro Siza. Such is his passion that makes Siza design all the furniture in the house, finally becoming a little obsessed with the architect. Now-a-days, almost all of the furniture is being mass-produced, the reproductions have become highly popular and are even exhibited in design museums. The simple solutions for furnishing the Miranda Santos House have now become original prototypes. This is a new stage in the life of the house, the house to become understood as a museum of the architect’s furniture displayed within his own architecture. Indeed, as it were a retrospective exhibition at the house, a portrait of the architect greets our visit.

‘Maison à Bordeaux’, by Rem Koolhaas


‘Miranda Santos House’, by Álvaro Siza

LightArch After seeing the different exposures of the videos of all my classmates, they held a sharing session and election of the best videos of the class. Each student individually scored each of his companions, and made ​​a list with all ratings. It was a good way to know that every student common interests with each of his classmates, and was then when the time came together in groups, forming teams that were going to work together throughout the semester. In my case, I shared interests with my 4 classmates:

·Esther Jorquera Ruíz ·Rebecca Guilabert Martínez

·Borja Herrero Pérez ·Patricia Loyola Giner

Here some pictures with videos, and links. That represented each us in our our respective exhibitions: ·Esther Jorquera Ruíz

·Rebecca Guilabert Martínez

路Borja Herrero P茅rez

路Patricia Loyola Giner

路Mateo Bernabeu Carbonell


New people, new ideas, new perspectives, ultimately, five architects, with similar ideas, they should get to work together. To do this, after a brainstorm, we studied a series of cultural aspects, which led us to become experts in a new way, never before seen, to measure housing. Weight. From this point, the way we have framed our field significantly during the course.





















































