Showing posts with label Siza. Show all posts
Showing posts with label Siza. Show all posts

Sunday, January 1, 2017

Siza Design for the Alhambra: Back to the Drawing Board


Atrio Building from the Plaza Alhambra and Entry Patio to Cultural Area
All images courtesy of Álvaro Siza and Juan Domingo Santos

Updated January 11, 2017

Contents

News story from Architectural Record
Opinion
Sources
Selections from ICOMOS Report
Selected Quotes from Interviews:
Juan Domingo Santos
Luis López Silgo,  SOS Alhambra

News story from Architectural Record in Full

Plans to build a new entry and visitor center for the Alhambra, the fortified palace in Granada, Spain, featuring a competition-winning design by Álvaro Siza and local architect Juan Domingo Santos will be completely revised after receiving a negative report from the International Council on Monuments and Sites (ICOMOS), an organization dedicated to protecting World Heritage sites and an official consultant for UNESCO.

While praising the "high quality" of the Siza/Domingo Santos proposal, the report slams the addition as overscaled. The site falls within the "buffer zone" of protected landscape that surrounds the Alhambra, which was established in its original inscription on the World Heritage list in 1984. The report concludes that the proposal, with a built area of over 125,000 square feet, is "too invasive" and is "likely to impact negatively on the Outstanding Universal Value of the World Heritage property."

Siza and Domingo Santos won a competition in 2011 for the project, and presented their final design in January 2015. Known as the Atrium, it is based on a program developed by the administrators of the Alhambra, which is governed by the regional government of Andalucía and other public institutions. The project would replace existing entry facilities and address the growing needs of 2.5 million visitors each year.

The two architects planned to bank their new building into the slope and cover it with a series of stepped gardens evoking the traditional terraced fields around the Alhambra.

However, the scale of the proposal provoked strong public opposition, organized under the citizen's platform SOS Alhambra. Speaking for SOS, local architect Luis López Silgo credits the platform for first alerting ICOMOS to the plans. Domingo Santos confirms that the public outcry compelled the project's administrators to cooperate with a full ICOMOS review.

The ICOMOS report recognizes the need for the project. But it calls for "a substantial decrease" in built volume and suggests that the amount of commercial space should be reduced, administrative offices should be located off-site, and existing buildings should be better used.

In response, the Alhambra's Board of Directors announced that it will "completely reconsider" the proposal. The review process will incorporate ICOMOS experts, and Siza and Domingo Santos have been asked to remain as designers of the revised project.

The Alhambra has also promised to reach a consensus with SOS Alhambra. However, Luis López told RECORD that the platform remains opposed to any intervention in the buffer zone, which it considers off-limits to new construction, in a strict interpretation of the World Heritage inscription.

This is the full text to my news story for Architectural Record on the subject, completely revising my first post of January 1st. 

Design of Atrio Visitors' Center by Álvaro Siza and Juan Domingo Santos to be revised
Architectural Record Web Page, January 6, 2017


Opinion

My Facebook comment on the story:
The upshot: the Alhambra over-programmed the project without consulting the terms of its status on the World Heritage List or with ICOMOS, the organization that supervises the list for UNESCO. And a citizen's group blew the whistle on them. The architects were tied to the program that the Alhambra gave them, but they get blamed in the public eye along with the politicians and functionaries in charge of the mess. When will Spain learn to build responsibly for the public sector? And without tipping over into the knee-jerk stinginess and architectural philistinism of most US public builders?


View of proposed building from Plaza Alhambra


Sources


Margot Molina & Raúl Limón
"La Alhambra cierra la puerta a Siza"
El País
, Dec. 23, 2016


Raúl Limón
"La Alhambra intenta aprovechar los dos millones del frustrado atrio de Siza"
El País, Dec. 29, 2016


Guadalupe S. Maldonado
"Begoña Bernal. Presidenta de ICOMOS España:'El proyecto del Atrio es inviable porque modifica radicalmente la Alhambra' "
Granada Hoy, Dec. 31, 2016

SOS Alhambra 
Blog:           http://sosalhambra.blogspot.com.eshttp://sosalhambra.blogspot.com.es
Facebook:  https://www.facebook.com/Sos-Alhambra-359012067623048/

Patronato de la Alhambra y Generalife 
Noticias de Prensa
Reunión del Pleno del Patronato
Dec. 30, 2016
 

Selections from ICOMOS Report


The project is located on premises outside the precinct of the monumental complex, which is occupied by buildings of low quality as well as being structurally not interconnected. However, the proposed atrium with its annexes occupies a substantial part of the world heritage property’s buffer zone and radically modifies an area that, until a few decades ago, was countryside without high-impact constructions or roads.

