Mimesis Museum (2009) by Castanheira & Bastai Associated Architects

Mimesis Museum (2009) by Castanheira & Bastai Associated Architects

Located in Paju Book City, Republic of Korea, Mimesis Museum (2009) by Castanheira & Bastai Associated Architects + Jun Sung Kim + Álvaro Siza Vieira | The Hardt

 

Located in Paju Book City, Republic of Korea, Mimesis Museum (2009) by Castanheira & Bastai Associated Architects + Jun Sung Kim + Álvaro Siza Vieira. There once was a Chinese emperor who liked cats a lot, and one day he called upon the most famous painter in the Empire and asked him to paint him a cat. The artist liked the idea and promised that he would work on it. A year passed and the Emperor remembered that the painter still had not given him the painting of the cat. He called him: What of the cat? It is nearly ready, answered the artist. Another year went by, and another and another. The scene kept repeating itself. After seven years, the Emperor’s patience came to an end and he sent for the painter. What of the cat? Seven years have gone by. You have promised and promised but I still haven’t seen one! The painter grabs a sheet of rice paper, an ink well, one of those brushes like you can only get in the East and… in an elegant and sublime gesture he draws a cat, which was not just a cat but only the most beautiful cat ever seen. The Emperor was ecstatic, overwhelmed with such beauty. He did not neglect (which is no longer the case nowadays) to ask the artist how much he would charge for such beautiful drawing. The painter asked for a sum which surprised the Emperor. So much money for a drawing that you did in two seconds, in front of me? said the Emperor. Yes Excellency, that is true, but I have been drawing cats for seven years now, replied the poor painter.

 


 

The project for the Museum Mimesis, in the new town of Paju Book City in South Korea, is a cat. The client didn’t have to wait for seven years for his drawing of a cat, but Álvaro Siza has been drawing cats for over seven years now. He has never seen a Korean cat because he has never been there. In one day I briefed him on the site, and brought along a small site model, showing the boundaries and the immediate context. In one single gesture, a cat was drawn. The Mimesis is a cat. A cat all curled up and also open, that stretches and yawns. It’s all there. All you need to do is look and look again. At first, the design team members could not understand how that sketch of a cat could be a building. I have in my days seen many sketches of cats, and am always overwhelmed by them, can’t get tired of them. I want to see more cats, more sketches of cats, for several seven years have gone by.

 

 


 

In architecture, after an initial sketch comes the torment. The initial design, models, drawings, corrections to these, doubts, new drawings, new models, a presentation to the client, who had already seen other projects but could not conceal his surprise at this one. Once approved, we progressed the project on through the usual steps, which in Korea are shorter and less bureaucratic. The brief has not been altered, but it is necessary to make some adjustments as part of the evolution process. To think of materials, techniques, infrastructure, representational conventions, so that everyone understands, in an attempt to make everything work out. In the basement, we will have the archives, the service area, maybe an extension to the exhibition area, as is becoming a habit in museums designed by Álvaro Siza. The ground floor is a space for arrival and distribution, areas for temporary exhibitions and a café/restaurant with all necessary back up. Administration areas, staff circulation, area for the administrative archive and staff toilets are located in the mezzanines. The top floor is for exhibition space.

 

 


 

Light, always light, so carefully studied. Both natural and artificial is seen as essential. Allowing to see without being seen. Models and more models were constructed, some of which you could enter into. Also 3D images. The form will be given by cast concrete, light grey, the color of a cat. Inside, the white of the walls and ceilings, of the marble, which we hope will be from Estremoz and also the honey color of Oak. Timber for the internal frames, and glass. As for the external windows, timber, painted steel and crystalline glass. The building progresses, so do we, as it is in Korea. It is a technically difficult job; we were concerned at the quality of the contractor and sub-contractors involved. Our friends and partners are enthusiastic and reassure us.

 

© Fernando Guerra | FG + SG

 


 

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House in Chamusca Da Beira (2006) by João Mendes Ribeiro

House in Chamusca Da Beira (2006) by João Mendes Ribeiro

Situated in Chamusca, Portugal, House in Chamusca Da Beira (2006) by João Mendes Ribeiro | The Hardt

 

Situated in Chamusca, Portugal, House in Chamusca Da Beira (2006) by João Mendes Ribeiro. The old log house of the motherhouse has been renovated to receive an entrance space (from which access to the new room) and an autonomous wooden structure with a bathroom of service. Here, the traditional building systems were maintained, with the reconstruction of the roof of a water resting on a traditional wooden structure that extends, in porch, on a small outside patio. The demolition of the disqualified annexes (arrumos and garage), attached to the wall that delimits the patio, made evident its presence and, simultaneously, to recover the original typology of the set.

