Arq.to

O que queria dizer vai na base do jedmont. E que se deve procurar a valorização pessoal e profissional por nós e não através dos outros. Longe de mim dizer que alguém que trabalhe muito e se aplique no trabalho deva merecer menos que os restantes ou apoiar qualquer regime do passado. O esforço é aquele que se aplica, com ajuda ou sem ela, para atingir um fim, se as pessoas preocupam-se mais com os outros do que o seu próprio trabalho, descuram-se, e como disse o joaopedrosilva quem sofre é a profissão e todo que está ligado. Quanto aos países refiro-me a todos, sem excepção, todos têm os seus podres e virtudes, e Portugal é um deles.

Derinkuyu, or: the allure of the underground city - Sun, 19 Aug 2007 16:12:00 +0000 My friend Robert and I finished reading Alan Weisman's The World Without Us almost simultaneously – and we both noted the following passage. Before we get to that, however, the premise of Weisman's book – though Weisman does, more often than not, drift away from this otherwise fascinating central narrative – is: what would happen to the Earth if humans disappeared overnight? What would humans leave behind – and how long would those remnants last? These questions lead Weisman at one point to discuss the underground cities of Cappadocia, Turkey, which, he says, will outlast nearly everything else humans have constructed here on Earth. [images: Derinkuyu, the great underground city of Cappadocia; images culled from a Google Images search and from Wikipedia]. Manhattan will be gone, Los Angeles gone, Cape Canaveral flooded and covered with seaweed, London dissolving into post-Britannic muck, the Great Wall of China merely an undetectable line of minerals blowing across an abandoned landscape*– but there, beneath the porous surface of Turkey, carved directly into tuff, there will still be underground cities. [images: Derinkuyu, the great underground city of Cappadocia; images culled from a Google Images search and from Wikipedia]. Of course, I'm not entirely convinced by Weisman's argument here – not that I have expertise in the field – but Turkey is a very seismically active country, for instance, and... it just doesn't seem likely that these cities will be the last human traces to remain. But that's something for another conversation. In any case, Weisman writes:No one knows how many underground cities lie beneath Cappadocia. Eight have been discovered, and many smaller villages, but there are doubtless more. The biggest, Derinkuyu, wasn't discovered until 1965, when a resident cleaning the back wall of his cave house broke through a wall and discovered behind it a room that he'd never seen, which led to still another, and another. Eventually, spelunking archeologists found a maze of connecting chambers that descended at least 18 stories and 280 feet beneath the surface, ample enough to hold 30,000 people – and much remains to be excavated. One tunnel, wide enough for three people walking abreast, connects to another underground town six miles away. Other passages suggest that at one time all of Cappadocia, above and below the ground, was linked by a hidden network. Many still use the tunnels of this ancient subway as cellar storerooms.I was excited to learn, meanwhile, that another – possibly even larger – underground Cappadocian city, called Gaziemir, was only opened to tourists this summer (someone send me, please!), having only been discovered back in January 2007 (a discovery which doesn't seem to have made the news outside Turkey). So the next time the ground you're walking on sounds hollow – perhaps it is... Whole new cities beneath our feet! I was also excited to read, meanwhile, that these subsurface urban structures are acoustically sophisticated. In other words, Weisman writes, using "vertical communication shafts, it was possible to speak to another person on any level" down below. It's a kind of geological party line, or terrestrial resonating gourd. There were even ancient microbreweries down there, "equipped with tuff fermentation vats and basalt grinding wheels." [images: Derinkuyu and a view of Cappadocia; images culled from a Google Images search and from Wikipedia]. Meanwhile, Robert, my co-reader of Weisman's book, pointed out that the discovery of Derinkuyu, by a man who simply "broke through a wall and discovered behind it a room that he'd never seen, which led to still another, and another," is surely the ultimate undiscovered room fantasy – and I have to agree. However, it also reminded me of a scene from Foucault's Pendulum – which is overwhelmingly my favorite novel (something I say with great and somewhat embarrassed hesitation because no one I have ever recommended it to – literally no one – has enjoyed, or even finished reading, it) – where we read about a French town called Provins. In the novel, a deluded ex-colonel from the Italian military explains to two academic publishers that "something" has been in Provins "since prehistoric times: tunnels. A network of tunnels – real catacombs – extends beneath the hill." The man continues:Some tunnels lead from building to building. You can enter a granary or a warehouse and come out in a church. Some tunnels