The new Atrium Project responds to real reception needs due to the growing number of visitors. It furthermore affects a de-structured area, with architecturally low-quality constructions, which are not harmonized and do not meet today’s needs, as required by monumental complexes of great historical value which have a very strong tourist appeal.

It concerns the area outside the complex precinct with low-rise buildings and many constructions standing under the park level. However, these structures are within the buffer zone and have a strong and visible impact on the perception of space and the entrances to the Old Cemetery Way, Cypress Way, Romantic Gate and Prieto Moreno Steps.

Buildings and land-use changes around the Alhambra implemented in the 20th century:
  1. 1929 approx. - Torres Balbás water reservoir (alberca) 
  2. 1931 - Torres Balbás Gardens (in Generalife Vegetable Gardens) 
  3. 1953 - Prieto Moreno New Gardens (in Generalife Vegetable Gardens) 
  4. 1952 – Construction of Generalife Theatre (in Generalife Vegetable Gardens)
  5. 1959 approx. – Prieto-Moreno water reservoir (alberca)
  6. 1975-1979 - New Alhambra Museums (presently used as storehouses, library and records office) 
  7. 1988 competition, completed in 1994-96: setting up of new parking lots 
  8. 1988 competition, implemented in 1994-96, ticket office hall
  9. 1988 competition, implemented in 1994-96, water platform, partly hosting gift and book shops since about 2005 
  10. The largest hotel among several ones built between 1950 and the 90’s is Hotel Alixares, built in 1982
  11. 2004 - Extension of the Theatre and construction of buildings
  12. Belvedere in the Oliveto (olive grove – Tr.’s note), built around 2005 
 All these changes and additional buildings that reduced the green areas could probably and at least partly have been avoided. As a matter of fact, there are several underutilised buildings in the area which, thanks to a general harmonious and comprehensive plan could meet the needs of the increasing number of visitors.

On the contrary, these already-implemented changes and the future proposed ones do not respond to a consistent and overall strategy for the property to improve its integrity and respond to the needs of increased visitation, rather this is a transformation process lacking a future-oriented vision as well as the necessary studies dealing with the totality of purposes and requirements

The design of the architecture exhibits high-quality, with great attention paid to the inclusion of volumes in the space, and traditional materials proposed in line with the pre-existing situation, both with regard to masonry as well as pavings and paths. Moreover, the organisation of space has been designed to be functional and harmonious so that visitors can enjoy the best possible reception and services.

However, ICOMOS considers that the introduction of no less than 11,832 square metres of buildings and an additional 10,118 square meters of adjacent area contrasts with the provision expressed by the 1984 ICOMOS Evaluation, at the time of the proposed inscription of the property, which recommended the State Party to define a large area of protection below the monumental zone of the Alhambra and the Generalife in order to prevent the construction of future buildings and parking lots. This was also noted by the World Heritage Committee upon inscription of the property, who expressed the wish that, as indicated by the Spanish authorities, a large protection zone will ensure that the visual environment of this property will not be harmed by modern constructions

CONCLUSIONS
Indeed there are a number of needs to be met at the property, namely meeting reception requirements of a growing number of visitors; harmonizing an area with low-quality and inadequate buildings that may detract from the value of the property, that justify a redesign of that area, however the sheer scale of the increase of built up areas in the buffer zone of the World Heritage property, …the excessive percentage of commercial premises (a 699- sqm restaurant and a 361.64- sqm shop), the insertion of buildings for conference rooms and administrative offices that could in fact be placed elsewhere indicate that the project is too invasive and is likely to impact negatively on the Outstanding Universal Value of the World Heritage property, despite its attention to historic materials, to the landscape and its overall good architectural quality. It is noted that the project lacks any study of alternatives that, for instance, examine the potential offered by existing and under-utilised buildings to host the needed services and could therefore reduce the volumes to be built.


