Cor e esgrafito. Saber ver para proteger.

Um dos resultados que mais se destacou durante a pesquisa por nós desenvolvida sobre os esgrafitos no Alentejo foi o facto de que a maioria dos esgrafitos inventariados terem sido sujeitos a tantas acções de pintura que, hoje, já não é perceptível o seu aspecto, os seus cromatismos e/ou as suas texturas originais. Sendo o esgrafito uma técnica decorativa com reboco à vista, há valores da matéria que não podem ser descurados, tais como a textura ou a cor das argamassas, pois são intrínsecos à natureza deste revestimento mural. Mesmo quando a actual cultura da conservação e restauro assume como condição sine qua non a conservação da matéria enquanto testemunho cultural, verifica-se frequentemente que, no caso do esgrafito, a intervenção é feita utilizando critérios da construção civil e não de conservação. Infelizmente, continua-se a constatar um desconhecimento sobre como intervir nos esgrafitos, resultando em intervenções ditas de “conservação” ou “recuperação” inadequadas, como, por exemplo, a aplicação de camadas de pintura sobre estas decorações, causando perda dos testemunhos e valores dos edifícios históricos. Este artigo pretende sensibilizar todos os intervenientes e o público em geral para o valor e para a situação de risco deste património, enfatizando a necessidade de salvaguardar a sua autenticidade material. Numa primeira fase do artigo, descreve-se o conceito e a técnica de execução do esgrafito, e apresenta-se o panorama dos esgrafitos no Alentejo, ilustrando com casos em que a cor, a textura e a superfície dos esgrafito não foi alterada. Posteriormente, procura-se sensibilizar o público expondo alguns dos inúmeros casos onde a técnica do esgrafito foi subvertida. Por fim sistematiza-se um conjunto de recomendações que poderão ajudar na qualificação das intervenções sobre os esgrafitos

Walking and Drawing - Overlapping Teaching Experiences in Architecture

The exercise of architecture is an ethical and responsible act that implies a rigorous and wide knowledge of the site of intervention and of the relationships between people and the built or natural environment where the construction is to be designed. Within the methodologies used in the teaching of architecture, the authors propose and promote in their curricular units walking (walkscape) and drawing / investigating as tools and instruments of knowledge and understanding and understanding of the place. The walk, a little errant and free, allows the cognitive understanding of the territory, surpassing the knowledge of its physical, visible, and measurable dimensions. Drawing is a tool for research, analysis, and registry. In fact, walking as drawing are essential instruments of knowledge, not only intuitive, but also interpretive of the place. We found that this methodological strategy has two advantages: on the one hand it allows the student to better consolidate his conceptual strategies and on the other hand, not least, it allows the student to discover himself as a persona / architect who intervenes in the territory. In addition, in face of the pandemic situation taking profit of the fine Portuguese weather and time out from classroom transforms the path of walking into a renew opportunity for keeping fit and healthy as well as understanding the site and its opportunities. Throughout this communication / article examples of practical exercises developed with the students and their results are presented and relations and comparisons are established with the design and investigation process of Álvaro Siza Vieira in understanding the territory in the Malagueira project in Évora

