1 PHOTOGRAPHER: TIM VAN DE VELDE

1 PHOTOGRAPHER: TIM VAN DE VELDE

BY HUGO OLIVEIRA

HO: When and where was this photograph taken?

TV: The photo is one of the Brüder Klaus Field Chapel in Mechernich-Wachendorf, in Germany.

HO: When was it taken?

TV: In  March 15th 2013m at 14h15, but for me that is not that relevant.

HO: What were the conditions there on site?

TV: Although it was already late in the year, the weather conditions were exceptional. There was still snow at that time of the year which does not happen every year, by far. The weather was very capricious that day. At one time you had sun but five minutes later cold windy fog could pass by and snow showers were pinning like needles in your face.

HO: How did you get to the site?

TV: I went to the site on my own hunch. I had been thinking about photographing it for a while just for myself, but when I woke up that day I saw that a big amount of snow had fallen again and weather was open in Brussels. So I decided to get in my car and make the drive to the Chapel. As an architectural photographer you can be drawn to a building and for the Chapel this was certainly the case. The chapel had been photographed before, but I hadn't seen any photos of it in the snow. For me it was a necessity that my photographs were shot with snow. It gives the chapel a more isolated character.

HO: Had you been there before?

TV: No, it was a first time for me. Often I like to photograph sites the first time I get there. I like to take the time then to discover the building and start shooting it during a day while the building little by little reveals itself.

HO: What do you find most interesting about this photo?

TV:  I like the fact that it is a quite straight forward shot of the path under the snow that leads to the chapel surrounded by snow. But it works. Often the simplest of shots work the best. I like the correlation between the environment and the chapel. The open door intrigues somewhat mysteriously but draws you inside. The fence on the left only gives you that option to go to the Chapel. In the back you see the environment of the hills and woods.

HO: Is there any peculiar story about this shooting?

TV: Although the chapel is somewhat isolated outside a village, it is a place of religious prayer and architecturally interested. So people pass by often and enter of course. For this shot I had to get it on the right time, which meant waiting. Here, although the place looks abandoned a person had just entered the chapel for prayer.

HO: Was there something you wanted to communicate through it?

TV: For me architectural photography is often a solitary experience. You work alone and try to grasp the right shots by discovering the building. On this location, where you have to make an effort to get to the chapel with your gear and the totality of weather conditions and the religious character of the chapel made this experience more intense. To me this image has this feeling in it. It was a sort of architectural pilgrimage.

Tim van de Velde is an architectural photographer based in Brussels.

The image and interview selected are part of the editorial project "1 Photo(grapher)".

1 PHOTO(GRAPHER): JUAN RODRIGUEZ

1 PHOTO(GRAPHER): JUAN RODRIGUEZ

BY HUGO OLIVEIRA

HO: Where and when was this photograph shot?

JR: This photo was shot in Chicago, in 2005, through my hotel room window, looking at the John Hancock Tower. It was late afternoon, while I was preparing my exhibition about Patagonia. That exhabition was held in that building.

HO: Can you specify any technical aspects about the photograph?

JR: It was shot with a Leica M6 and the negative was scanned. The final copy was done with japanese rice paper and printed with mineral ink.

HO: Why did you select this image?

JR: It's part of an exhibition called "Beyond Black" about my own way of looking at architecture. It's part of a bigger discourse.

HO: Was there anything you wanted to communicate through it?

JR: Nothing in particular. But maybe just to say that the texts for the "Beyond Black" book are written by Portuguese friends like Pedro Cabrita Reis and Eduardo Souto de Moura.

1 PHOTO(GRAPHER): MARGHERITA SPILUTTINI

1 PHOTO(GRAPHER): MARGHERITA SPILUTTINI

BY HUGO OLIVEIRA

HO: Where was this photograph shot?

MS: The photo was taken in Weerberg-Innerst, a small village in the Alps, situated in a side valley between Wattens and Schwaz in Tyrol, Austria, 1300m above sea level.

HO: When was it shot?

MS: In October 1996.

HO: What were the conditions?

MS: Weather conditions are apparent to the observer on first sight. They are an essential element of the image. Also quite dominant was the smell of a manure heap on the neighboring property. (It is not shown on the particular image but on another photo of this series.)

HO: Are there any particular technical aspects you want to point out?

MS: No, no specific technical aspects. 4x5'', ektachrome film.

HO: How did you get to the site?
MS: By the client who is the architect of the house, Mrs. Margarethe Heubacher-Sentobe.
HO: What do you find most interesting about this image?
MS: In the Alps, especially in the Fall, fog is a frequent weather phenomenon. It contributes to that the mountains are not only perceived as impressively beautiful, but also as threatening and mysterious. Although the building itself is shown in a "shadowy" way and is only vaguely visible, this image was published very often and has obtained a certain degree of prominence.

HO: Is there anything that you were trying to communicate through it?
MS: It is worth to explore a place photographically, especially when circumstances do not correspond to the generally accepted perceptions of "ideal" preconditions. It generates indications that often point out to the qualities of architecture and space more effectively than conventional harmonizing ways of expressions can do.

Margherita Spiluttini is an architectural photographer based in Wien.

The image and interview selected are part of the editorial project "1 Photo(grapher)".

1 PHOTO(GRAPHER): JIM STEPHENSON

1 PHOTO(GRAPHER): JIM STEPHENSON

BY HUGO OLIVEIRA

HO: Where and when was this photograph taken?

JS: The image is of The Serpentine Gallery's Pavilion for 2013 in Hyde Park, London, England. It was taken at 9:38am on June 4th, 2013.

HO: Was it the first time that you had been there?

JS: I'd been visiting the site for a number of weeks on a commission to document the construction of the pavilion. This was my last day on the job, the opening of the completed structure.

HO: What were the physical conditions on site?