Selected Quotes from Interviews

Juan Domingo Santos

Jan.  4, 2017

"El proyecto tenia todas las aprobaciones de todas las institiciones, desde el Minsiterio de Cultura pasando por el Pleno del Patronato de la Alhambra, la Comisión Técnica del Patronato, la Delgacion de Cultura [del la Provincia de Granada].... También está marcado dentro de un Plan Especial de la Alhambra vigente y también de un Plan Director aprobado donde dice que ya habrá un Atrio y se define el programa. Tenia la aprobación de todas las instituciones legalmente reconocidas para su aprobacción. Sólo faltaba la licencia municipal."

"Es en ese momento cuando surge una polémica en la ciudad, se decide también pedir un informe a UNESCO, y UNESCO lo dirige, parece, a ICOMOS Internacional."

"Además de que todo el proceso es legal, y está consensuado con todos los gestores culturales administrativos legalmente reconocidos, luego hay dos cosas: el proyecto –y esto para el UNESCO es muy importante– se hace sobre un espacio ya intervenido. Es un lugar que ya, desde el año cincuenta del siglo pasado, Prieto Moreno, el arquitecto conservador del monumento entonces, ya adecuo éste espacio como entrada para los turistas. Y desde entonces se han ido haciendo intervenciones para mejorar la accesibilidad al monumento. Es donde se han colocado los hoteles, los restaurantes …. "

"Es un espacio fuera de los muros de la Alhambra que históricamente era un espacio agrícola, un espacio de cultivo. Incluso arqueológicamente no hay nada importante que no sea acequias, y si se ha existido está muy destruido porque toda aquella parte desde 1950 fue donde se empezó a colocar los primeros pabellones de ticketing. Incluso la Alhambra construyo allí un edificio muy grande, que es Los Nuevos Museos, un espacio que tiene para los talleres, las piezas de restauración. Alli está el aparacamiento publico...."

"Es un lugar también muy desestructurado. Hay un jardín en muy mal estado, el desembarco de los autobuses está muy mal colocado, hay coches en superficie delante de la entrada del monumento, delante de la muralla, es feo, caótico, terrorífico."

"Entonces la Alhambra propone, primero,. mejorar los servicios de entrada al monumento, dotándolo de unos equipamientos de venta de entrada, información turística, una cafetería –porque ahora mismo no hay dotación de servicios ninguna para los turistas, está en muy mal estado todo–. Y eso ha hecho igualmente el Acrópolis de Atenas, el Museo del Prado o el Louvre."

"Y segundo, propone mejorar el paisaje de aquel lugar. De hacer un proyecto de paisaje integrado, con jardinería. No es sólo un edificio, es hacer espacios públicos arbolados, hacer un proyecto en continuidad con la Alhambra."

Site, current state. Photo courtesy Siza/Domingo Santos / Patronato de la Alhambra y Generalife

Luis López Silgo, SOS Alhambra

Jan. 4, 2017

"Desde el principio, el Patronato de la Alhambr y Generalife, que es la entidad promotora del proyecto, convocó un concurso y se propuso hacer una obra desatendiendo las indicaciones de UNESCO y ICOMOS."

"Según la normativa de este organismo, recomienda a cualquier miembro que tiene un bien escrito en la Lista del Patrimonio Mundial, que cualquier proyecto que va a emprender debe ser comunicado a ICOMOS desde el primer momento para establecer lo directrices que pueden hacerlo viable. Dice recomendación y no obligación, pero realmente si se convierte en una obligación, porque en caso que no se cumplan las recomendaciones del UNESCO, el bien puede ser excluido de la Lista del Patrimonio Mundial."

"Esto no se hizo desde el principio. Desde el principio se hizo mal. Y por eso ahora tienen que volver al punto de salida. Están empezando otra vez desde cero."

"Cuando determinados profesionales y gente interesada por el patrimonio en de Granada nos dimos cuenta de que estaba saltando ese paso, que consideramos fundamental. El proyecto se presento en enero de 2015 y en ese momento se constituyo la plataforma. Y uno de los primeros pasos que hicimos, a parte de denunciarlo públicamente que no cumplía con la normativa del UNESCO, fui diriginos directamente a UNESCO y ICOMOS poniéndoles en conocimiento de que esto se estaba haciendo sin que ellos lo supieron, y que el proyecto atentaba contra las directrices de la elección del bien en la Lista del Patrimonio Mundial."