are constructed with columns and vaulted ceilings. Even today, every house in the upper city still has a cellar with ogival vaults – there must be more than a hundred of them. And every cellar has an entrance to a tunnel.The editors to whom this story has been told call the colonel out on this, pressing for more details, looking for evidence of what he claims. But the colonel parries – and then forges on. After all, he's an ex-Fascist. He'll say what he likes. As the colonel goes on, his story gets stranger: in 1894, he says, two Chevaliers went to visit an old granary in Provins, where they asked to be taken down into the tunnels.Accompanied by the caretaker, they went down into one of the subterranean rooms, on the second level belowground. When the caretaker, trying to show that there were other levels even farther down, stamped on the earth, they heard echoes and reverberations. [The Chevaliers] promptly fetched lanterns and ropes and went into the unknown tunnels like boys down a mine, pulling themselves forward on their elbows, crawling through mysterious passages. [They soon] came to a great hall with a fine fireplace and a dry well in the center. They tied a stone to a rope, lowered it, and found that the well was eleven meters deep. They went back a week later with stronger ropes, and two companions lowered [one of the Chevaliers] into the well, where he discovered a big room with stone walls, ten meters square and five meters high. The others then followed him down.So a few quick points: 1) Today's city planners need to read more things like this. How exciting would it be if you could visit your grandparents in some small town somewhere, only to find that a door in the basement, which you thought led to a closet... actually opens up onto an underground Home Depot? Or a chapel. Or their neighbor's house. 2) Do humans no longer build interesting subterranean structures like this – with the exception of militaries, where, to paraphrase Jonathan Glancey, we still see the architectural imagination at full flight – and I'm referring here to things like Yucca Mountain, something that would surely be too ambitious for almost any architectural design studio today – because they lack the imagination, or because of insurance liability? Is it possible that architectural critics today are lambasting the wrong people? It's not that Daniel Libeskind or Peter Eisenman or Frank Gehry are boring, it's simply that they've been hemmed in by unimaginative insurance regulations... Is insurance to blame for the state of contemporary architecture? And if you called up State Farm to insure an underground city... what would happen? Or if you tried to get UPS to deliver a package there? [image: A map, altered by BLDGBLOG, of an underground Cappadocian metropolis]. In any case, underground cities are far too broad and popular an idea to cover in one post – there's even a Stephen King short story about a maze of tunnels discovered beneath some kind of garment factory in Maine, where cleaners find a new, monstrous species of rat – and I've written about these subterranean worlds before. For instance, in Tokyo Secret City and in London Topological. London, for instance, seems to be constructed more on re-buttressed volumes of air than it is on solid ground. As Anthony Clayton writes in his Subterranean City: Beneath the Streets of London:The heart of modern London contains a vast clandestine underworld of tunnels, telephone exchanges, nuclear bunkers and control centres... ome of which are well documented, but the existence of others can be surmised only from careful scrutiny of government reports and accounts and occassional accidental disclosures reported in the news media.But I can't stop thinking about the fact that some of the underground cities in Cappadocia have not been fully explored. I also can't help but wonder if several thousand years' worth of earthquakes might not have collapsed some passages, or even shifted whole subcity systems, so that they are no longer accessible – and, thus, no longer known. Could, one day, some building engineer accidentally shovel through the Earth's surface and find a brand new underground city – or might not some archaeologist, scanning the hills with ground-penetrating radar, stumble upon an anomalous void, linked to other voids, and the voids lead to more voids, and he's discovered yet another long-lost city? It's also worth pointing out, quickly, that there is a Jean Reno film, called Empire of the Wolves, that is at least partially set inside a subsurface Cappadocian complex. What's interesting about this otherwise uninteresting film is that it uses the carved heads and statuary of Cappadocia not at all unlike the way Alfred Hitchcock used Mount Rushmore in his film North by Northwest: the final action scenes of both films take place literally on the face of the Earth. In any case, I should be returning to the topic of underground cities quite soon. Books cited: • Alan Weisman, The World Without Us • Umberto Eco, Foucault's Pendulum • Anthony Clayton, Subterranean City: Beneath the Streets of London (With huge thanks to Robert K. for kicking off this post!) Ler artigo...