70 25 0 0 0 0 95

0 8,5 0 0 0 0 8,5

5 2,2 6,5 0 0 0 13,7

4,6 1,8 0 1,3 0 0,8 8,5

3,9 6,2 0 2,3 16,8 1,6 30,8

16,7 8,74 1,3 0,72 3,36 0,48 31,3



245 2 3,7 15 75 320 660,7

165 1,7 0 25 60 95 346,7

157 1,2 0 26 92 122 398,2

179 4 2,6 13 56 97,9 352,5

230 12 0 65 70 105,4 482,4

195,2 4,18 1,26 28,8 70,6 148,06 448,1

35 0 0 68,7 0 0 150 253,7

20 0 12,5 46 15 1,5 140 235

8 0 0 6,3 0 0,5 57 71,8

0 0 0 0 0 0 83 83

17 0 0 0 0 160 68 245

16 0 2,5 24,2 3 32,4 99,6 177,7





0 0 0 0 0 0 0

0 0 0 10 0 0 10

245 0 0 210 0 0 455

34,6 23 0 14 0 0 71,6

79,2 245 0 13 0 0 337,2

71,76 53,6 0 49,4 0 0 174,76



0 0 0 0 0 0 3575 3575

0 0 0 0 0 0 1200 1200

0 0 0 0 0 0 0 0

0 0 0 0 0 0 2840 2840

129 0 92,8 52 16 0 1152 1312,8

25,8 0 18,56 10,4 3,2 0 1753,4 1785,56



175 0 34,5 17 0 0 226,5

425 15 25 8 0 1,5 474,5

231 12 61 32 0 0 336

284 22 37,4 16 0 0 359,4

325 14 41,02 65 0 0 445,02

288 12,6 39,784 27,6 0 0,3 368,284



0 12 0 0 0 0 12

0 6,5 0 0 0 0 6,5

88 1,7 4 0 0 0 93,7

0 0,2 0 0 0 0 0,2

0 3,6 0 0 0 0 3,6

17,6 4,8 0,8 0 0 0 23,2



24 0 0 7 0 0,7 31,7

16 3,5 0 1,5 0 7,5 28,5

37 0 1,1 13,4 0 2,4 53,9

21 0,7 0 1,3 0 0,23 23,23

16 1,9 0,8 6 0 1,6 26,3

22,8 1,22 0,38 5,84 0 2,486 32,726



28 4,5 2,2 1 0 2,6 38,3

6 3,5 0 2,5 0 0,3 12,3

0 0 0 0 0 0 0

18 1,75 0 1,1 0 0,11 20,96

4 0,8 0 2 0 0,11 6,91

11,2 2,11 0,44 1,32 0 0,624 15,694



0 0 0 0 0 0 0

0 0 0 0 0 0 0

0 0 0 0 0 0 0

0 0 0 0 0 0 0

0 0 0 0 0 0 0

0 0 0 0 0 0 0



110 170 5,2 0 0 87 372,2

95 3,5 4,5 0 0 140 243

195 8,3 16 3,3 0 97 319,6

74 4,5 26 4,9 0 84 193,4

96 1,1 23,6 15,4 0 60 196,1

114 37,48 16,26 4,72 0 93,6 264,86



64 5,5 7,5 0 85 162

505 2,2 3,6 8 0 124 642,8

84 6,2 10,2 4 0 43 147,4

75 1 6 12 0 38 132

145,6 2,98 5,46 5,54 0 58 217,58


92 8,5 10,5 11 0 65 187

62 1,7 19 7 0 0 89,7

98 11 4 0,4 0 49 162,4

184 3 5 3 0 136 331

87,2 4,84 8,44 4,28 0 50 154,76

470 213,5 49,3 112,4 75 90,3 1010,5

235 56,2 66 104 75 300,8 837

179 29,3 111,2 306 92 223,9 941,4

180,9 75,15 80,2 56 56 177,14 625,39

173,4 288,6 169,22 235,7 102,8 397,31 1367,03

247,66 132,55 90,344 162,82 80,16 237,89 956,264






0 3,7



1157 427 98,6 224,8 150 180,6 470 3575 2708

1118 112,4 132 208 150 601,6 235 1200 2557

1712 58,6 222,4 612 184 447,8 179 0 3415,8

978,1 150,3 136,2 112 112 354,28 180,9 2840 2023,78

1332,5 577,2 338,44 471,4 205,6 794,62 173,4 1152 3893,16

1259,52 265,1 185,53 325,64 160,32 475,78 247,66 1.753,40 2.919,55















Lightness As I said before, all the cultural aspects that we discussed in the previous week, we focus on lightness. Then we conducted a series of quantitative and qualitative videos that lead us to question many things relative to the weight on the lives of people throughout the years. Here is a picture of the video, and a link to view it:

All things look to be getting lighter and more powerful. The constant advances in technology, more and more let this desire for lightness, improving performance, can become a reality. On the left we can see the data tables that list the weights of everything, in each of our homes. For this, we weigh every element occupying the space of our homes, and also established the average. These numbers have varied greatly throughout history. Our houses, built in the 90’s, contain a large amount of weight of objects that currently, in 2014, we can consider unnecessary.


We will see that this situation of displeasure with our current houses, will influence the history of the true protagonist of the book, the house Miranda Santos, by Ă lvaro Siza. Miranda Santos house was our choice, and we chose it for its incredible history over the years. In this house, they are materialized various discussions that have taken place between members of the team throughout the development of our specialty, lightness. Society changes. Needs change in the lives of people throughout the years, and there comes an important role architecture should evolve, adapt, and respond to those needs.



The experience gained while we performed “el concentrador� as both v.1 v.2, helped us find new ways of organizing spaces, and even find a new way to delimit. The space enclosed in our habitat, should be studied and optimized to meet the needs that the user has. To do this, it is intended that the shell is interactive with the space, and not simply a skin. It will be an envelope capable of regulating the welfare conditions in the interior, in addition to playing the role of closet. The transformability of objects and their integration into the envelopes, we think it will have a big role in the new architectures.


Tolga Islam profesor de Urbanismo en YTU (Estambul)

Francisco Francés profesor de sociología en Universidad de Alicante “La huella participativa en el hecho urbano”

Roger Connah catedrático de Proyectos y Teoría en Carleton University (Ottawa)



Selected house:


Miranda Santos House by Ă lvaro Siza

Ă lvaro Siza

At the beginning of the 1960’s, the Portuguese architect, à lvaro Siza, designed a house for a writer in Matosinhos, Porto. Since then, there have been several changes in its ownership but Siza has continued to be the architect throughout and has been in charge of all its alterations, additions and new furniture. Now, due to external circumstances, the house fulfils all the requirements to be a museum of the architect.


