Santa Filomena Chapel by Architect Pedro Maurício Borges

[reposted] In Architecture We Trust!

published in: Architecture By Tina Komninou, 16 March 2011 | Original Article 

photo © Fernando Guerra, FG+SG Architectural Photography

Project Title: Capela  de Santa Filomena
Location: Lugar de Netos, Ferreira-a-Nova, Figueira da Foz
Client: Câmara Municipal da Figueira da Foz
Arquitect: Pedro Maurício Borges
Assistants: Rita Curica, Tiago Hespanha, Vitor Canas, Filipe Ferreira
Structural Engineer: ARA – Alves Rodrigues & Associado, Lda (Eng. Fernando Rodrigues)
Watering Engineer: Rita Martins
Electrical Engineer: Camâra Municipal da Figueira da Foz (Eng. Antonino)
Construction: Andrade & Teles, Lda.
Project: 2004 – 2005
Construction: 2005 – 2008
photographer: Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

In 2008 a spiritual modernity opened its doors in Portugal’s Figueira da Foz.  The chapel ‘Capela de Santa Filomena’was designed by architect Pedro Maurício Borges and it did not go unnoticed.  A bold, sexy, angular and dominant structure in the middle of a suburbia type area were everything else stands still and pay their respects to this holy place of architecture.

photo © Fernando Guerra, FG+SG Architectural Photography

Looking at this chapel from afar you cant help but say ‘ What is it and What is it doing here?’.  It is as though you have  spotted a ‘CHANEL’ store in the meat packing district. You are gloriously happy to have found it but keep thinking that you are hallucinating. This glorious feeling is instantly projected in this case by two factors. Firstly, the protruded angular shape of the building leading to the sky and secondly the simplistic façade finish which stands out from its surroundings. The actual structure is built on a sloping pavement, as if it has been dropped from the sky. A sloping surface towards either the underground or the holy over world.

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

Consisting of just three openings (entrance and 2 windows) the main attraction is what we would call the rectangular display window. Clear cut protruding opening with a visible depth and one single powerful display that is understood worldwide. The window is perceived as a picture frame placed on the façade to attract and symbolise what this architectural brand stands for. This idea is made even stronger with the second window acting as a complete reverse. Here the frame is punched inwards from the exterior shell, bringing it levelled with the interior walls. A clear and contrasting approach between a protrusion of ‘In God we Trust’ to invite you in and an inset detail to express the respect and focus of the subject at hand.

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

Once inside, the simplistic and light essence is of prime importance. Clean cute, pure white, natural daylight directly form the nave with a black framed office desk and monasterial seating benches. Everything is discreet with a language of subtleness and openness. In an all white interior The Crucified Christ brings deeper meaning and certainly a more meaningful one. You know what you are here for you don’t need tassels, murals, and vitros to remind you that you are on holly ground. After all we are all here for the man in the window. The recherché that has invited you in and now will rotate around to face you and you will open your heart and soul to him without the feeling of judgement or betray. This comes easily in a chapel such as this. In a chapel were the divine light is entering from either sides of the holy figure in the window and you are left to admire and feel. The dramatic angular lines pointing towards the heavenly clouds through the upper window is a dynamic element filed with symbolism.  One main attraction, one man show with many hidden meanings and a world of magic that you have never seen.  What else can we ask for in order to enter.

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Fernando Guerra, FG+SG Architectural Photography

This monument is a true factor in all that it stands for. No excess, no frills no pretend. A strong architectural approach to a strong belief.  At the end of the day this is our equivalent religious hierarchy to that of a CHANEL store and we are ready to buy whatever is for sale. However what we want to buy comes with a powerful question ‘‘Is the man in the window for sale?”.

photo © Fernando Guerra, FG+SG Architectural Photography

photo © Pedro Maurício Borges

sources: Pedro Maurício Borges


George Vernon Russell’s

[Reposted] March 16th, 2011 | by Marilyn Kalfus, Real Estate Reporter

What does the Sunset Beach oceanfront home, right, have to do with the famous Las Vegas Hotel on the left?

The house, with an asking price of $3,995,000, was designed by the late architect George Vernon Russell, who also designed the Flamingo Hotel, in Vegas and the Samuel Goldwyn residence in Beverly Hills, according to the listing by Sean Stanfield of First Team Real Estate.