Prémios de arquitectura atribuídos Já são conhecidos os vencedores do Prémio de Arquitectura "Eugénio dos Santos", instituído pelo Município de Alcobaça em 2005. A entrega do prémio decorreu durante a Feira Medieval de Aljubarrota, no âmbito das comemorações do 14 de Agosto, data que marcou a vitória das tropas portuguesas comandadas por D. Nuno Álvares Pereira, o Condestável, sobre o exército castelhano de D. Juan I de Castela. No mesmo dia teve ainda lugar a inauguração do Busto de Eugénio dos Santos, ocasião que ficou marcada pela presença de Luís Rosa, responsável pelo discurso de elogio. Luís Rosa considerou Eugénio dos Santos um dos melhores arquitectos a nível Mundial, com um papel preponderante na recuperação de Lisboa, após o terramoto de 1755. Os prémios reconheceram transversalmente os respectivos donos da obra, autores do projecto e construtores. Assim, na categoria dos "Edifícios Novos" foi distinguido um imóvel localizado na Avenida dos Combatentes, propriedade da Framape, Lda, cujos autores foram Miguel Rocha & Saraiva & Associados, construído por Manuel Mateus Frazão. Na categoria de "Edifícios recuperados" foi destacado o trabalho obtido no Cine-Teatro de Alcobaça, com um projecto de Francisco Pólvora, Bernardo Pereira e José Pólvora, levado a cabo pela HCI – Construções S.A. Em ex-aequo ficou o Hotel Palace do Capitão, em S. Martinho do Porto, com base num projecto de Sousa Lopes realizado por Fortunato, Imóveis & Construções, Lda. Os prémios, distribuídos pelas duas categorias, têm o valor pecuniário de cinco mil euros, sendo no primeiro caso entregue ao arquitecto, e no segundo ao proprietário. Este prémio, com carácter bianual, tem por objectivo premiar proprietários, promotores e arquitectos, que assumam a genuína preocupação em desenvolver a qualidade da construção de raiz, bem como a recuperação de edifícios, uma forma de valorização e salvaguarda do património no concelho de Alcobaça. Para o vice-presidente da autarquia, este prémio vem provar que a arquitectura nacional está no bom caminho, uma vez que os arquitectos estão a apostar na qualidade, "estando criadas as condições para que este prémio venha a ser um evento com marca no Concelho de Alcobaça". Fonte: Diário Beiras

Será tão urgente como as restantes. Penso que todos os profissionais têm direito a exercer a sua profissão, com a concorrência existe atropelos a outras profissões, embora por vezes confesse que me aborrece, são situações comuns em todo o Globo. A concorrência faz-nos mover, pensar, trabalhar mais e afincamente. Não creio por ser designer a minha profissão seja menos prezada em relação aos arquitectos e engenheiros, na sua maioria os arquitectos também fogem para outras profissões ligados ao design. Penso que acima de tudo nos devemos preocupar connosco e com o nosso trabalho, não esquecendo os colegas e a família. Os outros e o que eles fazem só a eles lhe dizem respeito. A concorrência só deve ser preocupação a nível de mercado. Portugal é igual a uns tantos outros países, não existe nada perfeito. Se são espertos ainda bem, não há mal algum em frequentar resorts de luxo e jogar golfe, existe quem o mereça e que não o mereça. Talvez se ainda não estamos num desses resorts a jogar golfe (como assim o queríamos), será porque ainda não nos esforçamos para tal.

Para oferecer é necessário fazer parcerias e encontrar um produto que possa ser oferecido a 5300 utilizadores :D

A ideia é a personalização do logótipo, no entanto por questões de branding temos de escolher uma oficial.

O(A) Arquitectura têm várias cores, no entanto gostariamos de saber qual é para vocês a cor mais indicada. Vejam as cores abaixo na imagem e façam as vossas escolhas. Se têm outras sugestões comentem qual o valor hexadecimal da mesma.

Vamos criar novos Smiles ou Emoticons e gostavamos de saber quais preferem ou algum em especial que seja original e nosso. Os mais comuns são: Smile Zangado Sorridente Triste/Chorar Língua de fora Aborrecido Nervoso/Expectante :nervos: Menina :icon_chick: :tired: Palmas :clap: ... .:lovearquitectura:

O mesmo exemplo aplica-se a várias profissões, como o caso de Arquitectos fazerem design, quando o trabalho envolve algum conhecimentos artístico e conhecimento técnico torna-se mais complicado alguma regulação das profissões. Por isso penso que em todos os casos a preocupação deve ser própria e para com os clientes, e não com a concorrência.