“Most of my works have never been published; some of the things I did were carried out only in part, others were deeply modified or destroyed. That was expected. An architectural formulation, which aims to make a difference... a formulation intended to be more than a passive realization resists reduce that same reality and examines all aspects, one by one, this formulation can not find support in a still image, can not follow a linear evolution. ( ... ) Each design must grasp, with the utmost rigor, a precise moment in the living image, with all its nuances, and better, the more clear pulsating quality of reality will recognize the design ( ... ) . Maybe this is the reason that only marginal works (a quiet home , a vacation home to many kilometers away) have been preserved as originally designed. But something remains. Pieces are preserved here and there, within ourselves, perhaps engendered by others that leave traces in space and people, it is based on a process of total transformation . “ ALVARO SIZA , 1979

“(...) The architecture does not have a preset language. It is a response to a concrete problem, a situation in transformation in which I participate... In architecture, we have already passed the stage where we thought the unity of language would solve everything. A preset, pure, beautiful language, I’m not interested. (...) “ Alvaro Siza (1978)

“My works unfinished, interrupted, altered, have nothing to do with the aesthetics of the unfinished or the belief of the open work. They have more to do with the inability to finish unnerving with impediments, that I get not overcome “

Alvaro Siza (1998)


Miranda Santos House(1960) The owners of the house The writer Luisa Ferreira da Costa commissioned the young Álvaro Siza in 1962 to design a house in a dense neighbourhood of small plots. Costa asked for privacy and seclusion, and requested low, indirect light suitable for her writing. Siza responded by providing a two-storey house with skylights to create diffuse overhead light and small windows in the elevations to simply provide views of orientation and reference. He made use of the architectural vernacular, using mono pitched tiled roofs and plastered structural granite walls. This produced simplicity of volumes, a quality of composition reinforced by meticulous constructional details with openings framed in thick timbers, untreated to retain their natural colour. The house changed ownership in 1987. Its new proprietor, Miranda Dos Santos, commissioned Siza to make alterations which consisted of enlarging existing windows and making new ones as a reaction against the new owner’s perception of the dim light of the skylights. These new openings were detailed differently from the original construction. It was as if Siza was marking his own evolution by adding new materials: the new window openings were framed with white painted wood in white marble cases. Shortly afterwards, the house passed to Santos’ son, an engineer who also asked Siza to continue working with the house, but this time, by designing all its furniture. His commission was not to ask Siza for ‘artistic’ objects, but rather to fulfil his practical requirements.

The transformation of the house During this long history of change of proprietors, Siza’s had been acquiring an international acclaim with a long list of celebrated works, he had lectured at numerous universities, exhibited his work almost all over the world, and received the most prestigious awards and prizes. Consequently, it is not hard to imagine the tremendous difficulty Santos’s son had, trying to achieve his aim. For years he literally hounded Siza to the point where he recognised his “extraordinary, I might say almost excessive, admiration for the architect and his work”. He accompanied Siza on his way to work and even drove him to and from the airport, snatching brief moments of the architect’s time in order to get hold of a sketch, an idea, a correction or his approval. Up to now, Álvaro Siza has designed for the house an extensive list of furniture and fittings: steel arm lamps both in the wall and floor versions, a table lamp with a shade formed by a thin sheet of bent wood, a dining table with glass top edged in wood, several cherry-wood chests-of-drawers with handles that automatically retract by an inner counterweight, welsh dressers with the sides in pale marble that contrasts with the mahogany veneer, a round table in marble with a central steel leg, three-legged chairs whose seats are tapered to allow better use of the round table, glass-fronted bookcase-cabinets with a writing desk, a wall-lamp obtained simply from a plain sheet of bent wood, a floor lamp screened with a translucent marble disc, a chest-of-drawers which acts as the headboard and frame of the bed, a dressing-table, a bedside-chest with simply screened lamp, a single-drawer bedside table, a full collection of accessories for the bathroom, and even the design of two types of door and cupboard keys. Now-a-days, almost all of the furniture is being mass-produced, the reproductions have become highly popular and are even exhibited in design museums. The simple solutions for furnishing the Miranda Santos House have now become original prototypes. This is a new stage in the life of the house, the house to become understood as a museum of the architect’s furniture displayed within his own architecture. Indeed, as it were a retrospective exhibition at the house, a portrait of the


architect greets our visit.

