Complexo Habitacional Bulevar Artigas, Uruguai: proposta de cidade a partir da crítica do segundo pós-guerra a

Inserido essencialmente no campo conceitual e projetual das cooperativas habitacionais uruguaias, este artigo tem como objetivo verificar de que modo e com que intensidade estão presentes as propostas do cenário crítico internacional dos anos 1950 e 1960, em relação à cidade funcionalista, nas estratégias projetuais do Complexo Habitacional Bulevar Artigas. Para este estudo, o cenário é protagonizado principalmente pelos grupos Team 10 e Metabolistas, e defende-se aqui que, em um contexto inicialmente positivo dado pelo sistema cooperativo, as reverberações dos princípios desses grupos foram de grande contribuição para o êxito desse conjunto em termos de apropriação dos espaços pelos moradores e de uma compreensão geral, por parte desses, de seu habitat. Os limites e potencialidades dessas propostas teóricas, assim como seu diálogo com a vida contemporânea, pôde ser verificado por meio da observação da “realidade” do conjunto habitacional, por parte das autoras.

Ética e Arquitetura: a responsabilidade de uma novíssima crítica em Portugal

O argumento do presente texto defende que o “Novo Brutalismo”, sendo indiscutivelmente um debate arquitetónico de origem britânica, era movido por um princípio universal: a adesão intelectual aos problemas do seu tempo. A luta contra o academicismo e o historicismo, a aceitação da realidade e das diferentes formas de cada cultura construir o seu habitat, e a crescente importância atribuída aos utilizadores da arquitetura, constituem pontos essenciais para a revisão dos modelos arquitetónicos levada a cabo no pós-guerra. Estes princípios despertam o interesse de uma nova geração de arquitetos portugueses cada vez mais crítica e atenta ao debate internacional, que os assimila por coincidência de interesses, mais do que por conexão ou influência direta. A metodologia adotada passa por recuperar alguns argumentos dos textos de 1955 e de 1966 do crítico Reyner Banham, o principal ideólogo do Novo Brutalismo, com particular incidência nas propostas dos arquitetos Alison e Peter Smithson e o seu papel no grupo Team 10. Após se introduzirem as origens e o contexto do debate, esboça-se o panorama da situação portuguesa nesses anos, com especial incidência na difusão da “novíssima” geração de arquitetos (sensivelmente, os nascidos entre finais de 1920 e inícios de 1930) por iniciativa da revista Arquitectura. Finalmente, apresentam-se os argumentos de dois representantes dessa geração —Nuno Portas e Pedro Vieira de Almeida— cuja relação com o brutalismo não reside em questões estéticas, de forma ou de tratamento das superfícies, mas sim em questões éticas, ou seja, de compromisso com a “utilidade social da arquitetura”. Num primeiro momento, expõe-se um debate em torno à habitação coletiva centrado em métodos e posições críticas, que se complementa num segundo momento com uma breve abordagem a uma obra de arquitetura na qual ambos têm responsabilidade. The argument of the present text argues that the "New Brutalism", being arguably an architectural debate of British origin, was driven by a universal principle: the intellectual adherence to the problems of its time. The struggle against academicism and historicism, the acceptance of reality and the different ways each culture builds its habitat, and the growing importance given to the users of architecture, are essential points for the post-war revision of architectural models. These principles have awakened the interest of a new generation of Portuguese architects that is increasingly critical and attentive to the international debate, assimilating them through coincidence of interests, rather than through direct connection or influence. The methodology adopted involves recovering some arguments from the 1955 and 1966 texts of the critic Reyner Banham, the main ideologue of New Brutalism, with particular focus on the proposals of the architects Alison and Peter Smithson and their role in the Team 10 group. After introducing the origins and context of the debate, the panorama of the Portuguese situation in those years is outlined, with special focus on the diffusion of the "brand new" generation of architects (roughly those born between the late 1920s and early 1930s) through the initiative of the magazine Arquitectura. Finally, we present the arguments of two representatives of this generation -Nuno Portas and Pedro Vieira de Almeida- whose relationship with brutalism does not lie in aesthetic questions, of form or surface treatment, but in ethical questions, i.e., their commitment to the "social utility of architecture. In a first moment, a debate around collective housing centered on methods and critical positions is exposed, which is complemented in a second moment with a brief approach to a work of architecture in which both have responsibility.

Nueva Babilonia: una ciudad soñada y dibujada bajo los auspicios del Team 10

El trabajo de Constant Nieuwenhuys habitualmente se describe como un ejercicio especulativo sobre la ciudad contemporánea basado en una crítica al capitalismo, mientras que muchos de sus planteamientos vuelven a ser revisados en la actualidad. Este texto pretende dar visibilidad a una relación no solo ideológica sino formal de la Nueva Babilonia de Constant con los planteamientos revolucionarios del Team 10 en el contexto de los CIAM, más allá de la tan conocida influencia de Guy Debord y los situacionistas. Serán las fotos de niños jugando en la calle de Nigel Henderson, los parques infantiles de Aldo van Eyck, los campamentos gitanos de Alba en Italia y, finalmente, las ciudades en el aire de Alison y Peter Smithson los que acabarán dando forma a una ciudad que se convierte en paradigma de una nueva arquitectura en la que la subjetividad del usuario es su objeto y la acción su medio.