Cor e esgrafito no Alentejo

Este artigo pretende sensibilizar todos os intervenientes e o público em geral para o valor e para a situação de risco deste património, enfatizando a necessidade de salvaguardar a sua autenticidade material. Um dos resultados que mais se destacou durante a pesquisa por nós desenvolvida sobre os esgrafitos no Alentejo foi o facto de que a maioria dos esgrafitos inventariados terem sido sujeitos a tantas acções de pintura que, hoje, já não é perceptível o seu aspecto, os seus cromatismos e/ou as suas texturas originais. Sendo o esgrafito uma técnica decorativa com reboco à vista, há valores da matéria que não podem ser descurados, tais como a textura ou a cor das argamassas, pois são intrínsecos à natureza deste revestimento mural. Mesmo quando a actual cultura da conservação e restauro assume como condição sine qua non a conservação da matéria enquanto testemunho cultural, verifica-se frequentemente que, no caso do esgrafito, a intervenção é feita utilizando critérios da construção civil e não de conservação. Infelizmente, continua-se a constatar um desconhecimento sobre como intervir nos esgrafitos, resultando em intervenções ditas de “conservação” ou “recuperação” inadequadas, como, por exemplo, a aplicação de camadas de pintura sobre estas decorações, causando perda dos testemunhos e valores dos edifícios históricos. Numa primeira fase do artigo, descreve-se o conceito e a técnica de execução do esgrafito, e apresenta-se o panorama dos esgrafitos em monumentos religiosos no Alentejo, ilustrando com casos em que a cor, a textura e a superfície dos esgrafito não foi alterada. Posteriormente, procura-se sensibilizar o público expondo alguns dos inúmeros casos onde a técnica do esgrafito foi subvertida. Por fim sistematiza-se um conjunto de recomendações que poderão ajudar na qualificação das intervenções sobre os esgrafitos

Cor e esgrafito

Em Portugal, conhece-se pouco a dimensão da presença dos esgrafitos e o significado deste tipo de superfícies arquitectónicas. Os esgrafitos existentes não estão, muitas vezes, identificados e documentados porque, ainda não são reconhecidos, enquanto elementos identificativos ou de referência patrimonial

Sgraffito in Portugal: a contribution to its study and preservation

In the scope of the architectonic surfaces this article intends to provide awareness to the particular value of sgraffito. Recent research led to the discovery of an unknown and wide presence of sgraffitos in some urban and rural Portuguese ancient architecture; most of them today at risk, since they are often forgotten or confused with other mural decorative techniques, and that consciousness led us to alert towards the need to safeguard its esthetical and material authenticity. One of the most important results of our research on sgraffito [1] is the fact that the majority of the listed sgraffito ornaments have been painted over so many times, that today we can hardly identify its original aspect, its formal and chromatic values or its textures. Since sgraffito in facades is a decorative technique made with external plaster, some of its values, such as the dual colour variation and the aesthetical tension given by different textures and colours, which are intrinsic to the nature of this mural covering, must not be forgotten. Although the current conservation culture assumes as a sine qua non condition, the conservation of the substance as a cultural certification, interventions in sgrafitto, it often use criteria deriving from industrial building techniques rather than careful preservation. Unfortunately, a strong unfamiliarity to its particular values and to its specific realisation techniques is usually the case, resulting in inadequate recovering processes. An example is the application of painting layers over those ornaments, inverting syntax’s (what was dark becomes whitish, what was whitish becomes a new and often strong colour) causing loss of aesthetical and historical values of the building and loss of authenticity. This article intends to provide awareness of the architectonic value of sgraffito in some Portuguese urban conservation areas and rural landscapes, describing its material and formal specificities and summarize its risks, emphasizing the need to change intervention methodologies, promoting its safeguard

Architecture surfaces conservation: (re)discovering sgraffito in Portugal

This paper shows the particular value of sgraffito as an architectonic surface. The recent discovery of an unknown and wide presence of sgraffito in some urban and rural Portuguese architecture, the risks it faces today, forgotten or confused with other mural decorative techniques, led us to alert to the need to safeguard its material authenticity. Although the current culture of conservation and restoration assumes as a sine qua non condition the conservation of the substance as a cultural value, interventions in sgraffiti ornaments often use criteria adapted from industrial building techniques rather than conservation. Unfortunately, unfamiliarity to its particular technique is usually the case, resulting in an inadequate “restoration” or “recovery” process. An example is the application of painting layers over sgraffiti ornaments, causing serious loss of authenticity and value in historical buildings. In this paper, we present some recent results of our research, showing unknown presence of sgraffito in historical architecture, describing the general concept of its application and the particular techniques of Portuguese sgraffito. The panorama of corpus of sgraffito in Alentejo, is compared with other national and international cases. Examples where the technique of sgraffito was subverted are included in order to demonstrate the dangers it is facing. Finally we put forward some recommendations to improve the quality of restoration and urban rehabilitation operations, towards a more sustainable, comprehensive and integrated management of this cultural heritage