The House: The house is a detached house on plot, built in a quiet suburb of Matosinhos, Portugal. It was built on two levels, arranging them according to usage. We can consider the first floor as the most private, as only contains the bedrooms of family members. Downstairs also find a bedroom, study and all the public part of the house, like the kitchen and living room. There becomes important siza game with different floor and ceiling heights.

Matoshinos, Portugal Client: Fernando Ferreira da Costa / Miranda Santos Contributors (first phase): António Madureira Beatriz Madureira Contributors (second phase): Jorge Nuno Monteiro, Tiago Faria, José Luís Carvalho Gomes Plot: 660 m2 Floor Area: 185 m2 Ground floor: 157 m2 First floor: 95 m2 Garage: 28 m2 (first phase)


1. Emplacement (1:2.000) (Source: Ayuntamiento de Matosinhos)

Memoria del proyecto El proyecto de la casa del Dr. Fernando Ferreira da Coata se sitúa en la nueva urbanización de Azenha de Cima, en Matosinhos. El edificio ocupa una parcela en esquina, al comienzo de la calle de acceso al centro comercial de la zona. La disposición y el estudio de los volúmenes propuestos tiende, por un lado, a evitar los inconvenientes de un terreno demasiado visible y, por otro, a considerar la relació de las futuras construcciones adyacentes, así como el equilibrio entre volúmenes construidos y espacios libres. Se establecen así determinadas pendientes de las cubiertas, determinadas alturas, así como la relación entre el garaje y el de la parcela contigua, para obtener cierto equilibrio a lo largo del paso hacia el centro comercial, un recorrido interior fundamental en la urbanización. por otra parte, parece coherente con el espíritu del plan un estudio de detalle que, en el caso de casas unifamiliares, utiliza los volúmenes indicados sólo como punto de partida. La organización interior de la parcela se caracteriza por el rebaje de la cota de la planta baja con el fin de obtener un volumen compatible con las dimensiones del terreno y evitar, al mismo tiempo, tener que colocar una incómoda escalera en una casa de dimensiones tan contenidas. La sala de estar ocupa una superficie bastante articulada y amplia para compensar las superficies reducidas, aunque reglamentarias, de cada uno de los espacios. Esta superficie comprende zonas diferenciadas definidas por las articulaciones mencionadas y la incidencia de la luz. se prevé, pues, una fuerte relación con el jardín al oeste, creando así una zona intensamente iluminada. Al este, la pared es ciega, pero este brazo de la sala recibe la luz de los dos lados rectos, al norte indirectamente desde la puerta principal acristalada y al sur cenitalmente con el fin de obtener una iluminación intensa cerca de la chimenea con ventilación eficiente. Por tanto, las zonas de estar gozan de una iluminación óptima, permitiendo diferir también de las zonas menos iluminadas, un conjunto que es fundamental para una casa. La construcción económica, utiliza muros de piedra o de ladrillo perforado sobre los que se apoyan forjados alveolares (de forjado y cubierta). El enlucido interior y exterior está pintado


2. Ground floor (1:250) 1.Hall / 2.Living room / 3.Studio / 4.Bathroom / 5.Storage / 6.Studio / 7.Kitchen / 8.Pantry / 9.Bedroom / 10.Bathroom / 11.Garage

de blanco y las carpinterías son de madera barnizada. Los pavimentos son cerámicos, de madera térmica hidrófuga y tablas de pino. Las paredes de los baños y de la cocina están revestidas de azulejos hasta dos metros de altura. cubierta con tejas portuguesas. Álvaro Siza. Oporto, 15 de mayo de 1963

Casa Ferreira da Costa Esta casa en Matosinhos se realizó después de anteriores construcciones “más grandecitas”. Tal vez por que la veo menos personal, menos cerrada en sí mismoa. Lo cual no depende de si tiene más o menos ventanas. En ella he intentado combatir algunos prejuicios de transformación, tratando de comprender algunos cambios. Cuando la proyectaba, querido Nuno, me di cuenta de que “!basta de tejaditos!”, intentando darle un significado más amplio que el cansancio ante las tejas. Cuando estoy trabajando en una casa con cubiertas inclinadas, algo que podemos hacer ahora, desligadas de los que nos atan al neoplasticismo, a Corbu, a Gropius y muchos otros señores, a Viana de Lima, a Wright, a Aalto. veremos si es ilusión, o si ha valido la pena que Távora proyectase Ofir, en casa, en un rollo de papel que luego llevó al estudio. “Carta a Nuno Portas”, publicada en Siza. Scritti di architettura, Skira, Milán, 1997.