Waterville - Wed, 15 Aug 2007 17:27:00 +0000 [image: A Center for Biodiversity by Tecla, part of the Waterpower project; via Domus]. There was an interesting, although brief, article posted on Domus last month about a valley in Italy, the Valle dei Mulini, which Domus describes as "a fascinating microcosm of industrial history, dotted by abandoned paper mills." In order "to prevent this heritage from disappearing," however, a local planning and design group, calling itself Waterpower, "asked a series of Italian and foreign designers to make projects for the renewal of the deserted water and paper mills. There was one condition: that they take the 'power of water' as the poetic metaphor and technological guideline of their projects, turning the valley into an eco-sustainable environment." [image: A parking garage and "river remodelling" structure by Labics, part of the Waterpower project; via Domus]. The resulting proposals look at programmatically different reuses of the old mills, including purposes as diverse as a youth hostel (complete with water from the Canneto River flowing through part of the building), a Center for Biodiversity – [image: The Center for Biodiversity by Tecla, via the Waterpower project]. – newly cultivated "lemon terraces," a spa, a kind of outdoor historical walkway, a "Waterfall Home" deeply fixed into the bedrock, complete with some kind of Slow Food studio/kitchen – [images: The Waterfall Home by Nemesi, via the Waterpower project]. – and a hydraulics museum. [image: A "Hydraulics Museum & Panoramic Bar" by Sudarch, part of the Waterpower project; via Domus]. The Waterpower website has a lot more information about the various projects, including a short history of the Valle dei Mulini itself. [images: A topographical view of the Valle dei Mulini, via the Waterpower project]. We read, for instance, that the project "aims to recover a landscape and a system of pre-industrial water mills (mulini) currently in danger of collapse beyond repair."As described with a wealth of illustrations in Diderot and D'Alembert's Encyclopedie, from the early 13th century the paper mills, iron mills, and later hydro-electric power stations exploited water power through ingenious systems of channels, tanks, level drops, funnels and water wheels to produce energy to make things. The mills were carefully distanced one from the next to exploit the height differential and hence the water power. From the port of Amalfi the network of mills rises 3km inland and 350m in height.It's the river valley as landscape-machine. In any case, I think it's a cool project. Read more at the official website. Ler artigo...

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Prémio Eugénio dos Santos Câmara Municipal de Alcobaça premeia arquitectos Inserido na programação da Feira Medieval de Aljubarrota, a Câmara Municipal de Alcobaça homenageia, a 14 de Agosto, o arquitecto Eugénio dos Santos, com a inauguração do seu busto. Arquitecto de grande relevo nacional, Eugénio dos Santos nasceu em Aljubarrota, em 1711, e foi o autor da reconstrução da Baixa Pombalina, em Lisboa, após o terramoto de 1755. A sua obra, o Terreiro do Paço e a Baixa, permanece como testemunho de uma época, e constitui “uma das obras maiores da cultura nacional”, segundo o historiador José Augusto França. A Câmara Municipal de Alcobaça instituiu, em 2005, o Prémio de Arquitectura “Eugénio dos Santos”, tendo sido o regulamento aprovado em Assembleia Municipal, a 30 de Junho do mesmo ano. Este prémio, com carácter bianual, tem por objectivo premiar proprietários, promotores e arquitectos, que assumam a genuína preocupação em desenvolver a qualidade da construção de raiz, bem como a recuperação de edifícios, uma forma de valorização e salvaguarda do património no Concelho de Alcobaça. A organização acredita que esta iniciativa irá fomentar preocupações de qualidade, e acelerar a vontade de recuperação e conservação do património cultural e arquitectónico existente, herdado dos Monges de Cister. Esta iniciativa insere-se na política de Urbanismo da Câmara de Alcobaça, que privilegia aspectos de qualidade arquitectónica nas intervenções públicas ou privadas. Exemplo disso, para além do Prémio de Arquitectura “Eugénio dos Santos”, é o trabalho desenvolvido pelo arquitecto Gonçalo Byrne, um dos nomes maiores da arquitectura mundial, e os recentes contactos com Siza Vieira. O prémio será distribuído por categorias: Categoria A (edifícios novos) e Categoria B (edifícios recuperados), e nele será reconhecido o promotor, o construtor e o autor ou autores dos projectos de arquitectura das obras. Em ambos os casos, o valor pecuniário é de 5.000€. In: Oeste Online

Novo atelier adicionado por Márcio Ferreira: Mario Cucinella - http://www.mcarchitects.it/

Novo atelier adicionado por malaise: AVA Arquitectos - http://www.ava-architects.com/

Caro Renato existe programas de troca de estudantes para toda a Europa. Aqui o programa chama-se Erasmus no entanto para países fora de UE não faço ideia como se chamam. Junto da secretaria de tua faculdade ou escola podem informar-te melhor sobre quais as possibilidade que existem por cá (Europa). Se queres estudar por cá existem diversas faculdades públicas e privadas que podes concorrer. Os teus colegas do fórum mais que ninguém podem-te ajudar melhor que eu.