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revista t e c n l c o de arquitectura

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O 7 I publicacao birnastral ] 25€ portugal I bimonthly publication I 35€ europe

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mateus

monografia

GANDIA BLASCO PORTO

Rua Dr Melo Leote 20 <1100 - 341 Porto T + 351 22 618 1355 F 4- 351 22616 , 540 gbpor to@gandiablasco.com

GANDIA BLASCO USBOA

Largo vuonoo Damaso. 2 FIG 1249-012 Llsboa 1+351 21 3962338 F+351 21 3963304 gblisboa@gandlablasco corn

GANDIA BLASCO T + 34 902 530 302 wwv,;,gandlablasco com

Saler. Outdoor Furniture, Jose A. Gandfa

G A N o I A B L A S C 0

003

o a linha da viziinha

a linha da vizinha

avo conselheiro fernando de sousa n'27A 1070-072 lisboa

rua do ouleiro 2 2' F, sala 1 4050-452 porto

Ilf +351213825350/55 fax +351 226008716 alinhadavizinha@alinhadavizinha.pt

www.alinhadavizinha.pt

"Concentrando 0 problema, resolve-se num volume puro, apto a mobilar espacos, criando a minima lnterferencla.' Aires Mateus

"Focusing the problem, solve it in a pure volume, able to furnish spaces, creating the least interference." Aires Mateus

cozinha kuba I desenho aires mateus I edil;ao a linha da vizinha

AdelIa, Akaba, Alivar, Amat-3, Arper, Artek, Arlemide, BD Barcelona Design,Bisazza, Carl Hansen, Dada, D-line, Duravit, Driade, E15, Edra, Extremis, Fritz Hansen, Flos, Gandia Blasco, ICF, Iduna, Ingo Maurer, Karlell, Kristalia, Luceplan, Luceplan Elemenli, Magis, MDF ltalia, Molleni&Co, Mobles 114, Moroso, Moooi, Perobell, Sellex, Serralunga, Viccarbe, Xo, Zannota.

015

actualidades news

,

icones

•

Icons

A possibilidade de atingir a expressividade maxima com um minimo de meios tem sido uma das mais constantes ao Ion go do ultimo seculo,

Nao a unica, naturalmente, mas seguramente uma das mais perseverantemente procuradas. Em todas as formas de arte - ou na sua grande maioria - mas com um claro predominio na escultura e na a rq u itectu ra.

Muito provavelmente porque ambas tarn em comum 0 trabalharem com 0 sspaco e 0 tempo. Nao e certamente por acaso que muitas das propostas mais originais ten ham sido feitas por arquitectos, mas em campos muito pr6ximos do da escultura, como os grandes blocos rnaclcos feitos por Tony Smith nas decades de sessenta e de setenta, ou as conternporaneas experienclas lurnlnotecnicas em espacos pre-exlstentes feitas por James Turrell.

Sempre 0 trabalho com 0 espaco e 0 tempo.

Espac;:os e tempos que, natural mente, pressup5em movimento, e, sobretudo, lugares, contextos e sitios. Pessoas / utentes tarnbern.

Percebe-se tambern que toda esta procura de uma expressividade "Iimpa" de todo 0 desnecessario se tenha tornado particularmente apetecivel numa epoca como a actual em que as imagens assumiram um papel de tal modo relevante que quase se substituem a realidade.

Substituimos a necessidade de conhecer, tocando, cheirando, degustando de todas as formas, pela mais pratlca mas tarnbern muito mais in6cua vlsao da imagem dos objectos. E estamos a fazer 0 mesmo com as pessoas, com a agravante que, neste caso, as ideias e as personalidades sempre tiveram imagens muito debeis.

Mesmo as imagens de arquitectura cad a vez nos mostram menos a vida dos sltlos, e as pessoas ou la estao s6 para dar escala, ou sao virtuais e entao sim usadas em profusao para parecer que todos aqueles espacos vao ser muito usados.

Este seria alias um exercicio interessante e cada vez mais necessario de se fazer. Comparar aquilo que se apresenta com cada vez mais foto realismo para vender 0 projecto, com aquilo que e 0 produto real mente finalizado. Sao muitas as surpresas e a maior parte nao serao para melhor.