JS: The light was especially good, given the temperamental nature of British summers. The sun was out and the morning haze had lifted. The day was beginning to warm up and I was comfortable in a t-shirt, especially having carried my heavy photographic equipment across the park. Hyde Park is a huge green space in central London and as such combines the peacefulness of a park with the hum of distant traffic to remind you you're still in the city.

HO: Are there any special technical aspects about the photograph?

JS: This is a pretty unsophisticated image, in a technical sense. Whilst photographing the pavilion on it's opening day, I noticed a scrum of press agency photographers clamouring for a photo, so I took my camera off it's tripod and shot it handheld. I ran off a couple of frames and wound up liking this one the best. The foreground (right of frame) is important both for context and to frame the scrum, and as with almost all of my work the vertical planes are at least vertical.

HO: What do you find most interesting about this image?

JS: This building only existed for a matter of months before being taken down (it was planned as a temporary structure) and over the summer it was photographed many, many times by lots of different people, not least on it's opening day. I find this idea, of a scrum of photographers photographing a building quite humorous and perhaps casts a different eye over it. This sort of behaviour is usually the reserve of paparazzi spotting an A-list celebrity. Here, the building is the superstar.

HO: Is there anything that you were trying to communicate through it?

JS: This picture wasn't one I planned to take. It's was very much an impromptu moment, so I can't say I was trying to communicate anything in particular through it. That said, once my images were released and started to be used by magazines, newspapers, blogs and so on, this one usually ended up being the most popular one! I like to show people reacting to architecture and using the space in my work as much as possible and this is at the far end of that - an extreme reaction that is tinted with humour. I goes to show that it's not always the images you think that will have the widest appeal!

Jim Stephenson is an architectural photographer and film-maker. 

The selectect image and interview are part of the editorial project "1 Photo(grapher)".

1 PHOTO(GRAPHER): SIMON KENNEDY

1 PHOTO(GRAPHER): SIMON KENNEDY

BY HUGO OLIVEIRA

HO: Where and when was this photograph taken?

SK: At the Heygate Estate (Elephant and Castle, London, England), in November 2011.

HO: Had you been there before?

SK: I visited this site on numerous occasions, also I used to live nearby and have been aware of it for many years.

HO: How did this opportunity come up?

SK: I went there specifically a number of times to make this series of images.

HO: What were the condition on site?

SK: Cold, winter, grey morning. The estate was eerily quiet as most of the inhabitants had moved out. It smelled like London.

HO: Are there any technical aspects about the photograph that you want to point out?

SK: This image was the result of a protracted process of investigation and composition, beginning with a digital camera, and ending with the use of a large format camera. The negative was scanned and subjected to a number of digital augmentations.

HO: Why did you select this image?

SK: This image is probably my favorite from the series. I like the fact that the composition is close to symmetrical, but the trees appear to be thriving, even dancing through the space. The image contains a car, suggesting some degree of inhabitation lingers on.

HO: Is there any particular story that happened during the shooting?

SK: While making this series I often ran into film crews who tried to make me move or leave the site. Since they had no authority to do this, I refused to.

HO: What did you want to communicate through this image?

SK: This image is part of a series examining this estate, which while utopian in intent was notorious through its later lifetime for social problems. These photographs were taken when the estate was empty and awaiting demolition and I am curious to see what remains – can the formal architecture reassert itself now that the inhabitants are gone, does the estate make more sense as an empty artefact than it does full? The estates reversing relationship with nature also fascinates me.

Simon Kennedy is a London based architectural photographer.

The image and interview selected are part of the editorial project "1 Photo(grapher)".

1 PHOTO(GRAPHER): NICOLAS GROSPIERRE

1 PHOTO(GRAPHER): NICOLAS GROSPIERRE

BY HUGO OLIVEIRA

HO - When and where was this photograph shot?

NG - This was shot in an Indoor swimming pool, at a Balneological Sanatorium in Druskininkai, Lithuania, in October 2003.

HO - What was the sort of conditions on site?

NG - The conditions on site where typical of that of an abandoned building: mild temperature but quite humid, rather dark but contrasty lighting, the silence was interrupted periodically by dripping water droplets, the smell was that of moulded gypsum. On the whole, it was a rather unpleasant atmosphere.

HO - Can you pecify some technical aspects about the shooting?

NG - The actual taking of the picture was quite elementary: long exposure and small aperture for wide depth of field. I used a very wide angle (40 mm) on a Hasselblad camera

HO - How did you get inside?

NG - I broke into this abandoned structure. It was locked, but not all the entrances were hermetically sealed, so I managed to get inside without breaking any windows. I learned about this building through a vintage Soviet book on architecture entitled "The architecture of Soviet Lithuania".

HO - Was it your first time there?

NG - I had been a few weeks earlier on the site, but was not utterly satisfied with the results, and therefore I decided to make another trip to make additional pictures.

HO - Why did you select this image?

NG - I selected this image because it is quite representative of my work, as far as my documenting little known Soviet architecture. I have a strong feeling to the whole series that this image is part of - entitled Hydroklinika - because it is one of the most original and delirious concrete buildings I was able to photograph, and also because it does not exist any longer in this particular form. The whole structure was transformed into an aquapark, and the interiors were destroyed in the process.

HO - What were you trying to communicate through it?

NG - Well, in this part of my work (the documentation of modernist architecture, mostly from the former socialist countries),  I try to convey as objective as possible a view on buildings I deem interesting. Of course, the choice of buildings is subjective, and reflects my preferences, and here one should look for the meaning of this work, and not in the single image. I have been documenting this kind of architecture for 13 years now, because when I started to do it it was quite neglected and unknown. I thought it was interesting because it broke the conventional thinking about socialist architecture (namely that it were mostly boring grey blocks of flats), and that, on the contrary, there were extraordinary gems that should be exposed - and perhaps salvaged. Also, this sometimes crazy architecture showed yet another side of the communist system, that it were able to produce an architecture which need not be economically viable to see the light of day. By this, I am not trying in any way to justify this system, I am simply pointing out that this feature, which ultimately led to its demise (precisely because of the lack of economic accountability) produced also extraordinary results.