Indian Ocean and the exchange of cultures: the case of Mozambique Island

Portuguese settlement in Mozambique first took place in the early years of the16th century, after Vasco da Gama arrived at the Island of Mozambique in 1498. The Island was already inhabited, and an important trading point of the oriental coast of Africa, cradle of the rich Swahili culture. Portuguese traders and the arabian-swahili population struggled for years for the commercial dominance over the island and the coast. In order to ensure the dominance over the Oriental Coast of Africa, the vice-King of India, D. Francisco de Almeida, is ordered to build the three fortresses of Sofala, Quiloa and Melinde. Thus protected, and also strengthened by its own complex defensive system, the island of Mozambique flourishes; the small village grows and, in 1818, becomes a town and also the capital of Mozambique until 1898. As a town and capital by its own right, the island of Mozambique still remains, in present times, a model for the intersection of several cultures. Nonetheless, the Portuguese pattern prevails - in urban planning, in different architectonic models, in religious, military and civil buildings, in decoration and building techniques - but always strongly influenced by other cultures. The result is an eclectic architecture that dates from about 1500 to the 19th century, showing an undeniable European pattern, with the influence of Swahili and Indian models. The island is quite small - circa three 3 kilometers long and 400 meters wide - and is densely populated: the 1997 census revealed a population of about 15,000 people, but it is believed to have no less than 18,000 inhabitants. It is connected to the continent by a 3 km bridge built in the 1960s by the Portuguese. Due to this demographic outburst, the island has a series of issues to solve: it has no room for agriculture, its natural resources are scarce, and the systems of basic sanitation, electric power and drinking water supply to the population are insufficient. Yet, as in most Mozambican settlements, traditional ways of life still endure, and the rich and diverse culture of the Island - result of the intersection of several influences - can be seen in numerous aspects of its everyday life. Tufo, the island’s traditional dance, is still practiced in religious celebrations and other events; women use “mussiro”, a white paste made from the stalk of a tree, used to smoothen and soften the skin; and traditional fishing is one of the most lasting ways to provide for families’ livelihood: “dhows”, the beautiful lateen-rigged sailing vessels used in all east coast of Africa, are common on the shores of Muipití (Mozambique Island’s native designation). In architecture, the division between the “stone built town”, and the "Macuti town" with their native houses built from wattle and daub ("pau-a- pique") and roofs covered with palm leaves, show two different realities and construction methods, with a variety of hybrid solutions in both situations. The fusion between a western culture, transferred to the middle of the Indian ocean, and the local Swahili and native tradition, together with a wide combination of influences resulting from the strategic position of Mozambique within the route to India, give Muipití an unique atmosphere and character that is not only to be found in its architecture and material remains, but also in its customs, traditions and way of living

Intervention in Forte do Guincho Sea heritage – Conservation and architecture project

Forte do Guincho is situated on a promontory in a protected landscape. It was built in the 17th century and was part of an extensive line of defensive forts on the Cascais coast which protected the entrance to the Barra do Tejo. The particular nature of the location and the heritage value of Forte do Guincho were fundamental factors used in designing the architectural solution. Conservation and preservation are underlying concepts of the proposal. The pre-established use and programme intended to qualify the monument implied the need for a new construction, linked to the already existing structures but tectonically separated, thus potentially reversible, from the fort. The decision to plaster the walls of the fort or leave them unplastered was one of the most sensitive issues during the development of the project, since it would influence the integration of the fort in the landscape and its conservation. The aim of the (yet unbuilt) project was to achieve, through an integrated transdisciplinary project, a unity of form and materials between the pre-existing structures and the contemporary additions, thus giving renewed life to the monument while preserving its authenticity