Nao e por acaso que as Lojas de Moda sao um dos programas mais apeteciveis para este tipo de exercicios pois nelas e possivel exaltar 0 autentlco objecto de arte em que se converteu a moda. E se muita da defesa para um despojamento das formas da arquitectura do passado teve raz5es etlcas e filos6ficas, (desde as arquitecturas cistercienses de que todas estas manifestac;:5es se referem, ate as mais recentes dos shakers norte americanos), a actual adopcao deste mesmo despojamento reduzido ao papel de icone da moda pode facilmente levar a um pastiche que sera seguramente caracterizador da sociedade de abundancia em que (ainda ?) vivemos mas onde ja muito pouco restara dessa coerente procura do essencial.

Apenas a imagem, 0 icone, se mantern, apesar de tudo.

The possibility of achieving maximum expression using minimum resources has been one of the most constant throughout the last century.

Not the only one, naturally, but certainly one of the most earnestly sought-after, in all forms of art - or in most of them - but seen most clearly in sculpture and architecture.

This is likely because both have in common that they work with space and time. It is certainly no coincidence that many of the most original designs have been the work of architects, but in areas approaching sculpture. These include the large solid blocks built by Tony Smith during the 60s and 70s and the contemporary lighting experiments in existing spaces carried out by James Turrell.

The constant theme is working with space and time.

Spaces and times that naturally imply movement, but especially locations, contexts and places. People and users too.

It can also be observed that this desire to express things in a way that is free from anything unnecessary has become especially appealing in our day, where images are so important that they almost replace reality.

We replace the need to know by means of touching, smelling, tasting in every way, by the more practical but also much more harmless sight of images of things. And we are doing the same thing with people, with the added problem that in this case, ideas and personalities have always had very fragile images. Even images used in architecture show less and less the life of a place, and people are in the picture just for scale, or are virtual and used extensively to make it appear as though those spaces will be widely used.

This would be an interesting exercise, and ever more necessary. Comparing that which is presented with increasing realism to sell the project to what the final product actually looks like. There are many surprises, and most are not pleasant.

It is no coincidence that clothes shops are one the most appealing subjects for this type of exercise, since they are able to exalt fashion, which has become a real work of art.

And if a large part of the defence of the "stripping" of architectural forms of the past was ethically and philosophically based (starting at the Cistercian architecture to which all these manifestations refer, right through to the most recent examples from American shakers), the current adoption of this same "stripping" reduced to the role of a fashion icon could easily lead to a pastiche, one which will certainly describe the society of excess in which we (still?) live but where so little of that coherent search for the essential remains.

In spite of everything, only the image, the icon, stays on.

Lisboa, Fevereiro 2009

Jose Manuel Pedreirinho (arquitecto)

Lisbon, February 2009

Jose Manuel Pedreirinho (architect)

sohodesigncollection

rua eduardo manuel almeida 640 A 4810-264 guimaraes til +351 253410195 mail@gohodesigncollection.com

www.sohodesigncollection.com

021

actualidades news

,

icones

•

Icons

A possibilidade de atingir a expressividade maxima com um minimo de meios tem sido uma das mais constantes ao Ion go do ultimo seculo,

Nao a unica, naturalmente, mas seguramente uma das mais perseverantemente procuradas. Em todas as formas de arte - ou na sua grande maioria - mas com um claro predominio na escultura e na a rq u itectu ra.

Muito provavelmente porque ambas tarn em comum 0 trabalharem com 0 sspaco e 0 tempo. Nao e certamente por acaso que muitas das propostas mais originais ten ham sido feitas por arquitectos, mas em campos muito pr6ximos do da escultura, como os grandes blocos rnaclcos feitos por Tony Smith nas decades de sessenta e de setenta, ou as conternporaneas experienclas lurnlnotecnicas em espacos pre-exlstentes feitas por James Turrell.

Sempre 0 trabalho com 0 espaco e 0 tempo.

Espac;:os e tempos que, natural mente, pressup5em movimento, e, sobretudo, lugares, contextos e sitios. Pessoas / utentes tarnbern.