Nicolas Grospierre is a Warsaw based photographer.

The image and interview selected are part of the editorial project "1 Photo(grapher)".

1 PHOTO(GRAPHER): GIGI CIFALI

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1 PHOTO(GRAPHER): GIGI CIFALI

BY HUGO OLIVEIRA

HO: Where and when was this photograph taken?

GC: It was taken at the Chadderton Baths, in 2008. It's part of a photographic project called "Absense of Water".

HO: What were the conditions at the site?

GC: Well, some of them were well taken cared of, for example the Soho Baths in London, and Victoria Baths in Manchester. But many of them, even if they were protected by an alarm, were vandalized. The sound of pigeons made these places very spooky,

HO: Are there any particular aspects about the shooting that you want to point out?

GC: Not really. It was important to stay at 3/4 away from the deep end of the pool and make sure the camera - a Hasselblad  503CW - was well centered inside the tank.

HO: How did this project start?

GC: I explored the first site Hornsey baths - now demolished - which was at few steps from my apartment. After that excursion, I started searching for others.

HO: Why did you select this project?

GC: I selected the Chadderton Baths for its beauty deco-style: the white tiles and clear lines made it one of my favorites.

HO: Is there any peculiar story about this photograph?

GC: There is a funny aspect about the permit to photograph these baths. In most cases, the Council rejected the initiative. So, I needed to plan a way to climb inside. In order to find the best access to the building, I would study the planimetry of it, and find myself in weird positions. For once, I did convince the builders to had the access to this particular bath just few hours before its demolition.

HO: What is the most interesting thing about this photograph? What does it reflect?

GC: I have always been interested in memories and in the disappearance of signs that would evoke and testify our history.

Gigi Cifali is an Italian photographer based in Milan and London.

The image and interview selected are part of the editorial project "1 Photo(grapher)".

1 PHOTO(GRAPHER): EDDY JOAQUIM

1 PHOTO(GRAPHER): EDDY JOAQUIM

POR HUGO OLIVEIRA

HO: Onde e quando foi esta fotografia registada?

EJ: Em La Tourette, em França, na manhã de 7 de Julho de 2001.

HO: Quais eram as condições no local?

EJ: A temperatura era amena. A primeira luz da manhã, longas sombras, ligeiramente difusas, serenidade. Os sons sugeriam um mosteiro totalmente funcional e em funcionamento. Serenos devido à função do edifício mas também pelo simbolismo de um local sagrado. O ar estava ligeiramente húmido e fresco, particularmente no sítio onde foi tirada a fotografia, que estava ligeiramente debaixo de terra.

HO: Existe algum aspecto técnico que queira mencionar?

EJ: A imagem foi tirada em rolo fotográfico e por isso está com um pouco de grão e não muito focada devido à pouca iluminação no interior e ao alto contraste proveniente das aberturas de luz acima. Ao longo dos anos, à medida que revisitava esta imagem, as imperfeições técnicas transmitem-me a ideia de que a mesma imagem é verdadeira tendo em conta a minha memória do loca. Possivelmente, as cores foram acentuadas devido ao tipo de rolo fotográfico usado, mas mesmo assim sinto que é a imagem é verdadeira na minha memória do local. Recordo-me que as cores eram muito intensas, em directo contraste com as percepções que eu tinha das obras de Le Corbusier, frequentemente publicadas através de fotografias a preto e branco que pareciam quase clinicas e desprovidas de vida. Quando se está no local é totalmente o oposto e esta fotografia recorda-me isso mesmo.

HO: Como surgiu a oportunidade de fotografar esta obra?

EJ: Por meu próprio interesse. Sou formado como arquitecto e exerço arquitectura e faço questão de visitar edifícios notáveis sempre que posso, tanto para aprender fotografia como para fotografar.

HO: O que é mais interessante para si nesta imagem?

EJ: As cores vibrantes e aparente fortuita composição formal que de alguma forma estava espacialmente muito equilibrada.

HO: Existe algum momento particular ou engraçado sobre este registo?

EJ: Infelizmente não foi uma situação engraçada, mas de qualquer forma muito presente na minha memória. O comboio que me levou à localidade próxima de La Tourette colheu uma pessoa. Ficamos presos numa área rural francesa por algum tempo, enquanto a polícia investigava o que se tinha sucedido. Nunca me esquecerei do som do impacto, que foi imperceptível até ao momento em que compreendemos porque razão o comboio tinha parado subitamente no meio do nada. É uma estranha memória para associar à tão maravilhosa experiência de visitar um edifício tão notável e tranquilo, no entanto estranhamente apropriado, um complemento à beleza inesperada do edifício.

HO: Existe algo que quisesse comunica através desta imagem?

EJ: Bem, ao longo de anos, nas viagens subsequentes que fiz a outros edifícios de Le Corbusier não apenas reforçaram a minha admiração pela humanidade dos seus espaços. Eles são muito mais do que sensorialmente sedutoras e confortáveis do que alguma vez alguém possa pensar olhando apenas para uma fotografia!

Eddy Joaquim é fotógrafo e arquitecto.

A imagem e entrevista seleccionadas fazem parte do projecto editorial "1 Photo(grapher)".

1 PHOTO(GRAPHER): DUCCIO MALAGAMBA

1 PHOTO(GRAPHER): DUCCIO MALAGAMBA

BY HUGO OLIVEIRA

HO: Where was this image taken?