"La Alhambra y Generalife se inscribían en la Lista del Patrimonio Mundial en el año 1984, y justamente en ese momento la primera advertencia que hizo UNESCO fue que debería establecerse un amplio perímetro de protección, una zona buffer o zona de respeto para impedir que en toda esa zona no se promovía ningún tipo de construcción ni de aparcamiento nuevo. Entonces, basándonos en ese principio, nosotros advertimos que el proyecto era inviable, exactamente lo que está diciendo ICOMOS ahora.…. Y eso es lo que tiene que primar por encima de todo."

DC: Pero ya hay un aparcamiento en superficie allí ahora mismo.

"Si, es lo que se hizo en los años noventa. Pero es un aparcamiento que está perfectamente asumido, porque está con una vegetación, son arboles que se plantaron con veinte años de vida y ya otros veinte han pasado, están crecidos. Es una intervención blanda, que no suponía un incremento de volumen."

"El informe de ICOMOS dice que se ha realizado una serie de otras intervenciones en el siglo XX en esa zona, pero si se miran bien, todas son sin volumetría constructiva. Son una piscina, unos jardines… Lo único que hay a parte de todo eso es una obra privada, un hotel."

"El Informe también habla de que la zona está desestructurada. Y efectivamente, es una zona que no tiene realmente ni siquiera un tratamiento paisajístico, porque son unos caminos que ya existían, está muy interferida por una dársena de autobuses que entran allí para dejar a los turistas. Pero eso no quiere decir que del informe de ICOMOS se pueda deducir que la forma de resolver esa falta de estructura del entorno sea precisamente construyendo 20,000 metros cuadrados de hormigón."

DC No lo dice, efectivamente. Hablan de repensarlo. Que la escala de edificación es demasiado grande.

"No hay que olvidar que empiezan diciendo que en la zona buffer no se debe construir. Y Begoña Bernal, máximo responsable de ICOMOS en España, dice exactamente lo mismo. El proyecto no se puede construir donde se pretende construir."

DC En la nota de prensa del Patronal, dice que van a consultar con las platafomas ciudadanos para llegar a un consenso sobre el proyecto."

"Realmente plataforma ciudadana, la única que hay es la nuestra, engloba otra serie de movimientos y asociaciones. Suponemos que nos consultarán. Pero a nosotros desde el primer momento, estamos con el mismo argumento que al final ha venido a decir ICOMOS, y es que la zona de respeto, el buffer, se estableció precisamente para evitar la construcción de edificios y aparcamientos, y es a partir de allí donde hay que hacer los planteamientos. Eso quiere decir que en el solar donde se ha pretendido construir no se puede construir. Independientemente de que el Plan General de Granada en esa zona si permite una construcción de unos tres mil y pico metros cuadrados, me parece. En las propias bases del concurso hablaban de 5,400 metros cuadros. No de 22,000, que son los que van a construir ahora."

DC En gran parte el proyecto está bajo rasante, ¿no?

"Si, pero son metros de construcción. Y también el subsuelo en ese entorno está sin explorar. Realmente el proyecto debería haber estado acompañado por un estudio arqueológico que no tiene. Y un estudio geológico que no tiene. El proyecto lo remite a que, en adelante, cuando se desarrolle, ya se harán los estudios, cuando eso debe ser algo previo. Porque si, por ejemplo, geológicamente no se puede construir por problemas de cimentaciones o vías de agua, o arqueológicamente porque existe cualquier tipo de resto allí abajo, todo el resto del trabajo se puede olvidar."

Two drawings by Álvaro Siza of the project
Exploded axonometric of uses




Tuesday, October 27, 2015

Alvaro Siza: In the Garden

© Juan Rodríguez


Amag Publishers and the Caja de Arquitectos Foundation have just released Siza x Siza, which focuses on six projects chosen by the architect, with black-and-white photographs by Juan Rodríguez, original drawings and sketches, and extensive interviews on the projects themselves and other themes.

Siza took a special interest in this project, working very closely with the editors.

I am very proud to be included in this book at Siza's request, with a short text, In the Garden. Other texts are by Kenneth Frampton, Eduardo Souto de Moura and Juhani Pallasmaa.

We will all be present this coming November 20th in the official presentation of the book at the Royal Academy of Fine Arts of San Fernando in Madrid. 