Percebe-se tambern que toda esta procura de uma expressividade "Iimpa" de todo 0 desnecessario se tenha tornado particularmente apetecivel numa epoca como a actual em que as imagens assumiram um papel de tal modo relevante que quase se substituem a realidade.

Substituimos a necessidade de conhecer, tocando, cheirando, degustando de todas as formas, pela mais pratlca mas tarnbern muito mais in6cua vlsao da imagem dos objectos. E estamos a fazer 0 mesmo com as pessoas, com a agravante que, neste caso, as ideias e as personalidades sempre tiveram imagens muito debeis.

Mesmo as imagens de arquitectura cad a vez nos mostram menos a vida dos sltlos, e as pessoas ou la estao s6 para dar escala, ou sao virtuais e entao sim usadas em profusao para parecer que todos aqueles espacos vao ser muito usados.

Este seria alias um exercicio interessante e cada vez mais necessario de se fazer. Comparar aquilo que se apresenta com cada vez mais foto realismo para vender 0 projecto, com aquilo que e 0 produto real mente finalizado. Sao muitas as surpresas e a maior parte nao serao para melhor.

Nao e por acaso que as Lojas de Moda sao um dos programas mais apeteciveis para este tipo de exercicios pois nelas e possivel exaltar 0 autentlco objecto de arte em que se converteu a moda. E se muita da defesa para um despojamento das formas da arquitectura do passado teve raz5es etlcas e filos6ficas, (desde as arquitecturas cistercienses de que todas estas manifestac;:5es se referem, ate as mais recentes dos shakers norte americanos), a actual adopcao deste mesmo despojamento reduzido ao papel de icone da moda pode facilmente levar a um pastiche que sera seguramente caracterizador da sociedade de abundancia em que (ainda ?) vivemos mas onde ja muito pouco restara dessa coerente procura do essencial.

Apenas a imagem, 0 icone, se mantern, apesar de tudo.

The possibility of achieving maximum expression using minimum resources has been one of the most constant throughout the last century.

Not the only one, naturally, but certainly one of the most earnestly sought-after, in all forms of art - or in most of them - but seen most clearly in sculpture and architecture.

This is likely because both have in common that they work with space and time. It is certainly no coincidence that many of the most original designs have been the work of architects, but in areas approaching sculpture. These include the large solid blocks built by Tony Smith during the 60s and 70s and the contemporary lighting experiments in existing spaces carried out by James Turrell.

The constant theme is working with space and time.

Spaces and times that naturally imply movement, but especially locations, contexts and places. People and users too.

It can also be observed that this desire to express things in a way that is free from anything unnecessary has become especially appealing in our day, where images are so important that they almost replace reality.

We replace the need to know by means of touching, smelling, tasting in every way, by the more practical but also much more harmless sight of images of things. And we are doing the same thing with people, with the added problem that in this case, ideas and personalities have always had very fragile images. Even images used in architecture show less and less the life of a place, and people are in the picture just for scale, or are virtual and used extensively to make it appear as though those spaces will be widely used.

This would be an interesting exercise, and ever more necessary. Comparing that which is presented with increasing realism to sell the project to what the final product actually looks like. There are many surprises, and most are not pleasant.

It is no coincidence that clothes shops are one the most appealing subjects for this type of exercise, since they are able to exalt fashion, which has become a real work of art.

And if a large part of the defence of the "stripping" of architectural forms of the past was ethically and philosophically based (starting at the Cistercian architecture to which all these manifestations refer, right through to the most recent examples from American shakers), the current adoption of this same "stripping" reduced to the role of a fashion icon could easily lead to a pastiche, one which will certainly describe the society of excess in which we (still?) live but where so little of that coherent search for the essential remains.

In spite of everything, only the image, the icon, stays on.