DM: It is an exterior image of the Dalian Congress Centre in Dalian, China by Coop Himmelb(l)au Architects.

HO: Had you been there before?

DM: No, it was my first time in Dalian and just my second trip to China.

HO: When was is taken?

DM: I can remember that the photo was taken in the afternoon of a day at the beginning of December 2013.

HO: How did you end up registering this?

DM: I was commissioned by the architects to portrait their building.

HO: What were the conditions at the site?

DM: The area is close to the seaside and at the moment of the shooting there was a chilly sea breeze. Very chilly, actually, as in those days the temperature was around 10/15 degrees below zero. The site was almost silent as the workers already ended their working day and the traffic was far away. The entire afternoon had been cloudy, but getting closer to the sunset the sky opened up a little and a mild light timidly appeared.

HO: Are there any technical aspects of the photograph that you want to point out?

DM: Well, to work in cold conditions is always very demanding, both for the photographer and the equipment. Nevertheless I have to point out that in one week of work under those harsh climatic conditions I never had specific problems with the batteries or the camera.

HO: Why did you select this image among so many others?

DM: I find many reasons to like this image. First of all, I love its surreal atmosphere. The three figures look very small and lost in such an unusual surroundings, I also find very funny that the closest one wears a safety mask. This detail immediately transmits the sensation of an unsafe ambience. It somehow contributes to convert the Congress Centre into a space ship that possibly contaminated the area. Or perhaps the ship is there to evacuate the surprised and disoriented survivors from this post disaster landscape… I find the image satisfactory also looking at it from a more orthodox point of view: thinking to it just as an architecture photography it shows the building perfectly lightened, enhancing the peculiarity of its form and reflecting skin. The relationship with the surroundings is clearly expressed and finally the figures add scale and some action. Another aspect I like of this image is its balanced composition with almost one half of the image dominated by a “crescendo” of dark other half relying on a bright horizontal volume.

HO: Was there anything particular that you were trying to communicate through this image?

DM: I was definitely interested in showing the very peculiar context where the building was standing and I was fascinated by the contrasts in terms of scale and aesthetic. But let me reproduce what Architectural Review’s Editor Catherine Slessor said about my picture during an interview in port-magazine.com. She perfectly describes what I had in mind and, of course, she is able to express it much better than I could ever do when we come to English:

“It’s simultaneously beautiful and bleak – the beautiful new building like a delicate piece of sculpture or haute couture set against the backdrop of a still terraforming cityscape of bleak and anonymous skyscrapers. It’s exceptionally evocative of our times and how architecture is being relentlessly commodified, used as a bauble to prettify what is essentially a terrifyingly banal and overscaled urban development being realised at breakneck speed. By pulling back to include the wider context, Malagamba invites you to consider a much more revealing and complex picture.”

Duccio Malagamba is a photographer and architect.

The selected image and interview are part of the editorial project "1 Photo(grapher)".

1 PHOTO(GRAPHER): DAVID LEVENTI

1 PHOTO(GRAPHER): DAVID LEVENTI

BY HUGO OLIVEIRA

HO: Where and when was this photograph shot?

DL: It was shot in the Koepel Panopticon Prison, Arnhem, in the Netherlands, May 23, 2011 at 8:44pm.

HO: What were the conditions on site?

DL: Stark, comfortable temperature, industrial lighting, quiet, smell of smoke and burnt food from a cell microwave.   

HO: Is there any technical aspect of the shooting that you want to point out?

DL: I photographed the domed prison from the spot on the floor that allows for a near-perfect compositional contrast with my opera houses, which are shot from the spot at center stage where a performer would stand. I work with a large format camera so that I have the utmost control in making sure the composition of the image is architecturally symmetrical. I pay close attention to ensuring the lines are straight for perfect repetition and that the curves of the convolutions of ceiling and higher and lower catwalks are parallel and emphasize Euclidean geometry. With this camera, I am also able to flatten out space to make it look more like a painting. For instance, the industrial chandelier hangs down, but it looks askew, as if it is tilted toward you. I want the viewer to experience what it feels like to be surrounded by the space.

HO: How did you get inside the site?

DL: Through a barter agreement.

HO: What do you find most interesting about this image?

DL: The panopticon. On first inspection, I don't believe that the viewer identifies the interior as a prison. The ceiling of the prison reminds me of the tartan pattern now made famous by Burberry.  

HO: Is there anything that you were trying to communicate through this photograph?

DL: The domed prison is the closest example of Jeremy Bentham's Panopticon model of mass surveillance prison design - a central guard tower with a complete view of surrounding prison cells. This concept was designed so a central observer could monitor all of the prisoners at once, without any particular prisoner being able to feel under inspection. The domed prison has the same architectural structure as an opera house (without the opulence), but the difference is in who is observing whom. In an opera house, the audience of many is observing a few. In the domed prison, it's the reverse.

David Leventi is NY based photographer.

The image and interview selected are part of the editorial project "1 Photo(grapher)".

1 PHOTOGRAPHER: CAROLA MERELLO

1 PHOTOGRAPHER: CAROLA MERELLO

BY HUGO OLIVEIRA

HO: Where and when was this photograph shot?

CM: This photograph was shot at Siemens Pilot Paradigm Shift, in Bicocca area, Milan, Italy, in 2012.

HO: What were the conditions on site.

CM: The pictures were shot in Autumn, taking advantage of a soft and diffused light which muffled the contrast that is typical of this kind of spaces with huge and long series of windows.

HO: How did this opportunity show up?

CM: This work was commissioned by architects Barreca & La Varra, whom I have collaborated with on several occasions over the past few years.

HO: Why did you select this picture in particular?

CM: I selected this picture because I believe that the photography of office spaces is often looked down on. Although these environments are by nature sad and dehumanized, over the last few years many architectural firms have striven to transform them into more pleasant, polished and comfortable places to work in.

