YEAR |
ALVARO SIZA |
SPACE |
STRUCTURE |
EXPRESSIVENESS |
SITE |
1992 |
METEOROLOGICAL CENTRE, BARCELONA |
Introverted space; spaces are facing an internal court. The windows are facing this space; cut out windows. Pedestrian route through the building, ramped route |
Structural walls |
MONOLITH PANOPTICON Mix of materials that change the perception of scale (exposed concrete, painted brick) |
Urban context preserves pre-existing pedestrian routes to cross the building |
1993 |
CGAC, SANTIAGO DE COMPOSTELA |
Flexible box space External piazza Covered portico Ramped route Skylights |
Structural walls, metal beams |
MONOLITH HOMOGENEOUS FLOATING LIKE Contrast interior/exterior |
Integrated into the local city image; local materials, used innovatively |
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contrast sacred/profane contrast texture/colour |
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1993 |
SETUBAL, PEDAGOGICAL CENTRE |
Introverted space U-shaped patio Two level porticoes Ramped route Skylights |
Structural walls, concrete columns |
FRAGMENTATION ORTHOGONALITY Cloister layout for the classrooms; plays with symmetries and asymmetries |
Adapted to the local topography; open to the landscape |
1994 |
VIERIA DE CASTRO HOUSE |
Introverted/extroverted spaces Interconnected spaces |
Structural walls |
FRAGMENTATION Directed view, framed perspectives |
Adapted to the local topography; open to the landscape |
1996 |
SANTA MARIA CANAVESE CHURCH |
New interpretation for a religious space Indirect natural light Indirect light for the altar New interpretation for the bell tower Interior/exterior relationship. Honesty of the exterior along a Modernist tradition. |
Structural walls |
MONOLITH Mix orthogonal and curb orthogonality + curb, inverted apses, subtle play with symmetries and asymmetries sacred/profane contrast |
Integrated in the local topography; brings in the exterior landscape image sacred/profane landscape |
1996 |
FACULTY OF ARCHITECTURE PORTO |
Spaces concentrating circulation connecting independent volumes. U and L-shaped internal courtyards Zenith light Route |
Structural walls |
FRAGMENTATION ORTHOGONALITY Modernists quotes: horizontal windows, horizontal concrete sunshade |
Integrated in the local topography “minimum earth movement was required”(Cremascoli, 2013, p. 35) The rhythm of volumes mirrors the city building typologies (see photo in Curtis, 2000, p. 107) |
1997 |
EXPO '98 PAVILION LISBON |
Exterior covered ceremonial piazza U-shaped patio Two level porticoes |
STRUCTURE AS ARCHITECTURE Concrete Pre-stressed concrete for the roof. Detailed anchorage (eng. Cecil Baldmond) |
FLOATING ORTHOGONALITY The rigour of the ceremonial fascist architecture; the scale of a covered urban space = scale that expresses power |
Relation with the landscape; facing the ocean |
1998 |
ARCHITECTURE OFFICE, PORTO |
U-shaped patio |
Structural walls Reinforced concrete |
MONOLITH One volume clone of Faculty of architecture; identical architectural language. |
Neutral |
1999 |
CONTEMPORARY ART MUSEUM SERRALVES FOUNDATION, PORTO |
Flexible box space Interconnected external spaces/gradual transition, two U-shaped courts, outside shady portico spaces organised around atrium zenith light, walking roof terrace route |
Structural walls Basement: columns and beams |
FRAGMENTATION HOMOGENEOUS Interplay with symmetries and asymmetries, cantilevered window directed view, framed perspectives |
Integrated with the park landscape |
2000 (2003) |
PAVILION PORTUGAL DE LA HANOVER, COIMBRA (2003) [Designed together with Eduardo Souto de Moura] |
Flexible box space L-shaped building which determines an external piazza Zenith light |
Metallic structure, ventilated façade |
MONOLITH Roof as topography peculiar façade material “contemporary plasticity.” (Figueira, 2008, p. 28) |
Neutral: can be moved; reference to local materials: cork, azulejos. |
2003 |
VAN MIDDLEM HOUSE |
New L-shaped building + existing building = U-shaped patio |
Brick structural walls |
MONOLITH Three simple, archetypal grouped volumes “criticizing the banality of the modernist glass house.” (Figueira, 2008, p. 29) |
Integration by using the scale and cross section of the existing building. |
2004 |
TERRAÇOS DE BRAGANÇAS |
The top terraces faces the ocean Volume organised along a linear inner court. Determined by the ruins discovered on site Own internal museum |
Reinforced concrete |
THREE MONOLITH SPLIT |
Integration with the slope of the site and with the surroundings. Finishes suggesting local materials. Exhibits the ruins. |
2005 |
SERPENTINE GALLERY [Designed with Souto de Moura.] |
Flexible, multiple directions |
STRUCTURE AS ARCHITECTURE lamellar wood |
MONOLITH HOMOGENEOUS The façade as a mix of transparent and translucent materials |