Lisboa, Fevereiro 2009

Jose Manuel Pedreirinho (arquitecto)

Lisbon, February 2009

Jose Manuel Pedreirinho (architect)

design basleo rua d. manuel II, 222 4050-343 porto 111+351 226067843 designbasico@<jesignbasico.pl

www.designbasico.bullhaup.com www.sdr-plus.com

023

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introducao introduction

magazine

FORMA, PROGRAMA, CIOAOE

A arquitectura publica de Aires Mateus

o reconhecimento de um trabalho provern necessariamente da sua forma. E a partir desta conflquracao inteligivel que 0 pensamento e a pratlca de uma actividade podem ser avaliados. No caso da arquitectura, 0 seu papel fundador atingiu proporc;:5es exacerbadas em tempos recentes. Por excesso ou defeito, a forma constitui hoje 0 limite critico da disciplina: seja porque a reduz a caligrafia de uma assinatura (a chamada "marca de autor"), seja porque a sua renuncia incorre numa neutralidade paradoxal (a cham ada "objeccao de consciencla'). A arquitectura exprime sempre uma vontade, dando-Ihe corpo. Mesmo quando e an6nima, nao passa sem designio nem desenho. Quando e ldentlflcavel, investida de autoria, a sua relevancla decorre ainda mais desse controlo sobre a forma.

A crescente notoriedade da producao arquitect6nica de Aires Mateus - explanada em obras, concursos, exposic;:5es e publicac;:5es - tem nesse controlo 0 seu principal fundamento. 0 partido formal que ela toma e apreensivel enquanto referencla, ou mesmo estilo, pela coerencla do vocabulario e dos processos adoptados. Essa qualidade resulta de uma recucao obsessiva dos meios do projecto a um plano on de a abstraccao, secundada pel a geometria, e soberana. E na capacidade de consumar 0 seu impulso que esta arquitectura colhe popularidade, enquanto "vontade da forma." A concretizacao desse prop6sito ostenta assim um caracter performativo (logo "her6ico"), em que 0 projectado e 0 edificado nao admitem desvios a experlsncla do espac;:o como uma totalidade. 0 objectivo e cumprido atraves de uma linhagem minimal, onde a tect6nica esta cingida a poucos elementos para fazer sobressair a modelacao dos volumes e das superficies.

Esta pesquisa encontrou no programa residencial um laborat6rio privilegiado para as suas experimentac;:5es. A casa tornou-se assim num emblema da pratlca de Aires Mateus, entendida como universo expandido de possibilidades formais e construtivas. Sendo a encomenda mais frequente, ela e tarnbern a mais directa: 0 lugar do encontro pessoal entre cliente e arquitecto. No campo do privado, onde quase tudo e permitido, esse encontro inaugurou ha muito uma producao serial. Entre a lnvencao e a repeticao, nao e decerto estranha a uma outra investigac;:ao analog a, levada a cabo por Souto de Moura. Apesar das suas diferenc;:as abissais, em ambas sobressai a conviccao que a casa e uma "coisa mental."

Para este nurnsro monoqraflco da O'ARCO essa producao foi preterida em detrimento de outra, centrada em intervenc;:5es de maior escala e cariz urbano. 0 crlterio de selsccao pretende evidenciar 0 envolvimento disciplinar de Aires Mateus em projectos onde, alern da forma, e necessario dar res posta a encargos de complexidade acrescida. Por deflnicao, 0 edificio publico esta sob a tutela de um contrato social que nao prescinde da autoria como mais-valia ldentltaria mas que exige dela uma eflcacia para supervisionar logisticas e desempenhos. As casas perduram aqui como lastro criativo, num arsenal de motivos e dispositivos, aplicado por homotetia a esses edificios. Mas as suas inovac;:5es sao sujeitas a uma tensao que transcende 0 mero aparato estetlco, com que por vezes podem ser confundidas. A lrnplernentacao da sua linguagem - reconhecivel, autoral - e feita com uma clareza marcial que sustenta a arnblcao destes projectos. Com esse mesmo crivo, fazem face ao programa e a cidade.

FORM, PROGRAM, CITY

Public architecture by Aires Mateus

Recognition of a piece must come from its form. It is from this intangible configuration that the thought and practice of an activity can be assessed. In the case of architecture, its founding role has reached exaggerated proportions in recent times. Through excess or lack, form is nowadays the critical limit of the discipline: whether because it reduces it to the penmanship of signature (the so-called "trade mark"), whether because renouncing it results in a paradoxical neutrality (the so-called "conscientious objection"). Architecture always expresses a will, and lends it substance. Even when it is anonymous, it does not exist without purpose or design. When it is identifiable and invested with authorship, its relevance results even more from this control over form.