From my point of view this photo is particularly interesting because of its render-like effect. I deliberately created an image that produces an unreal effect, such as in architectural renderings, thanks to its extreme cleanliness, the use of light and the rigorous geometrical structure. Contrary to the norm, it is not the rendering that aims to get as close as possible to reality but the photo that somehow mimics the rendering.

Carola Merello is an architectural photographer based in Milan.

The image and interview selected are part of the editorial project "1 Photo(grapher)".

1 PHOTO(GRAPHER): ALESSANDRA CHEMOLLO

1 PHOTO(GRAPHER): ALESSANDRA CHEMOLLO

BY HUGO OLIVEIRA

HO: Where and when was this photograph shot?

AC: It was shot outside the Marco de Canavezes Church (Portugal), designed by Álvaro Siza Vieira, on April 4th, 1999 (Easter Sunday) around noon.

HO: What were the condition on site?

AC: It was Spring, there was Sun and perfume.

HO: Are there any technical aspects about the shooting that you would like to point out?

AC: This photograph was shot with Silvestri 6x9 view camera (Italian brand), analogue, movable. It is a simplification of a view camera but it shares the fact that the stages of frame selection and shutter are two different moments, it is necessary to remove the support to see in the glass the reversed image of the reality that you want to register, and replace it with the pack that contains the film. It means that when you shoot you are not looking through the camera. This kind of introduces a new element on scene: the photographer, whose face is normally covered by the camera, and relates to the subject depicted in a frontal way. The camera on the tripod will only shoot when the photographer activates the shutter. 

HO: How did this opportunity happen?

AC: By commission. It was a work I did for "Catalogo Electa - Alvaro Siza - Opera Completa".

HO: Had you been there before?

AC: I had been there a few days before for the project briefing, and I then decided to go there again for Easter Mass, which is the only occasion in the year where the whole door is open.

HO: Why did you select this image?

AC: I chose it because I believe that what I decided and what fate decided both perfectly met at the precise moment adding a new sense to the architectural project through the photographical contents.

HO: Is there anything particular about it?

AC: I must say that everything portrayed in the image is absolutely true and unintentional, no one was posing for the photograph.

HO: Was there anything that you were trying to communicate through it?

AC: On this I should step back and let who know better than me: "If I could tell the story in words, I wouldn't need to lug around a camera" Lewis Hine

Alessandra Chemollo is an italian photographer.

The image and interview selected are part of the editorial project "1 Photo(grapher)".

1 PHOTO(GRAPHER): ASIER GOGORTZA

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1 PHOTO(GRAPHER): ASIER GOGORTZA

BY HUGO OLIVEIRA

HO: Where and when was this photograph taken?

AG: This was shot from the “Free Square” also known as the “pediment” of the Gehasto neighborhood, in a town called Itsasu (Lapurdi, Basque Country), in a January afternoon, in 2013.

HO: What were the conditions on site?

AG: It was a very cloudy day, but there was a lot of light. In every photograph done for this project, I was looking for similar lighting conditions, avoiding direct sunlight exposure, using the clouds as a natural diffuser in order to achieve a neutral and smooth atmosphere.

HO: Is there any technical aspects you want to point out?

AG: Just like in the rest of the series I opted by putting the pediment centered in the image at a fixed height. 

HO: How did you get to the site?

AG: The first time I went there it many years ago by chance, in one of my aimlessly trips in that area. At that time, I did't have in mind this series on pediments, but the place seemed very special and for years I went there in many occasions. I would say that this specific space is what inspired me to make this photographical series on pediments. I am sure that I repeated this series more than seven times, in different days, with different lights, during a period of time longer than one year. It turned out to me a small obsession.

HO: Is there a funny story about this particular photograph?

AG: From my house, it takes me about one hour to get there by car, and sometimes I would go alone, mas in most of the times I would go with Marga, my partner. Weekend would come and I would ask her: "Let's go see the Itsasu pediment?" and she would always be happy to go with me, maybe she would even be more excited than me. Sometimes we would get there and I wouldn't even take my camera because the light wasn't the one I wanted. In the next weekend the same thing would happen. By the time I took a photograph which I was satisfied with, our son Ladix was already four months young and the first time we went there Marga wasn't even pregnant. However, today I am amazed by the fact that she never said denied going there with me to see the "pediment".

HO: Is there anything that you were trying to communicate throught the image?

AG: I think that this is one of the images from this series that better explains what I was looking for, and although it is still difficult for me to put it into words, I wanted to address the pediment as an architectonical element, to address its functionality, its symbolism for Basques, its aesthetics.... and also its intervention in the landscape, the relation created between the building and the surrounding... I would say that it was a reasearch process on aesthetics.

Asier Gogortza is a photographer based in the Basque Country.

The image and interview selected are part of the editorial project "1 Photo(grapher)".

1 PHOTO(GRAPHER): ANNA POSITANO

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1 PHOTO(GRAPHER): ANNA POSITANO

BY HUGO OLIVEIRA

HO: Where did you take this photograph?

AP: I took this photograph in London (UK), within the Olympic site. This is the Copper Box by MAKE Architects and Populous. In front of it is Monica Bonvicini's sculpture RUN.

HO: When was it shot?

AP: It was in early May 2012, before the Olympic games.

HO: What were the conditions on site?

AP: London was quite cold for the season. It did not rain, yet it was wet and the sky was gray.

HO: Can you share some of the most technical aspects about this photograph?

AP: For most of the commissions I usually work with my view camera on a tripod. In this case I used a medium format Pentax and no tripod, because it would have been too tricky and tiring to wander with all that weight around a 560 acre site all by myself.

HO: How did you get to the site?