A. SMITHSON (ed.) - Team 10 Primer

Alison Smithson (ed.)Team 10 PrimerLondres: Studio Vista, 1968, 112 págs. Idioma: inglés. Tapa dura 109 €. Tapa blanda 59,45 €. [Primera edición: Tonbridge, Kent: Whitefriars Press, 1965. Originalmente publicado como revista, Architectural Design, diciembre 1962].ISBN: 0289795567

Liminalidad y comunidad. La disolución de lo urbano en la Unidad Vecinal de El Taray

La Unidad Vecinal de El Taray (1962-1964) fue encargada por la Cooperativa Pío XII para un escarpado solar en la cara norte de la ciudadela de Segovia. Por su organización alrededor de espacios colectivos, así como por sus galerías abiertas y conexiones aéreas, el conjunto ha sido relacionado con el Neobrutalismo y las teorías del Team 10. Sin embargo, más allá de las etiquetas, puede decirse que El Taray es consecuencia de una imperiosa necesidad de adaptación a la topografía, a los requerimientos funcionales y a la escasez de recursos. Todas estas condiciones pondrán a prueba la inventiva del joven Aracil hasta producir un buen número de avanzadas soluciones que sesenta años más tarde aún dan cuenta de su frescura y pertinencia. De entre ellas destaca su esquema socioespacial, un sofisticado tejido de circulaciones y significados ambiguos que hacen que el conjunto de viviendas se difumine entre lo exterior y lo interior, lo lejano y lo cercano, lo colectivo y lo individual. El presente artículo pretende superar la tradicional lectura del caso desde la clasificación tipológica o la asimilación a corrientes arquitectónicas coetáneas para ofrecer una actualización crítica que pone el acento en su condición liminal como clave de su sostenibilidad social, material y urbana. Para ello lo vincula al presente analizándolo desde la idea de sistema habitable que extiende su influencia a la comunidad que lo habita y al contexto en el que se inserta.

Extinguishing wildfires by saturation water bombing: A new concept

Objective: To present a new concept for the extinguishment of wildfires by saturation water bombing.Design: Following an exhaustive literature search, a published mathematical model and a published empirical rainfall model were used to estimate the rate at which water would have to be applied to extinguish intense wildfires. Applying the estimated amount by quasi-continuous saturation water bombing was then evaluated.Results: The mathematical model yielded a regression equation that estimates the amount of water to extinguish wildfires of varying sizes as y = 0.1041 x − 5.0096 where y is the quantity of water and x is the size of the fire. The predicted quantities of 1000 metric tonnes ha for intense wildfires vastly exceed the minimum of 50 metric tonnes ha of the empirical rain model, likely due to the limited data available. They nevertheless serve to define the likely range of water application rates that must be applied for wildfire extinguishment. These application rates are shown to be feasible by deploying a team of large, amphibious water scooping aircraft operating in relay continuously day and night. The operating cost of such a team (±$10 million annually) is trivial compared to the potential for reducing the current economic burden of US wildfire of $71.1-347.8 billion annually. Conclusions: The saturation water bombing concept seems promising enough to warrant the commitment of funds to implement field trials on the ground that it could, potentially, result in savings of billions of dollars.

Editorial Joelho 10

The title of this issue is composed by three moments of focus: Team 10 / Debate and Media / Portugal and Spain. The main focus addresses Team 10 as a group of architects who were dealing with the renovation process of Modern Architecture after the Second World War. Known as an informal group, Team 10 was however a platform of discussion, based on a complex network of several individual links with schools of architecture, architectural magazines, editors, writers and artists. That network is analysed in the second moment of focus. The last moment is a cultural and geographical one. In part because of their specific languages and political situations, Portugal and Spain were two countries geographically and culturally far from the centre of Europe. Although, despite that distance, there were many architects who managed to break this cultural detachment.

Interview with Pancho Guedes at Alfama House, by Pedro Baía

This interview was translated and edited by Pedro Baía for Joelho 10. The original interview was fully published in Portuguese in the PhD Thesis written by Pedro Baía, titled “Da Recepção à Transmissão: Reflexos do Team 10 na Cultura Arquitectónica Portuguesa 1951-1981” (Coimbra University, 2014) — https://estudogeral.sib.uc.pt/handle/10316/23824].

The Team 10 on Pancho Guedes

This article considers the work of the Portuguese architect Pancho Guedes and his relationship with the group of dissident architects Team 10 which he attended occasionally. Guedes, émigré in the Portuguese colony of Mozambique, Africa, joined the Team 10 conversations during the so-called third phase of the movement when the group assumed more the character of family meetings compared to the formal CIAM gatherings. The Team 10 seventies phase re-considered the universal principles of the modern movement by assuming a contextual, local, and regionalist attitude toward architecture and urban projects. Residents’ participation and controversies surrounding urban renewal policies as carried out by modernist masters, were topics of discussion which characterized the Team 10 third phase. The article examines how Guedes took part in this debate by bringing ‘energy from the new world that has European roots’ quoting Alison Smithson. The dissident attitude of Team 10 against the modernist doctrine resonates with Guedes’ alternative architecture as an exception to the colonial modernist utopia in Mozambique. The article explores the contents of the meetings between Team 10 members and Guedes; their exchange of ideas and shared concerns. Following an analysis of these meetings’ records, the article provides a deeper understanding of Team 10, of Guedes, and their relationship with the post-war, socio-political architectural discourse.

Team 10’s discourse and Madrid architecture of the second phase of modernity

Madrid architects of the 20th century had little inclination, if any, to be gregarious. Remember their token presence in the first International Congresses of Modern Architecture (CIAM), a presence which had altogether vanished by the time of the fourth CIAM conference, which took place aboard the S.S. Patris. The only Spaniards we find in Athens in the summer of 1933 are Raimon Torres Clavé, Josep Lluís Sert, Antonio Bonet Castellana, Josep Torres Clavé, and Cristófol Alzamora. There is no sign of architects from Madrid. So who explained Madrid as a functional city?