The increasing fame of Aires Mateus' architectural productions - expressed across pieces, competitions, exhibitions and and published works - is founded on that control. Its formal stance is perceivable as a reference point, or even as a style, by its coherence in vocabulary and in adopted processes. This quality results from an obsessive reduction in the project's resources to a plane where abstraction rules supreme, supported by geometry. This architecture reaps its popularity from its ability to consummate its impulse as a "will of form". The realization of that purpose thus shows a performative (and therefore "heroic") character, in which that which is projected and built do not accept deviations from the experience of space a whole. The objective is met through a minimal line, where tectonics are limited to a few elements, in order to highlight the modelling of volumes and surfaces.

This research found, in the residential program, an excellent laboratory for its experiments.

The house has thus become a symbol of the practice of Aires Mateus, understood as an expanded universe of form and construction possibilities. As the most commonly requested item, it is also the most direct: the meeting place between client and architect. In the private field, where almost anything is allowed, that meeting resulted in a serial production long ago. Between invention and repetition, it is not unknown to another analogous investigation, carried out by Souto de Moura. In spite of the massive differences between them, both feature the conviction that a house is a "mental thing,"

For this monographic issue of O'ARCO, that production was chosen over the other, centered on larger and more urban inventions. The selection criteria is intended to show the involvement of Aires Mateus in projects where, aside from form, it is important to respond to increasingly complex orders. A public building is, by definition, under the control of a social contract that uses authorship as an identity asset and demands of it efficacy to supervise logistics and achievements. Houses remain here as a creative ballast, an arsenal of motifs and devices, applied to those buildings through homothetics. But their innovations are subject to a tension that transcends mere aesthetic appearance, with which it is sometimes mistaken. The implementation of its language - recognizable, authoritative - is done masterfully and clearly, and supports the ambition in these projects. With the same intent, they look on to the program and the city.

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planta floor plan

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1 ivraria al med i na 1 lisboa, portugal almedina 1 book shop lisbon, portugal

Oescontextualiza-se a area existente, nao a aceitando como limite de espaco mas simplesmente como possibilidade de lntervencao, Torna-se neutra a envolvente mobilando 0 interior com espacos, arquetlpos, Cumpre-se 0 programa de tres espacos distintos. No entorno tornado ambiguo distribuem-se todas as tecnologias. Os espacos confinados, reportam-nos a sensacoes familiares, rnernorlas simples da forma e da materialidade.

The existing area has been de-contextualized, in a refusal to accept it as a limit to space but simply as a possibility for action. The surroundings have been made neutral, furnishing the interior with spaces, archetypes. Three different spaces have been planned. Within the ambiguous area, all the technologies have been laid out. The confined spaces remind us of familiar feelings, simple memories of form and a material quality.

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projecto restaurante em biscaia

localizagao escoural, montermor-o-novo I portugal

cliente quizcamp

coordenacao jorge p silva

colaboradores joao esteves I yoshilaka miyauchi I kohei oshima

projecto I construcao 2005

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joao carmo sirnoes

restaurante em biscaia biscaia restaurant

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polo de formacao e actividades culturais training and cultural activity centre

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museu do farol de santa marta santa marta lighthouse museum

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concurso por convite: {"_useu do farol de santa _scais I portugal carnara municipal de sofia chinita janeiro I filipe 'j!OQ3 I 2007

joel 'l'e'1ueira (estnuturas) joule ( instalacoes electricas) udra, c~nstrutora Ida (constnutor) 1750m2

DMF fotografia I FG+SG I ricardo

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complexo escolar e centro de clencla viva vila nova da barquinha I portugal

carnara municipal de vila nova da barquinha humberto silva

miguel valerie I francisco caseiro I joao caria I humberto fonseca betar I joule

2006

4600m2

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school complex

vila nova da barquinha I portugal vila nova da barquinha city council humberto silva

miguel valerie I francisco caseiro I joao carla I humberto fonseca betar I joule

2006

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biblioteca central e arquivo municipal central library and municipal archive

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museu parque de los cuentos parque de los cuentos museum

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hotel aquapura aquapura hotel