AP: The Italian magazine Casabella informally tasked me to shoot the Olympic site for their July editorial. To be honest, I got in with a ticket for the waterpolo match and no photography pass.

HO: Why did you select this photograph? 

AP: I like this photograph, even though it is not my favourite ever. I have chosen it because this is the toughest picture among the most difficult shooting I have ever done (for now!). And it was totally worth the effort, because after the publication on Casabella my work got way better.

HO: Is there any peculiar event that happened in the preparation for this photograph?

AP: Today I can say that all the experience of the Olympic shooting was funny, though at the time it was just crazy and tough to me.

As I mentioned, I was informally tasked by the magazine. That means no photography pass for granted, no expenses cover and insane deadline: They would only buy the pictures, take it or leave it. Right before they called me in April, my business was in deep water. The conditions they offered were not actually meeting my needs, but I told myself: 'It could be the last time I do this job. If it works, great. If not, it's not a big deal.' Then I borrowed the money, got a cheap flight to London and asked some friends to put me up.

The magazine was interested in the completed Olympic site, therefore they recommended not to show anything related to the construction sites. Since the editorial was entitled 'London 2012. The Running City' they also told me to pay great attention to Bonvicini's sculpture RUN. Well, you can imagine my dismay when I found that the Copper Box and RUN were entirely behind a closed fence. The security was all over the Olympic site (a guard every 20-30 meters) and I could not climb the fence without being arrested under section 41 of the Terrorism Act 2000. When I was about to give up, I ran into a builder getting out of the construction site from a little door. I asked, I begged him to let me in. After a couple of no-no-no, I started weeping; then he left the door open and told me: 'I didn't see you!'

I shot my photos and did not get arrested. Casabella published most of my photographs and I still work as an architectural photographer. A sort of happy end.

HO: Is there anything valuable to take out of that experience?

AP: What happened during this shooting is a great lesson to me. I had the proof that being genuinely determined in achieving your goals can make the difference.

Anna Positano is a Genoa based photographer who works under commission for architects and magazines.

The image and interview selected are part of the editorial project "1 Photo(grapher)".

1 PHOTO(GRAPHER): AMANDA LARGE & YOUNES BOUNHAR

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1 PHOTO(GRAPHER): AMANDA LARGE & YOUNES BOUNHAR

BY HUGO OLIVEIRA

HO: What is this image about and where was this it taken?

AL&YB: This photo depicts one of the Absolute Towers by Beijing's MAD Architects and was taken in Mississauga, ON, just west of the city of Toronto, in Canada.

HO: When was it taken?

AL&YB: It was taken on June 3, 2013 at 12:54pm. The time is a crucial element in this photograph.

HO: What were the conditions at the site?

AL&YB: The photograph was taken at high noon time on a beautiful, almost cloudless late spring day.

HO: Can you mention any technical aspects about the shooting?

AL&YB: Most people are surprised when we tell them that this photo has seen very little post-processing and is essentially as taken in camera. It is even more astonishing for many, when we explain that it was taken at noon! The key to this photograph was to take advantage of the very strong sun lighting the edge of the tower, thus creating a very large contrast area between that edge and the background. In deliberately underexposing the frame, we purposefully isolated said edge from its surroundings as if it were floating in space.

HO: How did this opportunity appear?

AL&YB: This was a commission for "Canadian Architect" magazine. This particular image later became the cover photograph for the magazine.

HO: Had you been there before?

AL&YB: No. We had been meaning to take a trip out there to photograph the towers for the fun of it, so the assignment was the icing on the cake.

HO: Is there anything peculiar about the moment when you shot the photograph?

AL&YB: In fact this was the very first image of the building we made. We arrived early on site and made this image while waiting for our contact from the developer's office.

HO: Why did you select this image and is there anything you were trying to communicate through it?

AL&YB: We have always liked the Absolute Towers and had them on our must-shoot list for a while. The towers had been heavily covered in national and international media and had been photographed ad nauseam, so we wanted to do something that like the towers had a special cachet. Something that not only highlighted the towers' main features – in this case the curvaceous lines and reflective surfaces – but that also underscored their uniqueness in the Mississauga landscape. As photographers, we tend to be mostly drawn to the quality of light at the edges of the day. Sunset, sunrise and twilight will generally make buildings look their best. However, we don't just apply a standard formula on a shoot; rather, each building is unique and has special characteristics that define it. These characteristics will define how we approach the building from a photographic standpoint.  In this case, we basically broke one of the biggest "rules" of photography, which advises against shooting at noon. Given the towers' reflective surface, anything that is directly struck by sunlight is going to be much, much brighter than the rest. The position of the sun was such that the entire front curve of the tower was lit up, while the rest was several orders of magnitude darker. Therefore, instead of exposing the frame as the camera suggested, we chose to underexpose it drastically. In this way, the curve was perfectly exposed while the rest of the scene was plunged into darkness thus providing an abstract and unique quality to the photo.

Amanda Large & Younes Bounhar are architectural photographers based in Canada.

The image and interview selected are part of the editorial project "1 Photo(grapher)".

Exposição "Sedimento" - Maria Oliveira

Exposição "Sedimento"

Projecto fotográfico de Maria Oliveira

A exposição “Sedimento”, um projeto fotográfico de Maria Oliveira, inaugurou quarta-feira, 3 de novembro, no Centro Interpretativo do Mundo Rural, no Vimieiro.

A exposição pode ser visitado até dia 10 de fevereiro de 2019, de quarta-feira a domingo, das 10 às 13 e das 14 às 18 horas.

Centro Interpretativo do Mundo Rural

Maria Oliveira é uma autora que já participou em diversas residências artísticas, tem exposições individuais e coletivas e possui no seu curriculum já diversos prémios, estando representada na coleção do MAR-Museu de Arte do Rio.