 


 

The project for the House in Chamuscada Beira consists of the requalification of a small set built in a rural property and its extension with the construction, of the root, of a room of support to the outer spaces. The old log house of the motherhouse has been renovated to receive an entrance space (from which access to the new room) and an autonomous wooden structure with a bathroom of service. Here, the traditional building systems were maintained, with the reconstruction of the roof of a water resting on a traditional wooden structure that extends, in porch, on a small outside patio. The demolition of the disqualified annexes (arrumos and garage), attached to the wall that delimits the patio, made evident its presence and, simultaneously, to recover the original typology of the set.

 

 


 

The new construction develops in close relation with the pre-existing constructions (the mother house and the adjacent patio) but also with the natural landscape, especially with the near presence of the well and a line of orange trees. The new volume of telluric character – narrow and vertical, also covered by a water – opens the house on the landscape, with which it communicates frankly through three large open spans to the south/west. Unlike the rehabilitated spaces, where the materiality is recovered from the original, here the material options are made in order to affirm the contemporaneity of the intervention, with the use of concrete (concrete) in the exterior and zinc in the roof.

 

Photos © Fernando Guerra | FG + SG

 


 

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House B + B (2014) by Studio MK27 – Marcio Kogan + Renata Furlanetto + Architects

House B + B (2014) by Studio MK27 – Marcio Kogan + Renata Furlanetto + Architects

House B + B (2014) by Studio MK27 – Marcio Kogan + Renata Furlanetto + Architects Gallery located in Brazil | The Hardt

 

House B + B (2014) by Studio MK27 – Marcio Kogan + Renata Furlanetto + Architects Gallery located in Brazil. The arrival at Casa B + B – access to the social area – takes place through an architectural route, by an open ramp, located in the east portion of the construction. This space is protected laterally by concrete elements that create surprising light effects and end up acting as protection for weather inclement weather. It is an interstitial space between the protected interior of the building and the uncovered garden. The ramp, long and smooth, extends this transition between the interior and exterior, creating a present feeling of change of environment. This solution was widely used by Brazilian modernism, which consecrated the radical use of ramps as a form of vertical circulation by reaffirming Corbusian precepts on the architectural promenade. There is, purposely, a lack of definition about the nature of this space: internal or external?

 


The reference to modernism is also in the fence of leaked elements, consecrated from the 1930s in Brazil, as a solution to be reproduced in large scale, very suitable for the tropical climate since it allows shading without blocking the fresh wind. The social area of the house creates a sense of welcome and comfort, in an open space, without any structural interference to the layout of furniture. A sliding door of 3.5m allows the kitchen to be fully integrated into the living space of the dining room. The food preparation stand is in front of a window that faces the ramp, receiving the light built, filtered by the leaked elements. So the kitchen is made as an illuminated space and pleasant stay.

 


Unlike the usual, the rooms are on the first floor – in direct relation to the garden – and can also be accessed internally via a staircase connected to the upper room. Wood elements in the facade of this floor allow for control of the sun internally, and thus optimum thermal performance. The use of raw materials, such as apparent concrete and wood, lends a living aspect to the residence, constantly changing through time. The architecture of Casa B + B, therefore, sought to create a cozy, cozy space, an intimate house for both the daily life of the residents and receptions with friends in small social gatherings.
© Fernando Guerra | FG + SG


 

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Casa O by Atelier dos Remedios

Casa O by Atelier dos Remedios

Casa O by Atelier dos Remedios located in Bom Sucesso, Óbidos, Portugal | The Hardt

 

Casa O by Atelier dos Remedios located in Bom Sucesso, Óbidos, Portugal. With the desire of a central distribution space in the 2,045 ft² (190 m²) home and with the fulfillment of all the lines previously mentioned, we accede to this house by an entrance collected and between two bodies arranged with a 10º angle between them. A first 50cm lower entry space gives access to the distribution space par excellence through 3 steps. In the central hall are all the distribution spaces and directions pointed, it is a centrifugal space although endowed with a supplement of “superfluous” area that allows the informality of meetings, activities occupations etc. “We draw a longitudinal line, with the direction East / West, at the midpoint of the width of the lot. It was a desire for an occupation in extension, allowing the maintenance of a free area parallels to the construction with the same dimensions of this one. We leaned to the extreme East with 3m of distance, the area of constructed area, in the assumption of assigning to the Nascent facade the place of the rooms and the facade. the North top is occupied by the entrance and parking and the South top by the kitchen. The occupation of the kitchen in the southeast quadrant, in a privileged place of the house, was not a consequence but of an attribution to this space, which is demonstrated of the most inhabited in the familiar daily life, of an unusual situation, more comfortable and more central of the house.