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area do parque mayer e jardim botanico

lisboa, portugal

area around the parque mayer and botanical gardens

lisbon, portugal

area do parque mayer e jardim botiinico

area around the parque mayer and botanical gardens

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o projecto responde as principais questoes que se poem nesta area: proteccao do Jardim Botanico, ligac;:oes urbanas entre a cota baixa e alta da cidade, aproveitamento do vazio do Parque Mayer como possibilidade regeneradora da zona. Desenha-se a extensao da massa arborea do jardim ate ao tardoz da periferia construida. A area de projeccao do jardim cobre os espacos resultantes sob os grandes pianos continuos que modelam a plataforma a cota superior. Continua como conceito, esta nova superficie verde, e aberta, permeavel a ruas e praca, atravessada no seu interior e recortada para 0 ceu, Esta malha de espaco publico pedonal articula as cotas e envolvente desta area. 0 Capltolio e reenquadrado numa nova praca, onde todos os percursos desaguam. No paradigma da cidade historica; elevada ocupacao do solo e baixa altura, a solucao desenha espacos publlcos urbanos, como protagonistas da vida da cidade na escala propria do seu centro.

The project meets the main needs within this area: protecting the Botanical Garden, urban links between the lower and upper levels of the city, and making use of the space within the Parque Mayer as having regeneration potential for the area. The wooded area goes from the garden to the rough wall of the builtup boundary. The projected garden area covers the resulting spaces under the large, continuous planes that mould the platform to the upper level. It continues as a concept, this new green surface: it is open, permeable to streets a square, criss-crossed within and open to the sky. This fabric of a pedestrian public space links the varying levels and surroundings in this area. The Capitol is re-centred within a new square, where all routes meet. Within the paradigm of the historic city, a dense occupation of the ground and low altitude, the solution etches out urban public spaces as key players in city life, on a scale appropriate to its centre.

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e

area do parque mayer e jardim botanico lisboa I portugal

camara municipal de lisboa

jorge p silva I joao nunes (arquitecto paisagista)

neus beneyto I andre passos I humberto silva I francisco caseiro I ivan iemma I clara bidorini I kohsuke horie I carlotta fantoni I vania femandes

dr. ricardo pais (encenador - artes cenlcas) I pedro moreira (saxofonista/compositor/maestro- rnuslca) I carlos martins (saxofonista/compositor - rnuslca) delfim sardo (curador/critico de arte - artes plastlcas)

AFG consult

2008

40.776m2

joao carma sirnoes

area around the parque mayer and botanical gardens lisbon I portugal

lisboa city council

jorge p silva I joeo nunes (landscape architect)

neus beneyto I andre passos I humberto silva I francisco caseiro I ivan iemma I clara bidorini I kohsuke horie I carlotta fantoni I vania femandes

dr. ricardo pais (director-permorming arts) I pedro moreira (saxophonist!composer/maestro-music) I carlos martins (saxophonist!composer - music) delfim sardo (curador/art critic - visual arts)

AFG consult

2008

40.776s.m.

joao carma sirnoes

213

creditos credits

AIRES MATEUS AIRES MATEUS

1. MANUEL ROCHA DE AIRES MATEUS. (Lisboa 1963); arquitecto (F.A./U.T.L. 1986) Colabora com 0 arquitecto Goncalo Byrne desde 1983.

Colabora. com 0 arquitecto Francisco Aires Mateus desde 1988.

2. FRANCISCO XAVIER DE AIRES MATEUS, (Lisboa 1964); arquitecto (F.A.lU.T.L. 1987) Colaboracao com 0 arquitecto Goncalo Byrne desde 1983

Colaboracao com 0 arquitecto Manuel Aires Mateus desde 1988

CONFERENCIAS E SEMINARIOS

Alemanha, Argentina, Austria, Belgica, Brasil, Canada, Chile, Croacla, Eslovenla, Espanha, EUA, Inglaterra, l!alia, Irlanda, Japao, Mexico, Noruega, suecla, Portugal, surca, India, Holanda.