Boa Nova Tea House and Restaurant. Photo © Juan Rodríguez

In the Garden 
In various articles I have written over the years covering different projects by Álvaro Siza, I often focus on their relationship to the landscapes and urbanscapes of northern Portugal, coming back again and again to the image of a neglected garden, lush, unkempt and overgrown. Traveling as I do from the high, dry, flat meseta of central Spain to Porto underlies for me the particular character of the place: its verdant humidity and mild temperatures, and its abrupt topography, which disrupts any would-be orthogonal order on the part of would-be planners, contributing to the general disorderliness of urban and rural settlements. As I wrote in an article on the Serralves Museum in 1999, "The verdant hills overlooking the Douro are covered by a crazy-quilt of development, in which dense new growth jostles for place among old villas, small industries and languishing vegetable plots."


The strength of the relation of this landscape and its patterns of settlement to the work of Siza struck me most forcefully when I visited, in 2002, his restoration of and additions to the 18th century country estate of the Quinta Santo Ovidio, east of Porto:

"The fragmentary Baroque elements of the Quinta [its allée of lime trees, Baroque fountain, simple house and small formal garden] bear the same relation to the grand axes of Rome or Versailles that Siza's quirky modernism has to the canonical works of Le Corbusier or Mies. Siza ... transforms [modern architecture] from a universalizing formal language into a language of particularity and fragmentation: he passes Modernism through the historic, rumpled, genteel hillside gardens of northern Portugal."

An essential quality of this relation between the Portuguese landscape and culture and Siza's work is precisely the concept of gentility. I have always been struck by the bourgeois, slightly antique feel of many of Siza's details. When I interviewed him for the Serralves Museum, for example, he was still designing the seating for the auditorium:

"Each seat is a self-contained armchair, with its curving back sloping down and around to form the arms. 'I will make them out of maple, like this,' Siza tells me.  'With velvet backs and leather trim, here and here.  It is something I saw in the opera house in Naples.  Side by side, like armchairs.  Its very intimate. You feel more at home.  You feel decadent.' "

What makes such details seem so at home in Portugal is their cultivation of gentility, which one still encounters, for example in old restaurants and cafés, with their uniformed waiters and handsome table settings. And what could be more genteel than an unkempt garden? It is a surviving fragment of past wealth, culture and glory, now somewhat faded but respected and maintained through the generations. The gentleness in the word genteel is embodied in Siza's respect for this landscape and its past, its ancient cultural richness lingering in a disheveled, poorer present, a situation one could appreciate even before the country's current economic crisis.

Siza extends the largess of this well-mannered respect not only to the more aristocratic qualities of the landscape but also, simply, to the traces of the past and place. His is not an architecture of the bulldozer and the tabula rasa; instead, his designs seek their place amid what already is. For this reason, the Boanova Restaurant and Teahouse in Leça da Palmeira is sited not on along the flat expanse of a seaside promenade, but instead is embedded in a forbidding outcropping of rocks.

Siza's mastery of natural light and relative indifference to building materials form part of this faded aristocracy of manner. Modernism allows him to dematerialize gentility to its essence as a dignification of everyday life and its pleasures. Visiting again the Serralves Museum, I wrote,

"As you explore the Museum, you are surprised and delighted at every turn by his spare, elegant geometries and off-balance symmetries, and by the way that natural light is reflected and re-reflected from walls and horizontal planes, creating an effect of expansive, luminous spatial containment."

Writing about the Galician Museum of Contemporary in 1994, when I was much younger, I summed up all these intuitions about Siza's method in a general attack, with the help of the philosopher Theodor Adorno, on an opposing formalism of perfect geometric abstraction that I found in certain Madrid architects. These words can stand in as well, I think, for a philosophical argument in favor of Siza's design method as the superation of an excessive reliance in the modern tradition on concepts of internal logic, functionality and reason:

"In Siza's poetic approach to architecture, his regard for the site is transformed into a peculiar personal formal geometry.  Siza uses regulating lines in plan to lay out, from the point of entry, the two intersecting volumes of the design.  These regulating lines fan out from their point of origin as if from the viewing point of a perspectival construction, producing strange intersections, collisions and incongruities deep in the body of the building.  The access ramp and tilted horizontal soffit of the facade reflect these same visual lines in the vertical plane.  When seen from other points in the building, it is as if Siza had scrambled the rules of perspective and the abstract geometry it was designed to portray, returning us to a more immediate, anarchic register of perception, a mannerist retake on modernism which complements the eccentric Baroque monastery next door."