From the listing:

“California classic beachfront on rare 59 ft. wide lot. An open staircase suspended by steel cables and spanned by a huge skylight; 16-foot-high wood-paneled ceilings with recessed lighting; and walls of floor-to-ceiling windows facing Catalina plus corner windows with spectacular views emphasize the main living area’s open floor plan.

“Other highlights include a loft bedroom above the dining room and open to the living area, and high-quality wood flooring in the loft and other areas upstairs.

“A large side-yard, accessible both street-side and from the beach ideal for entertaining with its own beach showers, bathroom, and shuffleboard court. The master bedroom includes a sky-lit step-down sitting area and built-in bench, separate his-and-her bathrooms, and his-and-her walk-in closets.”

More details:

  • Address: 16461 S. Pacific Ave.
  • 3 beds, 3.25 baths
  • 3,195 square feet
  • Price per square foot: $1,250
  • Lot Size:  4,200 sq ft
  • Style: 2 level, contemporary
  • View: Ocean, mountain, city lights
  • Year built: 1975 (The year FC3 – Architectist was born.)
  • MLS#:  S649863

What’s interesting, too, is this home was on the market last Spring with another real estate firm at $5,500,000, or $1,721 a square foot. At that time, it had the highest asking price for a house on the market in Sunset Beach.

Here’s a shot of it I got from the beach back then, when I was doing a roundup of Sunset Beach homes. You really can’t tell that much from the outside.    Could that be by design?


DE_PLO / dEEP Architects

[Reposted] MAR 16, 2011 by by Sebastian Jordana

Courtesy of AN_D

In view of the earthquake in Japan, dEEP wants to share their early design proposal called ‘DE_PLO’. It’s a research based design proposal by Li Daode from , cooperated with architects Ana Cocho Bermejo and Andrea Balducci Caste. More images and architect’s description after the break.


Courtesy of AN_D

DE_PLO developed as a contemporary response to global disaster cenario relief. The World Health Organization indicates natural disasters and other unpredictable events are so common today that we must urgently devise responses before they can occur. Architects are asked to invent new kinds of highly adaptable and rapidly deployed spaces for different emergencies.

Our proposal engages the necessity to design flexible and adaptable systems that are able to negotiate the uncertainty of disaster relief. Through an in-depth analysis of post catastrophic scenario based case studies we identified patterns that assisted in developing a range of organization logics that could be implemented on site. Through the development of simple pattern cutting and clipping systems we transformed flat sheet material in complex three-dimensional spatial structures. The results are an original piece of research that poses an alternative model to existing methods of response through a carefully studied and crafted proposal.


Courtesy of AN_D

An Emergency Intermediate Health System, with a customized interface, is able to satisfy most medical needs in the shortest time in a broad span of locations. A time-based system, it operates through two kinds of units: Basic triage – A quickly deployable pack ready to be sent immediately after the disaster. Its use is limited in duration, so it focuses on the acute phase. It is usable as an adaptable triage or first-aid unit working alone or with an existing damaged or overcrowded health care facility.

Specific health – Different rapidly deployable units can be customized according to the kind of emergency through an interface-based design. The unit responds to specific spaces and needs, so it is a completely integrated system, able to adapt to specific diseases, spatial and technological needs, and to form/perform as a field hospital.


Courtesy of AN_D

The EIHS is a deployable 3D structure generated from a flat surface, able to arrive directly from the factory to the site, perfectly packaged and ready for easy and quick assembly. A Multilayered Membrane Intelligent System is applied differently for both packs but is based in the same logic.

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Cite:
Jordana , Sebastian . “DE_PLO / dEEP Architects” 16 Mar 2011. ArchDaily. Accessed 17 Mar 2011. <http://www.archdaily.com/120301&gt;


Assisted Living Facility by Aires Mateus, Alcácer do Sal, Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

Name of the project was Residências assistidas em Alcácer do Sal.

Houses for eldery people in Alcácer do Sal.

It was located in Alcácer do Sal (Portugal).