PROFESSORES EM

Graduate School of Design, Harvard University, EUA; Fakulteta za Arhitekturo, Universa v Ljubljani, Ljubljana, Eslovenia: Accademia di Architectura, Mendrizio, sutca, desde 2001; Universidade Aut6noma, Lisboa; Universidade Lusiada, Lisboa; F.A.lU.T.L., Lisboa. The Oslo School of Architecture desde 2008

PRINCIPAlS PREMIOS INTERNACIONAIS

Centro de Artes de Sines - PREMIOS EN0R2006 - Vigo, Espanha 2006

Centro de Artes de Sines - CONTRACTWORLD2007 - Hamburqo, Alemanha 2006

Casa em Azeitao, RS04 - Residencia Singular 2004 _1° PREMIO - Madrid, Espanha, 2004

Resldencla de Estudantes, Polo II Universidade de Coimbra, II BIENAL IBERO AMERICANA DE ARQUITECTURA - 1° Premio - Cidade do Mexico, Mexico, 2001

Residencia de Estudantes, polo II Universidade de Coimbra, PREMIO LUIGI COSENZA - 1° Premio - Napoles, ltalia, 2001 Livraria Almedina Lisboa, PREMIS FAD D'ARQUITECTURA I INTERIORISME 2001 - 1° Premio Interiores - Barcelona, Espanha, 2001

PRINCIPAlS PREMIOS NACIONAIS

Exposlcao CCB e Biblioteca e Centro de Artes de Sines - A.I.C.A.- Associacao lnternacional de Criticos de Arte - Portugal, 2006 Cantina da Universidade de Aveiro, Prernlo de Arquitectura e Urbanismo de Aveiro - 1 ° PREMIO - Aveiro, Portugal, 2005

Reitoria da Universidade Nova de Lisboa, PREMIO VALMOR 2002 - 1° PREMIO - Lisboa, Portugal, 2002

1. MANUEL ROCHA DE AIRES MATEUS, (Lisbon 1963); architect (F.A.lU.T.L. 1986) In collaboration with architect Ooncalo Byrne since 1983.

In collaboration with architect Francisco Aires Mateus since 1988.

2. FRANCISCO XAVIER DE AIRES MATEUS, (Lisbon 1964); architect (F.A.lU.T.L. 1987) In collaboration with architect Goncalo Byrne since 1983.

In collaboration with architect Manuel Aires Mateus since 1988

CONFERENCES AND SEMINARS

Germany, Argentina, Austria, Belgium, Brazil, Canada, Chile, Croatia, Slovenia, Spain, USA, England, Italy, Ireland, Japan, Mexico, Norway, Sweden, Portugal, Switzerland, India and Netherlands.

TEACHERS AT

Graduate School of Design, Harvard University, EUA; Fakulteta za Arhitekturo, Universa v Ljubljani, Ljubljana, Eslovenia: Accademia di Architectura, Mendrizio, SWitzerland, since 2001; Universidade Autonorna, Lisbon; Universidade Lusiada, Lisbon; F.A./U.T.L., Lisbon. The Oslo School of Architecture since 2008

MAIN INTERNATIONAL AWARDS

Sines Art Centre - EN0R2006 AWARDS - Vigo, Spain 2006

Sines Art Centre - CONTRACTWORLD2007 - Hamburg, Germany 2006

House in Azeitao, RS04 - Single Home 2004 - 1 st PRIZE - Madrid, Spain, 2004

Students' Residence, Centre II University of Coimbra, IIIBER-AMERICAN BIENNIAL IN ARCHITECTURE - 1st Prize - Mexico City, Mexico, 2001

Students' Residence, Centre II Un.iversity of Coimbra, LUIGI COSENZA AWARD - 1st Prize - Naples, Italy, 2001

Almedina Book Shop, Lisbon, PREMIS FAD D'ARQUITECTURA IINTERIORISME 2001 - 1st Prize Interiors - Barcelona, Spain 2001

MAIN NATIONAL AWARDS

BCC Exhibition and Library and Sines Art Centre - I.A.A.C.- International Association of Art Critics - Portugal, 2006 University of Aveiro Canteen, Aveiro Architecture and Urbanism Award - 1 st PRIZE - Aveiro, Portugal, 2005

New Lisbon University Deanery, VALMORAWARD 2002 -1st PRIZE - Lisbon, Portugal, 2002

I ~A E A FUN<;AO DEVEM SER SO :MA. JUNTAS NUMA UNIAD ESPIRITUAL" I

FRANK LLOYD WRIGHT

215

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