"Siza's fractured geometry reminds me of a passage in Theodor Adorno's ... Against Epistemology, in which he attacks certain aspects of the scientific spirit which have been well represented in postwar art and architecture, in the cult of formalism: 'But the more hermetically the unconscious of the mathematician seals his propositions against any inkling of involvements, the more perfectly pure forms of thought, from which memory is expunged in abstraction, come to appear as the sole "reality".  Their reification is the equivalent for the fact that they were broken from that objecthood without which the issue of "form" would not even arise.' "


Sources

Articles by David Cohn:
“Projects: Serralves Museum of Contemporary Art, Portugal,” Architectural Record (New York), November 1999, pages 102 - 109.

“Weekends in the Country,” World Architecture 105, April 2002, pages 26 - 33.

“Siza in Granite,” Bauwelt 19, May 13, 1994, pages 1038 - 1045.

Theodor W. Adorno, Against Epistemology: A Metacritique, English edition, The MIT Press, 1983, page 55.



English edition:
Juan Rodríguez and Carlos Seoane, editors
Siza by Siza
Amag Editorial, La Coruña, Spain, 2015

Spanish edition:
Siza x Siza
Fundación Caja de Arquitectos, Barcelona, 2015 

Contents 

Made For
Juan Rodríguez and Carlos Seoane
 


The Craft of the Poet
Juan Rodriguez and Carlos Seoane
 


Álvaro Siza: A Revised Interview
Interview with Eduardo Souto Moura, by Juan Rodriguez in Pamplona, April 24, 2015
 


The Boa Nova Tea House and Restaurant. 1958-63
The Locus
 


The Leça Palmeira Swimming Pool Complex. 1959-73
Material
 

The Malagueira Housing Complex. 1973-77 
Politics and Architecture 

The Flittering Image of Reality
Kenneth Frampton 

The Riches of Restraint
Juhani Pallasmaa 

In the Garden
David Cohn 

Interview
Conducted by Juan Rodriguez and Carlos Seoane (Porto) 

FAUP. The Porto Architecture School. 1986-93
The Porto School
 

The Galicia Museum of Contemporary Art (CGAC). Santiago de Compostela. 1988-93
Specialization 

The Santa Maria Church. Marco de Canaveses. 1990-96
Light and Architecture


Monday, February 2, 2015

Boa Nova in Winter

Photo: DC

I made a quick visit to Porto before Christmas to report on Alvaro Siza's restoration of his first public project, the Boa Nova Restaurant and Tea House (1958-63), which faces the Atlantic from a rocky promontory in Leça da Palmeira. The story appears in the February issue of Architectural Record (link).

The abandonment, sacking and restoration of this seaside tea house and its conversion into a luxury restaurant is a story about Portugal's economic crisis and changes in Portuguese society over five decades. The building is also a fascinating work by a young Siza eager to "put everything he could ... into the design".

"The original woodwork and furniture was made with afzelia, a reddish tropical hardwood from Angola (then a Portuguese colony) that was cheap and abundant at the time, but is expensive and difficult to find now. Siza considered the original tables, chairs, and serving carts to be beyond repair, but he found a carpenter with a stock of old wood to remake them, as well as the table lamps with shades made from translucent wood veneer. To treat water stains on the ceilings, he explains, 'an old furniture restorer treated the wood with something, and it doesn't look too bad.' " 
Photo from AR © Joao Margado

Time Machine 
Boa Nova Restaurant and Tea House
Leça da Palmeira, Portugal
Restoration by Alvaro Siza
Architectural Record, February 2015

SITE NOTEBOOK
A selection of quick photos with close-ups of details and attempts to capture its atmosphere. Below, the restored copper gutters that vandals stripped out when the building was empty, destroying its roof. Photos by DC and Marcela Navascués, a friend living in Porto.


 The scupper above overlooks the entry, facing the water, which is reached via an elaborate set of stairs and terraces that turn you this way and that, before you duck under that low cantilevered eave and go inside (left-hand side of section below).

Courtesy Álvaro Siza
 Once inside, you are on a small upper level looking down a flight of stairs to the hall, with the restaurant to the right and the tea room to the left.

From the compression of the entry, the space opens both above us and below. Very Frank Lloyd Wright. We couldn't catch it on film because of the high contrasts, but there are three openings in the hall: the big clerestory light scupper above the stair, framed in wood, that takes in sky light; a slit below it designed to frame the horizon line between sea and sky from the entry level (but only if you are as short as Siza: did he pick this up from Wright too?); and a large window at the bottom of the stair, drawing you down, where you see the full force of the ocean waves against the rocks in the foreground (photo below from the dining room, with one of the "Tugendat House" retractable windows rolled down into the floor).