3.First floor (1:250) 12.Gallery / 13-15.Bedroom / 16.Bathroom (Source: Archivo Ă lvaro Siza, s.f., original scale 1:200)


4. Cross-section (1:250) (Source: Archivo Ă lvaro Siza, s. f., original scale (1:200)


(Apuntes de viaje, abril de 2002)

Interpreting the concept // House-Catalog

Due to the large number of furniture and other objects designed by Álvaro Siza, the son of Miranda dos Santos had got to his house, inside it has reached an unbeatable value. From the most simple chair, to the table, and even the cabinets have been designed by Álvaro Siza. It is at this time when it asks whether the house can be understood as a catalog house.

This is a concept previously seen in cases such as John Soane’s house in Lincoln’s in Fields, London. Here the architect created his own house museum. A space that is defined by the objects it exposes, and the play of colors and intensities of light as well as reflexes, because it has more than 300 mirrors scattered throughout the house.

This catalog-house concept raises a debate between those words that form the concept. House or museum?. If the building must carry out the function of museum, the displayed objects must be in perfect conditions. And this is contradictory to the concept of home. Since the user use this objects, it will be damaged bit by bit, and eventually change their original condition.


The house of John Soane cited above, is not really a house museum as its name suggest. It’s actually a museum, because there really can not live a family. This is a concept previously seen in cases such as John Soane’s house in Lincoln’s in Fields, London. Here the architect created his own house museum. A space that is defined by the objects it exposes, and the play of colors and intensities of light as well as reflexes, because it has more than 300 mirrors scattered throughout the house.

Projecting client request The family wants to live their lives in a home, and to do the things that make all families. Children should play freely around the house, and there can be nothing to prevent it.


But the house was not just any house. The house keeps the story of the architect. Its evolution. The objects within it, have a high economic as well as cultural value, and should be preserved. For this, we have designed a series of interventions in certain parts of the house, so that they can expose furniture designed by Siza to the public when needed. At the same time the customer can carry out the life of a family with children, without fear of damaging any piece of furniture.

Updating the story Over nearly 20 years, son of Miranda dos Santos, Carlos dos Santos, has accumulated in the house a lot of furniture designed by the architect of the house, Álvaro Siza . During this time, Carlos has formed a family, consisting of his wife, Daniela, and three children, that have the perfect age to make much mischief. This growth of the family unit, can put in trouble the furniture that Carlos had collected in his lifetime. Moreover, to all this appears the desire of his wife, to re- furnish the house with some new furniture that they can use, fed up with the ‘look and not touch‘ governing at home regarding the collection of Siza. Given this situation, the marriage was agreed that the best solution would be to put the entire collection backup and replace with new furniture, despite the reluctance of Carlos. However, Daniela acknowledged that keep in the dark this repertoire of furniture, designed for as renowned architect, would be a crime, so women reached a new agreement with her ​​husband: In addition to preserve, this furniture would be exposed in their own home. All furniture collection designed by Siza would be shown to the public, adapting their home for it, and creating a new concept, a new architecture: the catalog-house, a record of the evolution of the architect and his designs.

With the new remodeling of the house, two concepts of space will coexist under the same roof: the first, as private space, because the house is giving shelter to the daily needs of the family, and the second, as public space, for receive the visitors who go there to see the exhibition of furniture and Siza life. To enable this coexistence of ideas, exposure designs should occupy minimal space. To this end, along the floor, the more massive elements (pillars , stairs, floor and walls) are emptied, to insert into them the various design objects, as if it were display cases. So , this furniture can be drawn from these holes when the house is open to the public , and kept when will fulfill its function home. These voids created in the solid elements are protected with big glasses that allow us to appreciate these works of art to perfection, and even tread on them. Now, after more than 20 years of living, the hole family lives comfortable at home, and only when they decide, make exhibitions open to the public, so that in addition to proudly show the secrets that their house contains, the family earn some extra money...