The Experience of a Pioneer Research Program in Architecture in Évora

Three years ago the University of Évora implemented a research PhD program in architecture. Generally a doctorate of architecture has been an academic title awarded to architects who present a theoretical dissertation; however, for us as a young but promising school of architecture it was just natural that a project (as a methodology, a process of knowledge or simulation of a hypothesis) could be part of an advance research in architecture. Thus, we started with this doctoral program seeking to question the current model of PhD programs and established a new pioneering paradigm syllabus in the national context with the intention to reach the international arena During the course syllabus the project lab integrates the formulation of a theoretical hypothesis (a conjecture), that becomes an architectural design, which is unique, but simultaneously an universal knowledge. The program has already two editions were PhD students have been encouraged to develop advance research and fostered interaction between the theoretical and architecture production. No research is yet finished. Students, although much interested in this type of research, are divided in their approach to architecture as a theoretical, speculative and critical field, and architecture as a field of research. Students and teacher are interested in research that develops their architecture design skills, as a relevant process of advancement knowledge in architecture. We believe that PhD syllabus will contribute to demystify and implement the concept of advanced studies in architecture based on architectural research. This paper will share some of the ideas, doubts, and results of our PhD program

O corpus do esgrafito no Alentejo e a sua conservação. Uma leitura sobre o ornamento na arquitectura

Centra-se esta tese sobre o esgrafito no Alentejo analisado dentro da área científica da arquitectura, cruzando a problemática da conservação e restauro com a do ornamento na arquitectura. Pretende-se definir o corpus do esgrafito no Alentejo, através do levantamento sistemático e da inventariação de todos os casos, conhecer as suas formas de expressão e particularidades, enquanto superfícies arquitectónicas, e compreender o seu contributo na arquitectura. Desenha-se um percurso metodológico de pesquisa e análise documental e bibliográfica que suporta a análise, interpretação e reflexão critica sobre os casos de esgrafitos inventariados e uma metodologia criteriosa para o processo de inventariação e levantamento arquitectónico dos esgrafitos nos aglomerados urbanos no Alentejo. Constrói-se um inventário que permite conhecer o corpus do esgrafito no Alentejo e reconhecer a sua relação simbiótica com a arquitectura. O esgrafito tem uma forte manifestação nos núcleos urbanos no Alentejo, sendo Évora o mais expressivo. Está preferencialmente, localizado em espaços importantes da estrutura urbana - largos, praças e ruas principais – e, nos aglomerados pouco consolidados, em pequenos apontamentos, nas chaminés. É amplamente utilizado nos séculos XVI e XVII, em composições eruditas - de influência italiana onde predomina o esgrafito branco e negro – e, em versão mais populares, mas de grande expressão estética - como os revestimentos de imitação de alvenaria aparelhada - em edifícios religiosos, militares, habitacionais e em estruturas de lazer, tanto no interior como no exterior dos edifícios. Nos séculos XVIII e XIX, o esgrafito apresenta grande protagonismo, associando-se a outras técnicas ornamentais, com consequências urbanas visíveis em cidades alentejanas. A técnica predominante é a do esgrafito de cor areia e branco, com um leque de tons relacionados com a variedade de colorações do inerte (areias). Também aparecem os esgrafitos de fundo negro conseguido pela adição do carvão ou palha queimada à argamassa, e em menor número, os de fundo vermelho, obtido com o pó de tijolo. Os motivos vegetalistas são os mais frequentes e, em menor escala, os geométricos. Grande parte dos esgrafitos já não apresenta o seu estado original. Várias camadas de tinta escondem a superfície mais ou menos ornamentada, alteram a textura e a cor original do esgrafito, anulam as linhas de incisão e de corte do desenho e ocultam os pormenores e detalhes do esquema compositivo. Alerta-se para a urgência de estudos científicos futuros e recomendam-se políticas sustentadas no conhecimento científico para a preservação e salvaguarda dos esgrafitos