 

 

 

 


 

 

We decided to separate the living room from the dining room and arrange them in a spatial relationship between them and in which both share the same outer space. In this way we can not occupy the Southwest quadrant of the house, giving it a covered patio that is on one side splits the building allowing South and West light entrances inside the dwelling, on the other, it restores the construction unit to the level of the coverage that will cover social spaces. Another conceptual decision pointed to the distribution of spaces in this house. We wanted the suite to become the haven for its future owners. In this way, we make it the most outstanding element of this construction, which is at a high level compared to the rest of the house, what is sought – the place where you go. On the other hand, we play with the subversion of this value when we touch the terrace area of the pool and make of its façade the background of this, it is a programmatic restoration of community meaning that regulated this whole project.

 

 


 

With the desire of a central distribution space and with the fulfillment of all the lines previously mentioned, we accede to this house by an entrance collected and stuck between two bodies arranged with a 10º angle between them. A first 50cm lower entry space gives access to the distribution space par excellence through 3 steps. In the central hall are all the distribution spaces and directions pointed, it is a centrifugal space although endowed with a supplement of “superfluous” area that allows the informality of meetings, activities occupations etc. Access to the bedrooms, suite, living room, toilet, laundry and kitchen through rooms arranged on both sides of this central hall, the dining room being the only exception to this rule and that will have direct access on the opposite end of the entrance into the dwelling, at the narrowest point of the hall.

 


 

The body of the suite and living room had a rotation of 10 ° from the original alignment (N / S) in order to establish a visual escape from the dining room body and on the other hand define more concisely living areas in the garden, namely sitting area in front of the patio, area in front of the living room and pool area. The whole house bets on an architecture of volumes, which cause spaces enclosed in themselves but in the composition between them will provoke ambiguous spaces of interior/exterior that will bring a unique arrangement of space and natural lighting.

© Fernando Guerra | FG + SG

 


 

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Casa Rosa (2017) by Mezzo Atelier

Casa Rosa (2017) by Mezzo Atelier

Casa Rosa (2017) by Mezzo Atelier located in Ponta Delgada, Portugal | The Hardt

 

Casa Rosa (2017) by Mezzo Atelier located in Ponta Delgada, Portugal. In the Atlantic island of São Miguel, in the Azores, an old stable of the early twentieth century was converted into two residences where history and contemporaneity coexist in balance. The main objective of the project was to maintain the character, the lines and the rural atmosphere of the construction, at the same time that it adapts the structure annexed to a completely new typology and to the contemporary regulations. New openings were carefully torn into the colored facades as well as the stone wall, and a new volume was added to the main building, allowing a smaller second residence to appear integrated into the whole.

 

 


 

The larger residence develops on two levels: the ground floor opens onto the surrounding outdoor spaces and reaches different heights creating a semi-level pavement where a social space gives access to the suites and private service area. The upper deck contains the social spaces and was designed as a free plan so that it can be availed from the roof structure and in its total height. From the ocher kitchen, there is an access to a terrace situated on top of the smaller residence on the ground floor. New elements, such as the exterior stairs that connect the outdoor terrace or the use of bleached wood in the interiors, are re-interpretations of the Azorean vernacular architecture, which was important to signify the project. The aged tones of pink and ocher are the main identity of the area where the edification is seated. The ocher was traditionally used to frame windows and doors and in this residence was used in the interior tables of the dormitories and the kitchen, adding a new type of relation between interior and exterior views.

 


 

Tailor-made interiors and furniture have been carefully designed to create a neutral and peaceful atmosphere, allowing garden views to be prominent in the interior spaces. The local wood (Japanese cedar) was used extensively for construction and furniture and old beams of pine and acacia wood, also found on the site, were converted into custom-made tables.

 

 

© Fernando Guerra | FG + SG

 

 


 

 

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