The project was designed in 2006-2007and built in 2008-2010

The Authors were Francisco Aires Mateus, Manuel Aires Mateus, collaborated with Giacomo Brenna, Paola Marini, Anna Bacchetta, Miguel Pereira. The Client was Santa Casa da Misericordia de Alcácer do Sal. The engineer was Engitarget, lda. The Constructor was Ramos Catarino, Sa. The landscape architecture was ABAP Luis Alçada Batista. The Footprint Area reached 1560 m2. The Floor Gross Area was 3640 m2

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

ALCÁCER DO SAL FORM
The project was according to a attentive reading of the life of a very specific kind of community, a sort of a micro-society with its own rules.
A modern house was a place between a hotel and a hospital that looked for comprehend and reinterpret the combination social/private. The needs of a social life were answered, and at the same time of solitude. Independents integrated aggregate into a unique body, whose design was expressive and clear. The reduct mobility of those who would live in the box house suggested that any displacement should be an emotive and variable experience. The distance between the independent units was sized and drawn to turn the idea of path into life, and its time into form. The minimalist house, designed path, was a wall that naturally appeared from the topography: it limited and explained the open space. The entire plot was organized.

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

A nursing home in Alcácer do Sal, Portugal, was designed by Portuguese studio Aires Mateus Arquitectos . The façade was reminding of a checkerboard, with its white surface punctured at intervals by recesses to shade its glazing. The house design twisted over the site, rising and falling with the topography of the landscape. A surrounding landscaped garden achieved to the roof of at some parts. The access to the top of the building was given. Photographs were by Fernando Guerra. .

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal

 House for elderly people, Between a Hotel and a Hospital by Aires Mateus Arquitectos in Portugal


Pringiers House by Tadao Ando Architects, Mirissa, Sri Lanka

4 March 2011 | Story by Rob Gregory

All Photographs by Edmund Sumner Photographer / Sumner Partnership Ltd.

This adventurous new house in Sri Lanka intelligently and dramatically exploits its stunning clifftop setting.

Recent works by Japanese architect Tadao Ando featured in the AR showed something of a departure from his signature use of exposed concrete, with two projects of irregular form, cloaked in sheet steel (AR November 2005 and August 2007). Designed concurrently but finished a number of years later, this project for a house in Sri Lanka returns to a more familiar language of pristine exposed concrete, arranged to contain a series of protected courtyards and voids.

In an urban setting Ando would typically build a wall around the site to control and bring distinction to the relationship of inner and outer realms, using tension between found and imposed geometries to create dynamically lit spaces. On this site, however, fewer constraints existed so the architect was free to compose a form that responded to key views and aspects of orientation.

Remarkably, Ando never visited the site before construction and has not been there since its completion. He relied instead on the coordination skills of two long-term Japanese collaborators, Kiyoshi Aoki and Yukio Tanaka, who liaised with local firm PWA Architects. Ando describes his envoys as being of ‘around retirement age’, but ‘still fit’ and ‘wanting to put their experience to good use’.

They teamed up with PWA founder Philip Weeraratne and his associate Ravindu Karunanayake, to ensure Ando’s exacting standards were maintained, while also, according to Weeraratne, ‘developing a partiality for Sri Lankan curry’. Checking progress and enjoying local cuisine, they made many trips to the remote coastal site. Described as one of the country’s most spectacular places, it perches on cliffs above Mirrisa Beach on the southern tip of Sri Lanka, with panoramic views of the Indian Ocean.

The site was acquired by Belgian entrepreneur Pierre Pringiers, who came to Sri Lanka as a traveller, on which he got work in a local factory. After a while, he started his own factory, manufacturing solid rubber tyres. The fruits of his enterprise are clear to see in the scale and quality of this home. But he is also known to be generous with his wealth and time. Described by Weeraratne as a philanthropist, he has made a significant contribution to the local economy by leading the post-Asian tsunami recovery initiative in 2004.

He has launched programmes such as the Building a Future Foundation, which develops the practical skills of local workers, training them in boat-building crafts for tourism and fishing-related activities. The house was a gift to his wife Saskia Pintelon, a respected artist, who chose Ando as her preferred architect shortly before the natural disaster struck.

