An Interview with Álvaro Siza MCCANCE, DAWNE; Siza, Álvaro
Mosaic (Winnipeg),
03/2017, Letnik:
50, Številka:
1
Journal Article
Recenzirano
In the catalogue of the exhibition of his work that opened the Centre in 1995, Siza, who is as much a writer as an architect, writes that, when reflecting on architecture, he always draws his example ...from writers, "and among them, from the poets-those highly competent architects of register and of dream; the inhabitants of solitude." ...at that moment, architects and professors belonging to two different schools, in Oporto and Lisbon, came together with their students to produce a very interesting and important work on vernacular architecture.
La forme inattendue de soi Siza, Álvaro; Machabert, Dominique
Perspective (Paris. 2006),
10/2021
Journal Article
Odprti dostop
Álvaro Siza, l’autre Et comme il était vain d’y aller tout droit pour le cerner un peu ainsi que son travail, Fernando Távora, son maître et ami, légende de l’école de Porto, était parti de l’autre. ...Attentif et, depuis fort longtemps, le premier à avoir vu « sous le front plein d’éminences » la recherche encore ignorée du jeune homme, il avait dit de lui, bien après, qu’il était hollandais plus que les Hollandais lorsqu’il travaillait aux Pays-Bas et le plus allemand des architectes allemands...
Sobre la pedagogía Álvaro Siza
A&P continuidad,
06/2018, Letnik:
3, Številka:
5
Journal Article
Recenzirano
Odprti dostop
SIZA, Alvaro. 1933. Artículo publicado en Casabella n.770-Octubre 2008. Traducción al Castellano para A&P Continuidad del Prof. Arq. Gustavo A. Carabajal en colaboración con Silvia Guadalupe Braida.
La forme inattendue de soi Siza, Álvaro; Machabert, Dominique
Perspective (Paris. 2006),
01/2021
1
Journal Article
For Álvaro Siza, the mystery of the architectural project – let us understand that it is also his own – is in the relationships: the relationship of the object to itself, to the site, to the ...immediate and distant city, to the landscape, to the story. His projects are caught up in a constellation of relationships, even unsuspected, derisory and fleeting, that drawing tirelessly reveals and works on until touching a quality similar to a presence, a moment, a trace, a sign, a movement in the air, an atmosphere, as he often says, even oblivion, which is nonetheless one more active part; so that the projected situation results not from the effort that wanted it but from the fortuitous evidence of finding it. That would be Álvaro Siza, “Portuguese architect”.
Siza’s mastery in freehand drawing is well known, as is his ability to use the sketch to ideate new spaces. Perhaps what is less known is that for him neither drawing nor modelling, nor any other ...single design tool, including digital ones, is enough, as his methodology depends on the combination and integration of all of them. To watch a creative mind in action is fascinating, and it is not easy to disclose which is the precise role of each tool at a precise moment, but we know, as Siza says, that all these means are mutually supportive, and that architecture emerges from their interaction. To the observer they seem randomly used although they are not. As a matter of fact, it’s a complex process, where the main objective is the production of a qualified space for living, that is, architecture with a capital A. Models are only a piece of this mysterious puzzle. Indispensable, though.
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