BIOGRAFIA

Nasceu em Ponte de Lima (1982) e reside, actualmente, no Porto.  Entre 2016 e 2017 foi artista residente da Ci.clo - Plataforma de Fotografia, onde desenvolveu o projecto ‘Guardar o fogo para dias de pouca luz’, que integrou a exposição coletiva itinerante, patente em vários locais em Portugal e no estrangeiro. Em 2017, expôs no Colégio das Artes, em Coimbra, o trabalho ‘Sedimento’ e participou na exposição Atlántica Colectivas do Festival Fotonoviembre, em Tenerife. O projecto ‘sob vigia dos animais antigos’ foi exposto no FotoRio (Rio de Janeiro), Festival Outono Fotográfico (Ourense), Galeria More Than A Gallery (Paris). Participou nas publicações A Process, Der Greif Magazine (Alemanha), Cadernos de Imagens, Cineclube de Guimarães e Revista Golpe D’Asa e em diversas plataformas online. Foi selecionada para a Leitura de Portfolios da PhotoEspaña (PHE) em 2016, vencedora do Festival Audiovisual Black & White, em 2015 e 2007 e do Concurso Portugalidades, em 2012.  Integra a colecção do MAR-Museu de Arte do Rio.

mariaoliveira.fotografia@gmail.com

SCOPIO INTERNATIONAL PHOTOBOOK CONTEST 2018

SCOPIO INTERNATIONAL PHOTOBOOK CONTEST 2018

NEW DEADLINE | CROSSING BOARDERS AND SHIFTING BOUNDARIES: TERRITORY

Deadline for entries: 28th February, 2019 23:59 (Portuguese time), for any information or inquiry use the following e-mail: scopiocontests@cityscopio.com

The third Edition of SCOPIO International Photobook Contest has as theme Crossing Borders and Shifting Boundaries: Territory, which is the main theme of the current cycle of scopio Magazine that focuses on diverse countries and on how architecture is transformed, how it reflects different hybrid cultural identities in many countries and how all of this interacts with and affects our cities and the landscape, always bearing in mind the mentioned categories: Architecture, City and Territory.

The 3 winners (first prize and 2 honourable mentions)  will be partially published in scopio Magazine VIEWFINDER, which will be entirely devoted to this contests. The first prize for the photobook will be granted the possibility for making a special edition published in Author´s Book collection. All the Awarded narratives will be published and highlighted in the networks and other web supports of the institutions that integrate the contest organization, as well as by scopio Editions.

Last contest photobook publication - NO

The contest has now a new structure and organization, which is now the responsibility of 5 international institutions related to Architecture, Art and Image (AAI), which are the Faculty of Architecture on University of Porto (FAUP), Escola Superior de Media, Artes e Design (ESMAD / P.PORTO), School of Architecture in Zaragoza (EINA), School of Architecture in Liverpool (LAS) and University of South Wales (USW).

The general objectives of this contest, as the name implies, is directed towards the creation of an Artist Photobook, which also involves the visual defition of a concept. The focus is on creating a narrative, of no less than 20 images with a descriptive memory of no more than 1000 words, assuming that by presenting a story the reader will pulled and "entertained". In this case, an image is linked with the next one at a fundamental, conceptual and emotional level, increasing the reader's attention to the work in order to figure out what those connections are. Our aim is to reveal the potential of the photobook as a mature medium capable of communicating different perspectives and of combining diverse art expressions to convey in a unique way the rich multi-layered contemporary issues related to architecture, city spaces and the territory where people live and work. In this sense, we are accepting entries of small limited editions of Artist Photobooks or Dummies, as long as they follow the regulations and the publishing disclosure rights of the contest.

We are also searching for new talents and awareness towards photography and architecture through the Artist Photobook, both in Portugal and abroad, and moreover to raise a wider appreciation of our architectural, cultural and intellectual inheritance and promote the photography platform scopio Network. This site shall also be used to publish the projects within the contest.

We are interested in photobooks that may reveal the multiple layers of history embedded in the architecture of cities from different parts of the world, showing how these cities are in constant evolution and how they define new forms of occupation of the available territory. We are also interested in understanding how social, economic and political systems and values affect the territory and its cities, as well as the way people live and work on those places.

For this number of scopio Magazine Viewfinder: Crossing Borders and Shifting Boundaries - Territory, the primarily focus will be on the subject of residential spaces, public spaces, urban scattered communities and city life in general. It will try to show works that characterise the rich multifaceted world of contemporany cities and / or non traditional urban communities regarding immigrants or minorities' different types of block, neighbourhoods, cultural diversity and values expressed in various types of residential and public spaces. Among other things, it is about looking at architectural spaces and their many signs, which reveal the values, customs and culture of the people who live there. In fact, the aim is to show a varied set of works capable of providing a creative and significant body of evidence as regards to the diversity and richness of our cities' architecture and life. In addition, it will focus on how the cities contribute to structure and characterise the territory and are responsible for order and disorder applied to urban and territorial issues. Moreover, there will be an interest in work that explores how cities and other natural systems as rivers, seas, forests and other alike have been in interaction and characterize the territory in terms of spacial morphology and political systems and values affect the way territories evolve and are categorised.

To be considered eligible for the contest, the participants should send us by email the following:

• Physical book dummy;

• 3 original prints (300mm x 240 mm - vertical or horizontal format);

• The digital version of the 3 prints sent + cover (to divulge through our site);

• A descriptive memory of no more than 1000 words, preferably bilingual or English only)

Please note that to receive back by email the physical book dummy, if not selected, participants must send to us the dummy in a pre-paid mail pack.
The organisation will select a set of self-published Dummies to be part of the CITYZINES showcase in scopio Network.

