COMPUTER, FORM Conference: Eduardo Castro e Costa
Date
May 26th
6pm
Zoom: Eduardo C C Poster-Model https://videoconf-colibri.zoom.us/j/89927860820?pwd=aXptQXd2a29GdUZqR3ZkZGsrVFFHZz09
PhD Seminar – Luis Ferro – The Hermitage Space of the Charterhouse of Évora. Monastic Life and Architecture
The Architecture Departments of Lusófona University of Lisbon and Oporto are organizing a seminar – Architecture: Design and Research – for the current academic year.
This week:
Luis Ferro – The Hermitage Space of the Charterhouse of Évora. Monastic Life and Architecture
26 February 2021,
17:00 (GMT)
We invite you to participate: Zoom (class): https://videoconf-colibri.zoom.us/j/84986977917
Synopsis
This presentation studies the architecture of the Charterhouse of Évora (Portugal). The element that gives identity and uniqueness to the monasteries of the Carthusian Order is the hermitage space – consisting of a large square cloister surrounded by individual cells, enclosing an empty space that symbolizes the desert – where the monks live in constant contemplation and meditation. This communication is based on drawings and photographs to demonstrate, on one side, how the architecture of the hermitage builds the silence and isolation required by the Carthusian vows and, on the other side, to present the evolution of the cloister and cells over the centuries, from the first sketch made by Giovanni Vincenzo Casale to the present day.
Biographical Note
Luís Ferro is an architect based in Évora, Portugal, where he practices his professional activities since 2012. He is a PhD student of FAUP, and has an M.A. from the University of Évora (2010), having been an Erasmus student in Yildiz Teknik Üniversitesi in Istanbul. Between 2013 and 2015, was as Assistant Professor in the Department of Architecture from the University of Évora, and, between 2015 and 2016, was the coordinator of the project entitled «Sacred Places: Cubas from the Kûra of Beja» (Calouste Gulbenkian Foundation, n.139754). Currently, he is a Researcher at CHAIA/UÉ and CEAUP/FAUP.
He has published several papers and has presented communications in Portugal, Spain, France, England, Finland and USA, having been awarded with the «Prémio Estágios em Portugal e no Mundo» (Portuguese Order of Architects) in 2014 and the «Prémio Arquitectos Agora 2016» (Portuguese Order of Architects). In 2019, he has published the book entitled «O Eremitério da Cartuxa de Évora: Arquitectura e Vida Monástica» (ISBN: 978-989-54274-1-3), that was awarded with the Prémio Frei Bernardo Domingues, O.P. 2019 (Cultural Institute D. António Ferreira Gomes).
PhD Seminar: Nora Wendl – “Every History is an Anti-History”
The Architecture Departments of Lusófona University of Lisbon and Oporto are organizing a seminar – Architecture: Design and Research – for the current academic year.
This week:
19th of February
16:30 (GMT)
Nora Wendl comes in to share her class with us: Each Story is an Anti-Story.
You are welcome to watch on Zoom: https://videoconf-colibri.zoom.us/j/84986977917
Every History is an Anti-History
Synopsis
The exhibition Edith Farnsworth: Reconsidered re-presents the Mies van der Rohe-designed Farnsworth House (Plano, Illinois, US, 1951) around the life and desires of the client, Dr. Edith Farnsworth, a Chicago-area physician, ground-breaking nephrologist, and poet. This re-inhabitation of the house with period furniture (and reproductions)—the result of a collaboration with the National Trust, Farnsworth House Director Scott Mehaffey, and Chicago-based architect Rob Kleinschmidt—approximates how the house may have appeared during a very uncertain time in its history: 1951-1954, during which Mies and Farnsworth sued and countersued one another, respectively. At stake was Farnsworth’s very ownership of the house: if Farnsworth lost the case, she would forever be barred from the property.
This seminar will depart from this specific historical moment and its temporary exhibition to focus on the questions of authorship and ownership that have, since the house’s very completion and its earliest reviews in architectural media, divided the narrative of this structure. Problematizing American institutions’ reliance on private patrons, patrilineal lines of wealth, and the inherited narratives that accompany them, I reveal my own frameworks for engaging with institutional opacity as a material reality and subject itself by engaging it in the performative practices of filmmaking, poetry, autobiography, and photography.
This seminar will reveal twenty years of my own practice of working with institutional opacity and omission both within and beyond the site of the archive. For every researcher, an entirely different set of biopolitics conditions not only access to documents, but their ability to give voice to them, to participate in authoring new accounts of history. In this seminar, I argue that these biopolitical conditions must give rise to new modes of authoring and performing architectural history.
Biographical Note
Nora Wendl is Associate Professor of Architecture at the University of New Mexico, where she also serves as Associate Chair for Graduate Studies. Her work, across scales and media, investigates the occlusions of architectural historiography through methods involving image, text, narrative, performance, and exhibition.
Her exhibition work—from films to installations—has been supported by grants and residencies made possible by the Graham Foundation for Advanced Studies in the Fine Arts, Santa Fe Art Institute, and the National Trust for Historic Preservation, among other institutions. Wendl’s exhibitions and interviews with her have also been featured in Southwest Contemporary, Gray, Preservation Magazine, Chicago Tribune, and Architectural Record. She has published in journals including Architecture and Culture, Forty-Five: A Journal of Outside Research, Journal of Architectural Education, Offramp, On Site: Review, Studies in the History of Gardens and Designed Landscapes, and Thresholds.
She is also co-editor and contributor to Contemporary Art about Architecture: A Strange Utility (Ashgate, 2013; Routledge, 2016), which positions artists as co-producers of architectural history and theory.
Wendl holds B.Arch. and M.Arch. degrees from Iowa State University, where she was also the Pearl Hogrefe Fellow in Creative Writing (2004-2005). She has taught architecture studio, theory, and writing courses at universities across the United States since 2008.
PhD Seminar for 2020-21 – Architecture: Design and Research
The Architecture Departments of Lusófona University of Lisbon and Oporto are organizing a seminar – Architecture: Design and Research – for the current academic year.
Please feel invited to participate with the Zoom link: https://videoconf-colibri.zoom.us/j/84986977917
Every following Fridays with hour to announce.
Architecture: Design and Research
Synopsis
One of the objectives for this Architecture: Design and Research Seminar is to debate the dialectics between the practice of architecture and research in architecture, analyzing, based on consolidated author paths, the type of relationships that can be established between these two professional domains. Does architectural research support the practice of architecture? And, is the project’s practice a safe research base? Where does the motivation for investigating issues come from? Is heritage a common stimulus factor? Are there other factors? Can we admit that there are common methods or methods adapted between the practice of architecture and research?
We propose the presentation of a set of conferences held by architects and researchers with relevant and significant readings in the field of scientific knowledge, heterogeneous methodological proposals and wide and distinctive dissemination relationships.
Professor Filipa Antunes’ work exhibited in New York
Professor Filipa Antunes will participate in Artexpo New York, an international exhibition taking place from 4 to 9 April – congratulations!
Her work, an acryllic and collage on canvas, is entitled Shining and was inspired by the construction and transformation of the Statue of Liberty. The author dedicates it to all women.
Artexpo New York is the largest international gathering of qualified trade buyers—including gallery owners and managers, art dealers, interior designers, architects, corporate art buyers, and art and framing retailers.
The curatorial theme for 2019 is [TRANSFORM]:
Art is powerful. It challenges the status quo, changes our perceptions, and pushes us to see ourselves and others from a new perspective.