Drawing the house - analysis drawings First drawings and first proposals





Drawing the house - Final proposal Our project

The proposal made by the team, is a series of targeted interventions in strategic places around the house. These are referenced in the plane at the bottom of the page. The following pages will show in detail each of the interventions, and finally, then the catalog on paper, with items that will be exposed in the house.

5 4 3 2


1 Exhibition of chairs 2 Furniture on the highest stage 3 Exhibitor at the pillar 4 Exhibitor of tables 5 Library into the stairs


1.Exhibition of chairs

2.Furniture of the higest stage

3.Exhibitor at the pillar


4.Exhibitor of tables

5.Library into the stairs

0,19 0,37 0,55 0,72

Escalera - vitrina de la bibliografía de Álvaro Siza. Situada fr

0,29 0,87

Sección A-A'

Axonometría SO Escala = 1:75

0,19 0,37 0,55 0,72

aro Siza. Situada frente a puerta principal de acceso.



-A' A'





Miranda Santos House

The catalog






























A reflection on that kind of teamwork, and our team effort. How is this kind of teamwork, and how it has worked over the course The teamwork that developed in this course has been a determinating factor when it comes to work and reach the project. Throughout the entire semester, the group members have had our joys and our discussions. But that’s what has this kind of teamwork, and overcome these adversities and carry a good project team, is a great success. Work as a team has increased our skills of comunication, to give in if necessary, and discuss common arguments in order to reach a common solution. The travel to Barcelona, I think has been an important part of making group, despite in my team that had only gone Borja and I, because until then, personally I don’t knew both my classmates. It was a shame not to have made the trip at the begining of the course. In the workshop held with Roger Connah, who came from Ottawa to Alicante, we had the opportunity to experience a different way of projecting. This experience was also developed as a teamwork, but this time we had to develop a project completely in just 4 hours. The level of definition is not what we are used to, but I think it was a good experience to increase our ability to provide quick solutions to problems.


In short, I think this way of working that is perfect, because in our professional lives, surely we have to work together, and if it gets to that point, and you can’t work as a team worker, it will be much more difficult to succeed.

Manifesto by: Mateo Bernabeu

What has been to me Re-Reading Stories of Houses 2? Well, if we start with the study of blog stories of houses, most houses seem exciting at first glance, but these hosues hide behind something. After reading the stories of the houses, we saw that each has a story, a story that goes beyond the merely material or architectural. Do not forget that each of these stories has been reviewed and approved by the relevant architects who built it. These are homes that have a reason, and also have a reason for being. Nothing is undefined or unexplained, and it is this duality, architectural history, and built architecture, which makes them unique. Beginning by reading all houses story, each student had to select two of them, which we would have liked more. For me were the Maison à Bordeaux, by Rem Koolhaas and Miranda Santos House, by Alvaro Siza. I searched these houses and not others because of the built house, and the history behind that lead, respectively. In the first, the structural system is awesome, and we could say that life literally hangs in the balance, as did the life of the owner, who has recently died. In the second case, I chose the fascinating story behind the house. It shows the evolution of the architect, as was he who designed it, and made ​​the subsequent reform and who has designed almost all the furniture, thanks to the son of Miranda dos Santos. The house story and the arquitect story are so intense that you can consider the house as a museum of Álvaro siza. After choosing these two stories and public display for the whole class, it was time to rate and choose who would be my co-workers throughout the semester. When we started working together, we were asked to measure three cultural aspects that resulted interesting to us, and after a session of brainstorming, always with the help of work on the blog, the comments of our classmates, we set to work on three cultural aspects that had changed significantly in recent years. Of them, we chose the lightness. We measured our homes meticulously in a novel way, weight, and thus were able to establish what the average weigh objects that fill our homes. After this study, I personally became much more critical when choosing what really fill my spaces.


From here, we came a new way of thinking, the processability, lightness, portability. All this was reflected in several versions of the “concentrador” and the creation of our respective models. Then came time to choose the house to implement the new architecture, and update it to the XXI century. The choice was very difficult, but finally, we chose Miranda Santos House, and the architect Alvaro Siza, as many of the group members chose to top his amazing story, and also because it was totally contrary to our specialty, lightness. This conforms with load-bearing walls, strong visual masses that make the spaces designed by Siza in 1960. It was a perfect place to implement our architecture.