Sustainable approach, sensitive to its position in a park |
2006 |
ZAIDA BUILDING, GRANADA |
Three independent volumes |
Reinforced concrete |
THREE MONOLITH SPLIT Plays with symmetry and asymmetry |
Integration in the urban and historic context. The ruins of the patio house are assimilated in the new building |
2006 |
COMPLEX SPORTIVE RIBERA SERRALLO |
Exterior piazza edged on two sides Peculiar inner court Transitional spaces, centred spaces Skylight, ramps External shaded portico Honesty of the exterior along a Modernist tradition. |
Reinforced concrete, exposed concrete Roof truss structure |
HOMOGENEOUS Horizontal composition with parallelepiped and semi-circular volumes. Horizontal slit windows “the search of compatibility between rationalist language and natural landscape.” (Figueira, 2008, p. 77) |
Neutral |
2006 |
CRAMA ADEGA MAYOR |
Hermetical closed space with one opening towards the landscape External transition space |
Structural walls |
MONOLITH Directed view, framed perspectives |
Dialogue with the landscape. Inserted in agricultural landscape |
2006 |
PAVILION AN-YANG [Designed with Carlos Castanheira, Jun Sung Kim.] |
Transitional exterior spaces (covered, portico) Amoebic shape interior space with no clear centre Flexible space Honesty of the exterior in relation with the interior, along a Modernist tradition. |
Structural walls |
SCULPTED MONOLITH HOMOGENEOUS Directed view, framed perspectives “pure plasticity” “continuous movement” (Figueira, 2008, p. 122) |
Open towards the landscape |
2007 |
GONDOMAR, SPORT CENTRE |
Transitional exterior spaces Spaces with clear centre Skylights; Ramps Honesty of the exterior in relation with the interior, along a Modernist tradition. |
Reinforced concrete, exposed concrete Roof truss structure |
HOMOGENEOUS (same external colour and texture) composition with three volumes |
Neutral |
2007 |
VIANA DO CASTELO LIBRARY |
Exterior patio; new typology: suspended patio |
Reinforced concrete, metal truss, bridge-like structure |
FLOATING ORTHOGONALITY Horizontal slit windows |
Opens the perspective to the ocean, external public space |
2007 |
HOUSE IN MAJORCA |
Introverted/extroverted space Access in the house at an intermediary level Connected spaces |
Structural walls |
FRAGMENTATION Directed view, framed perspectives |
Dialogue with the landscape. Fragmentation of the land transferred to the volume. Perspective towards the water |
2007 |
ARMANDA PASSOS HOUSE, PORTO |
Introverted space Skylights Patio |
Structural walls |
FRAGMENTATION HOMOGENEOUS |
Closed towards the town like a citadel |
2007 |
ALEMÃO SINTRA HOUSE |
Spaces directed towards the landscape, interconnected Spaces connected with the exterior at different land levels |
Structural walls |
FRAGMENTATION Seems like a collection of small dwellings with individual private terraces. “pure fragmentation” (Figueira, 2008) |
Dialogue, integration, openness to the landscape |
2008 |
HOTEL SPORTIVE, PANTICOSA |
Transitional exterior spaces covered or not. Series of internal courtyards. Hierarchy of the interior spaces. ramps |
Reinforced concrete |
HOMOGENEOUS Roof as topography. Horizontal slit windows. |
“... that links the mountain and becomes a connecting member that links the mountain and the more urban elements of the spa town.” (Figueira, 2008) |
2008 |
IBERÊ CAMARGO FOUNDATION, BRAZIL [In 2005 Alvaro Siza lectured at Ion Mincu University of Architecture in Bucharest where he introduced this project, under construction at the time.] |
Flexible sculpted space Atrium organising other spaces. The ramped museum (reference to Guggenheim NY) Route Elevated patio |
Reinforced concrete |
SCULPTED MONOLITH HOMOGENEOUS Directed view, framed perspectives |
“the form of the building mirrors the undulating shape of the slope against which it is built.” (Figueira, 2008) |
2009 |
MIMESIS MUSEUM |
Amoebic shape interior space with no clear centre Flexible space Honesty of the exterior in relation with the interior, along a Modernist tradition. Skylight |
Reinforced concrete |
SCULPTED MONOLITH HOMOGENEOUS Directed view, framed perspectives |
“This museum is a cat” arch daily |
2009 |
LLEIDA UNIVERSITY |
L-shaped public space Ramps Skylights, atrium |
Reinforced concrete |
HOMOGENEOUS ORTHOGONALITY Introverted because of the sunshades |
Related to existing building and pedestrian routes in campus |
2010 |
CULTURAL CENTRE MANZANA DE MEDELLÍN |
Perimeter edged urban piazza following the medieval trait of the city. Independent volumes. Zenith light in the auditorium |
Reinforced concrete |
FRAGMENTATION Directed view, framed perspectives, horizontal slit window, horizontal concrete sunshade |
Inserted in harmony with the historical town |