Courtesy Álvaro Siza

The original woodwork and furniture was made with afzelia, a reddish tropical hardwood from Angola (then a Portuguese colony) that was cheap and abundant at the time, but is expensive and difficult to find now. Siza considered the original tables, chairs, and serving carts to be beyond repair, but he found a carpenter with a stock of old wood to remake them, as well as the table lamps with shades made from translucent wooThe original woodwork and furniture was made with afzelia, a reddish tropical hardwood from Angola (then a Portuguese colony) that was cheap and abundant at the time, but is expensive and difficult to find now. Siza considered the original tables, chairs, and serving carts to be beyond repair, but he found a carpenter with a stock of old wood to remake them, as well as the table lamps with shades made from translucent wood veneer. To treat water stains on the ceilings, he explains, “an old furniture restorer treated the wood with something, and it doesn't look too bad.”s
The original woodwork and furniture was made with afzelia, a reddish tropical hardwood from Angola (then a Portuguese colony) that was cheap and abundant at the time, but is expensive and difficult to find now. Siza considered the original tables, chairs, and serving carts to be beyond repair, but he found a carpenter with a stock of old wood to remake them, as well as the table lamps with shades made from translucent wood veneer. To treat water stains on the ceilings, he explains, “an old furniture restorer treated the wood with something, and it doesn't look too bad.” - See more at: http://archrecord.construction.com/projects/Building_types_study/adaptive_reuse/2015/1502-Boa-Nova-Restaurant-and-Teahouse-Alvaro-Siza-Vieira.asp?bts=AR#sthash.yY4lcY1Z.dpuf
The original woodwork and furniture was made with afzelia, a reddish tropical hardwood from Angola (then a Portuguese colony) that was cheap and abundant at the time, but is expensive and difficult to find now. Siza considered the original tables, chairs, and serving carts to be beyond repair, but he found a carpenter with a stock of old wood to remake them, as well as the table lamps with shades made from translucent wood veneer. To treat water stains on the ceilings, he explains, “an old furniture restorer treated the wood with something, and it doesn't look too bad.” - See more at: http://archrecord.construction.com/projects/Building_types_study/adaptive_reuse/2015/1502-Boa-Nova-Restaurant-and-Teahouse-Alvaro-Siza-Vieira.asp?bts=AR#sthash.yY4lcY1Z.dpuf
The original woodwork and furniture was made with afzelia, a reddish tropical hardwood from Angola (then a Portuguese colony) that was cheap and abundant at the time, but is expensive and difficult to find now. Siza considered the original tables, chairs, and serving carts to be beyond repair, but he found a carpenter with a stock of old wood to remake them, as well as the table lamps with shades made from translucent wood veneer. To treat water stains on the ceilings, he explains, “an old furniture restorer treated the wood with something, and it doesn't look too bad.” - See more at: http://archrecord.construction.com/projects/Building_types_study/adaptive_reuse/2015/1502-Boa-Nova-Restaurant-and-Teahouse-Alvaro-Siza-Vieira.asp?bts=AR#sthash.yY4lcY1Z.dpuf
Details: the dining room furniture. Benches and chairs with leather cushions, as designed by Siza.






There are two sizes of table lamps with shades of the same tropical wood used in the rest of the building:



The dining room has a line of high windows on its back wall, and young Siza teased out the edges of the openings in the woodwork of the ceiling around them.





He used an elaborate system of exposed joists to project the eaves and gutters beyond the sloping concrete roof slab, as you can see in the sections. Like wings. The low eaves keep out direct sun and wind. He breaks the slope of the roof, so the eaves extend out horizontally and don't block the views.




Like the dining room clerestory windows, some of the boards extend further for a strange flourish:


The light was too extreme for this quick shot, but here in the tearoom -unfortunately not in use- you feel like you are on board an old teak motor yacht:


The kitchens, tucked under the entry level, are also very shipshape. Twenty people were at work preparing lunch.


Back outside, the dining room overlooks a small terrace:


This side of the building backs right into the slope behind it:


With the service entrance just on the other side:


Two more views of Siza's brilliant massing. The chapel is where he was married in 1962, a year before the building opened:



See my earlier story on the restoration in this blog entry, Siza's Boa Nova Tea House to Reopen, 04.11.14.