Standing before a house which could be a museum, the amount of furniture designed by Alvaro Siza, and the problems of the family as told in the update of the story , it was decided to apply to this existing architecture specific actions in a strategic places around the house to remove the feeling of mass while the gaps created, to be filled with Siza furniture, as if it were glass cases. This allows the family to re- furnish the house to their liking, and live a comfortable and simple life, as the family had requested. A new concept of architecture is then created, the catalog-house Alvaro Siza, located in Matosinhos. In addition to the family can have a relaxed life in the house without feeling trapped living in a museum, tired of “look and not touch ‘. All furniture designed by the architect will remain in perfect condition, and when they want can open the house as public expositions . In my case, my performance in the house tood place on the stairs opposite the main access of the house. They were solid steps, with the simple function of be used to save the gap between the two rooms, and have been given a new use. It was projected on glass, containing in each of the steps an exhibition with all Siza books cataloged in chronological order. These steps are as a removable drawers, and inside of these, we can found the architect Alvaro Siza file. Countless drawings, charts, maps, etc. They are stored there, so they can be extracted in the exhibitions. The experience of this part of Re-reading Stories of Houses 2 has been, at least, an unforgettable experience, and memorable in many ways. The first one could be working in groups, and various conference and workshop we have made in the course with international arqutiectos, also the trip to Barcelona to visit IAAC, and enjoy receiving an exposure to a doctoral thesis at first. The second aspect is the way to break these fabulous homes as architects for ourselves propose changes and improvements in them. Finally, another aspect is the collaboration of Javier Sánchez Merina, our professor. At the end of each class, with his comments and corrections, I personally think, he made​​ us to come with 1 reflection on the head about our project and he made ​​us to go out of class with 7, so that was a big part in the development of the project. ... if architects do not design new architectures, then who will do it?