The impact of the Asian tsunami and the subsequent civil unrest is thought to account for Ando’s reluctance to visit the country.Instead, Weeraratne and his team, including representatives from the concrete subcontractor, who had to produce mock-ups before being awarded the contract, all travelled to Japan to experience Ando’s work. After this meeting, the Japanese office issued a simple set of drawings, before the Sri Lankan team set about producing nearly all the detailed drawings for construction.

Being only in their early thirties when the project began, they learnt a huge amount. Weeraratne describes the design process as the equivalent to ‘doing a doctorate’, taking him out of his comfort zone by re-establishing geometrical proportions and exacting standards of detail as key priorities. ‘Ando was a hero of mine,’ he recalls. ‘As a student I would have done anything to work with him, so this was the fulfilment of my foolish teenage dreams.’

Accommodation is arranged into three wings that lock into a central courtyard and a grand stair. Rising up to the piano nobile, to the left of the stair is a bedroom wing. To the right, at 90° is the studio and gallery wing that tapers as it extends into the surrounding landscape. And cutting across, at 45° is a lower two-storey wing, which contains a double-height living and dining room, complete with rooftop swimming pool and cantilevered terrace, which looks back over the stair.

In the knuckle between the studio and the living rooms is a service core that holds the kitchen and ancillary spaces. This area includes a master suite on the upper level and a service entrance that separates the artist’s studio from the domestic quarters that occupy the ground floor.

The studio is described by Weeraratne as the grandest of all spaces, being the most ‘characteristic of Ando’s use of light on plane’. He could not avoid mentioning the gadget, which takes the form of the 6m x 6m window at the end of the dining room that smoothly drops down into the basement void below to open up the interiors to one of Ando’s framed views.

Weeraratne applauds Ando’s ability to capture the scenery so well, stating that ‘what amazed me most was what a true master Ando was. He had not even visited the site, yet was able to be so precise with positioning views. That is the evidence of years of practice.’ Taking a more objective stance, however, you may ask, precisely how accurate do you need to be when working with such a stunning panorama.

Nevertheless, Weeraratne’s respect for his master is palpable,and the experience has been rewarding for all. When asked if this project has influenced later work, he concedes that ‘not everyone can afford to spend five times the normal price on a home, but what this process has given us is a proven reputation for being able to produce high-quality work’.

Architect Tadao Ando Architects & Associates, Osaka
Project team Kiyoshi Aoki, Yukio Tanaka
Associate architects Philip Weeratatne & Ravindu Karunanayake, PWA Architects

All Photographs by Edmund Sumner Photographer / Sumner Partnership Ltd.
9 Grove Hill Road London SE5 8DF
t/f +44 20 7501 6477
+44 7957 141 018
edmund@edmundsumner.co.uk


Architectural Photographer Fernando Guerra

Fernando’s work is inspiring. Here are a few examples from his online portfolio.

Read the rest of this entry »


Die Besorger Agency

Austria | Completed 2010

Situated directly at the bank of the river Enns the site offers a meadow with old fruit trees and a view to a forest slope above the water in the west. The house for a design agency and an apartment moves close to the street in the east. It’s nearly without openings there. The building regulations allow one and a half stores. That is why diagonally roofs determine the form of the design. They are arranged as three layers of different length and hereby react on the scape of the site and the internal functions.

The sculptural volume is covered with a concisely surface made of a black rubber film. It is roof and façade at the same time and it plays with the analogy to the media industry. Light domes of different dimensions are scattered over the surface, meant as a metaphor of water droplets. They illuminate the office and emphasize on the black covering.

The entrance to the office is at the street corner. It’s emphasized by a loggia and the fact that it stands alone. A stairway in a ravine at the east side of the middle tract leads to the second floor. The open office space, which makes the form of the roof visible inside, is seperated from the ravine only by parapet wall. The space is structured by a discussion area which is thought as a box. There is only one view through a small strip window to the river.

A second entrance leads to the apartment on the ground floor. It lies protected beneath the roof of the carport at streetside. The structure of the apartment’s floor plan is 90 degrees to the three building layers. Technichal room and storage are in the south, the living space which extends for the whole building width is in the middle, and bedrooms with bathroom in the north. The living room is opened to a terrace in the garden, here again the view is fully orientated to the river.

Design team:
Hertl.Architekten