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And the elevator shot to the sky, through the clouds, towards the infinite...

“Life is organized around what is hollow.” 

Never these words had made as much sense as in this moment. Alice thought, enthralled, repeating, to herself, to exhaustion, this single phrase, at the check-in line. She was still incredulous, after the news that made her come back from New York. And, unintentionally, it escapes her, once, out loud. In front of her, a rushed couple turns around, perplexed, and murmurs a phrase of indignation, which Alice, just, understands by the wrinkling of their foreheads and the shrugging of the husband’s left shoulder. But now what to do with that void? It wouldn’t be her, certainly, thinking about it, but she couldn’t get José’s image out of her head, in her last visit to the Bordeaux house. José’s accident had put him on a wheelchair, for a few years, and, he only got to be free again when he moved, along with his family, to the Bordeaux house. There, a whole void filled his days, the hours, the minutes that the outside world denied him. It wasn’t him that filled a void. It was that immense void, vertical, directed at the clouds, that received José and allowed him to do everything he enjoyed, without inhibitions, without restrictions. One exception only: when he wanted to take a peek at his kids in their bedrooms. A void united all the spaces in his house, an elevatory platform which was his house (and not the space around it) and one other void, abrupt, between him and his kids, who kept on growing up. But what to do with that void which was but him? It was impossible for Alice not to review all these images in her head, as the check-in line moved forward. Window or aisle? It seemed indifferent, the immensity of the blue sky, at this moment. What did it interest her? She wouldn’t be able to measure the air, to feel even the slightest change in the surface of her skin and, certainly, she would keep on breathing normally, without even having to inspire really deeply.

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Susana Ventura
Material experimentation in Peter Zumthor’s creative process

Material experimentation in Peter Zumthor’s creative process seeks to explain the different materials experimentations present in the creative process of Peter Zumthor which lead him to the final work of architecture, resulting in his atmospheres. Experimentation processes are mainly characteristic of avant-gard architectures that develop new forms of thought in architecture design, however mainly through form paradigms and models. Nonetheless, Zumthor has been inquiring and creating experimental processes through material composition, rooted in the work of land-artists such as Joseph Beuys or Mario Merz, that imply the overall design of the final work of architecture. The present paper explains several experimental processes present in a series of Peter Zumthor’s works, with an important focus to the design process of the Serpentine Summer Pavilion during 2011, one of the works that the author has accompanied Zumthor during its process of creation during the author’s PhD research.

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Susana Ventura
Release of "on the surface"

From the official press release:

“On the 28 of June, 2012, the catalogue On the Surface will be presented at Faculdade de Arquitectura da Universidade do Porto (FAUP), Sala Plana, at 8 PM, the result of the internacional seminar on images of architecture and public space which took place in May 2010 and was a joint initiative of FAUP, Escola de Arquitectura da Universidade do Minho (EAUM), by Pedro Leão Neto and Pedro Bandeira, sponsored by Jofebar SA."

On the surface presents the text Being Slow House.

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Susana Ventura
Poetic landscape

I’ve been trying to define a type of landscape in my classes of Landscape Aesthetics from my personal objects of desire and research which, in turn, have lead me to think about what might be a poetic landscape. 

The name came from a project that Peter Zumthor had made in collaboration with a literature group in Detmold in the years of 1998 and 1999. It began with an idea of Brigitte Labs-Ehlert (responsible for the literature group in Detmold and for the preface of Peter Zumthor’s book Atmospheres) inviting several writers and poets, like Peter Waterhouse, Michael Hamburger and Yoko Tawada, to write a poem for a particular place in the countryside, near the town of Bad Salzuflen, in Germany. Then, several architects were invited to the sites chosen by the writers to create buildings to house the poems written about them. The main idea was that a certain feature of the countryside, a special place, would be interpreted in both literary and architectural form. And both interpretations could be experienced as one at the same place. Several places of this kind, near each other, would form a “Poetic Landscape” which could be explored on foot. However, the district government changed from one party to another and the project died. “Or did it really?”, asks Peter Zumthor.

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