Spanish manifesto

¿Qué ha sido para mí Re-Reading Stories of houses 2? Bien, si empezamos con el estudio del blog stories of houses, la mayoría de las casas nos parecen fascinantes a primera vista, pero esconden algo detrás. Tras leer las historias de las casas, vemos que cada una de ellas tiene una hisotria, una historia que va más allá de lo meramente material o arquitectónico. No olvidemos que cada una de estas historias ha sido revisada y autorizada por los correspondientes arquitectos que las construyeron. Éstas son casas que tienen un porqué y una razón de ser. Nada queda sin definir o sin explicación; y es precisamente esa dualidad, historia arquitectónica, y arquitectura construida, la que las hace ser exclusivas. Empezando por la lectura de unas cuantas casas cada uno de los alumnos tuvimos que seleccionar dos de ellas; las que más nos hubiesen gustado. Para mí fueron la Maison a Burdeaux de Rem Koolhaas y la Casa Miranda Santos de Álvaro Siza. Me interesaron estas casas y no otras debido a la casa construida, y a la historia que llevan detrás, respectivamente. En la primera, el sistema estructural es impresionante, ya que podríamos decir que la vida pende literalmente de un hilo, al igual que lo hacía la vida del propietario, que ha fallecido recientemente. En el segundo caso, la elegí por la fascinante historia que hay detrás de la casa. Ésta muestra la evolución del arquitecto, ya que fué él el que la proyectó, y el que hizo la posterior reforma, así como el que ha diseñado prácticamente todo el mobiliario, gracias al hijo de Miranda dos Santos. Historia de casa y arquitecto es tan intensa que se puede considerar a la casa como un museo de Álvaro siza. Después de haber elegido estas dos historias y la exposición en público para toda la clase, llegó el momento de puntuar y elegir a quienes iban a ser mis compañeros de trabajo durante todo el cuatrimestre. Cuando empezamos a trabajar en conjunto, se nos encargó medir 3 aspectos culturales que nos resultaran interesantes, y tras una sesión de tormenta de ideas, siempre con la ayuda de trabajar en el blog, con los comentarios de nuestros compañeros, nos pusimos a trabajar en tres aspectos culturales que habían variado importantemente en los últimos años. De ellos nos quedamos con la ligereza. Medimos nuestras viviendas meticulosamente de una forma novedosa, el peso, y con ello pudimos establecer los promedios de lo que pesan los objetos que llenan nuestras casas. Después de realizar este estudio, personalmente me volví mucho más crítico a la hora de elegir lo que realmente llene mis espacios. De aqui nos surgió una nueva manera de pensar, la de la transformabilidad, la ligereza, la transportabilidad. Todo ello fué plasmado en varias versiones del concentrador y la creacion de nuestros respectivos modelos. Entonces llegó el momento de elegir la vivienda para implantar esta nueva arquitectura, y actualizarla al siglo XXI. La elección fué muy dificil, pero finalmente elegimos la casa Miranda Santos del arquitecto Álvaro Siza, ya que muchos de los miembros del grupo la elegimos al principio por su alucinante historia, y además por que era totalmente contraria a nuestra especialidad, la ligereza. Ésta se conforma con muros de carga, fuertes masas visuales que conforman los espacios diseñadas en el 1960 por Siza. Era una casa perfecta para implantar nuestra arquitectura. Al encontrarmos ante una casa que podría ser un museo, por la cantidad de mobiliario diseñado por Alvaro Siza, y los problemas que tiene la familia como se cuenta en la actualización de la historia, se decide aplicar a esta arquitectura existente unas actuaciones puntuales en sitios estratégicos de la casa que eliminen la sensación de masa y al mismo tiempo los huecos creados, se llenen con el mobiliario de Siza, como si de vitrinas se tratara. Ésto permite a la familia re-amueblar la casa a su gusto, y poder vivir una vida cómoda y sencilla, como la familia había pedido. Se crea entonces un nuevo concepto de arquitectura, la casa-catálogo de Álvaro Síza, situada en Matosinhos. Además de que la familia pueda tener una vida relajada en la casa sin tener la sensación de vivir atrapados en un museo, hartos del “mirar y no tocar”, todo el mobiliario diseñado por el arquitecto se mantendrá en perfectas condiciones, y cuando ellos deseen pueden abrir la casa al públco en forma de expociciones. En mi caso, mi actuación en la casa se encuentra en las escaleras que hay frente a la entrada principal de la vivienda. Eran unos escalones macizos, con la simple función de servir para salvar la el desnivel entre las dos estancias, y se les ha dado un nuevo uso. Se han proyectado en vidrio, conteniendo en cada uno de los peldaños una exposición con todos los libros de siza, catalogados en orden cronológico. Estos peldaños son extraibles a modo de cajones, y en el interior de estos encontramos el archivo del arquitecto Álvaro Siza. Infinidad de sus dibujos, cuadros, planos, etc. Se encuentran allí guardados, para que puedan ser extraidos en las exposiciones. La experiencia de esta parte de Re-reading stories of Houses 2 ha sido, cuanto menos, una experiencia inolvidable; e inolvidable en varios sentidos. El primero de ellos podría ser el trabajo en grupo, y las diversas conferencias y el workshop que hemos realizado en el curso con arqutiectos internacionales; también el viaje a la Barcelona con la visita al iaac y la experiencia de poder haber recibido la exposición de una tesis doctoral en primicia. El segundo aspecto sería la manera de desglosar estas viviendas de arquitectos tan fabulosos para nosotros mismos proponer cambios y mejoras en ellas. Por último, otro aspecto es la colaboración de Javier Sánchez Merina, que al final de cada clase con sus comentarios y correcciones, que personalmente pienso que en cada clase, hizo que entrásemos con 1 reflexión en la cabeza acerca de nuestro proyecto y saliésemos con 7, por lo que fué una gran parte en el desarrollo del proyecto.

82 no somos los arquitectos los que diseñamos nuevas arquitecturas, ¿quién lo hará entonces?

Bibliography Álvaro Siza Vieira architect:


The art of building lightly, Shigeru Ban:

Stories of Houses:

Miranda Santos House, by Álvaro Siza:

Re-Reading Stories of Houses

Re-Reading Stories of Houses 2

The format, ACTAR:

Frases: Álvaro Siza:

Alvaro Siza (1978) [Peter Testa, The Architecture of Alvaro Siza (Oporto, Portugal: Faculdade de Arquitectura da Universidade do Porto, 1968), p. 39].

Alvaro Siza, RIBA Royal Gold Medal 2009

Revista EL CROQUIS 68/69. Álvaro Siza The Pritzker architecture prize. 1992 Venice Biennale 2012: Alvaro Siza

Construir es algo más que hacer croquis. Álvaro Siza


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