Organization:

CCRE - CEAU - FAUP

ESMAD / UniMAD / P.PORTO

School of Architecture in Zaragoza (EINA)

School of Architecture in Liverpool (LSA)

University of South Wales (USW)

CITYSCOPIO Associação Cultural

This year’s jury will be announced soon.

Official language: Portuguese and English

Rules available here

The address to submit your work is:

CCRE - CEAU - FAUP

Faculdade de Arquitectura da Universidade do Porto
Via Panorâmica S/N | 4150-564 Porto

SCOPIO INTERNATIONAL PHOTOGRAPHY CONTEST 2018

SCOPIO INTERNATIONAL PHOTOGRAPHY CONTEST 2018

NEW DEADLINE | CROSSING BOARDERS AND SHIFTING BOUNDARIES: TERRITORY

Deadline for entries: 28th February 2019 23:59 (Portuguese time), addresed to the following e-mail: scopiocontests@cityscopio.com

The third Edition of SCOPIO International Photography Contest has as theme Crossing Borders and Shifting Boundaries, which is the main theme of the current cycle of scopio Magazine and focuses on diverse countries and on how architecture is transformed, how it reflects different hybrid cultural identities in many countries and how all of this interacts with and affects our cities and the landscape, always bearing in mind the mentioned categories: Architecture, City and Territory.

The 5 winners (first prize and honourable mentions) will be published in a new scopio Magazine VIEWFINDER, which will be entirely devoted to this contests. Awarded narratives will be published and highlighted in the networks and other web supports of the institutions that integrate the contest organization, as well as by scopio Editions.

scopio Magazine Crossing Borders and Shifting Boundaries, City

Escape Architecture (Jurgen Beck)

New  Leipzig (Silke Koch)

Disappearing into Night (David Kendall)

The contest has now a new structure and organization, which is now the responsibility of 5 international institutions related to Architecture, Art and Image (AAI), which are the Faculty of Architecture on University of Porto (FAUP), Escola Superior de Media, Artes e Design (ESMAD / P.PORTO), School of Architecture in Zaragoza (EINA), School of Architecture in Liverpool (LAS) and University of South Wales (USW).

The general objectives of this contest are the strengthening of photography as an inquisitive instrument for architecture, searching for new talents and awareness towards photography and architecture both in Portugal and abroad, and moreover to raise a wider appreciation of our architectural, cultural and intellectual inheritance and promote the photography platform scopio Network. This shall also be used to publish the projects within the contest.

Thus, we are interested in photography and in projects that may reveal the multiple layers of history embedded in the architecture of cities from different parts of the world, showing how these cities are in constant evolution and how they define new forms of occupation of the available territory. We are also interested in understanding how social, economic and political systems and values affect the territory and its cities, as well as the way people live and work on those places.

For this number of scopio Magazine Viewfinder: Crossing Borders and Shifting Boundaries - Territory, the primarily focus will be on the subject of residential spaces, public spaces, urban scattered communities and city life in general. It will try to show works that characterise the rich multifaceted world of contemporany cities and / or non traditional urban communities regarding immigrants or minorities' different types of block, neighbourhoods, cultural diversity and values expressed in various types of residential and public spaces. Among other things, it is about looking at architectural spaces and their many signs, which reveal the values, customs and culture of the people who live there. In fact, the aim is to show a varied set of works capable of providing a creative and significant body of evidence as regards to the diversity and richness of our cities' architecture and life. In addition, it will focus on how the cities contribute to structure and characterise the territory and are responsible for order and disorder applied to urban and territorial issues. Moreover, there will be an interest in work that explores how cities and other natural systems as rivers, seas, forests and other alike have been in interaction and characterize the territory in terms of spacial morphology and political systems and values affect the way territories evolve and are categorised.

Photographic entries should be submitted through email - the web service WeTransfer at http://www.wetransfer.com can be used and the following email address should be utilized: scopiocontests@cityscopio.com

The submission must consist of a zipped folder (max. size 40 MB) with the name of the participant (FIRSTNAME_LASTNAME.zip) which must contain:

• Title

• Body with resume (must not overcome 2000 characters), preferably bilingual or English only;

• Work summary: technical elements;

• Each project submitted to contest should contain a minimum of 10 and maximum of 15 photographs;

Digital signatures or watermarks on the images submitted to contest are not allowed.

The set of images must be all in JPEG or TIFF format, and each image should not exceed 2MB. The files of the images must be identified and numbered according to the display order that is intended, for example PROJECT_NAME_PHOTO1, PROJECT_NAME_PHOTO2

Warning: these lower resolution images are intended to be viewed on a computer screen, the participants should create these images from the original higher resolution photographs, and should also keep them in their possession in order to sent them to the organization if requested for printing purposes.

All the photography narratives will be evaluated by an independent jury. Annually, scopio invites curators, architects, artists and photography connoisseurs to view and select the most innovative photography works in this international contest.

Organization:

CCRE - CEAU - FAUP

ESMAD / UniMAD / P.PORTO

School of Architecture in Zaragoza (EINA)

School of Architecture in Liverpool (LSA)

University of South Wales (USW)

CITYSCOPIO Associação Cultural

This year’s jury will be announced soon.

Rules available here
To submit your work, click here.

VSC PORTABLE PROJECTOR IDEAS INTERNATIONAL CONTEST

VSC PORTABLE PROJECTOR IDEAS INTERNATIONAL CONTEST

RESEARCH PROJECT VSC

U. Porto – CCRE-CEAU/FAUP

U.Minho – Centro ALGORITMI – Lab2PT

Deadline for submitting applications: January 31st, 2019.

GENERAL CONTEXT

This contest encourages students of architecture, artists and multidisciplinary teams to come up with an original idea for the creation of a mobile structure designed for the exhibition of Contemporary Photography Projects within the research project VISUAL SPACES OF CHANGE (VSC).

VSC is the first stage of an Architecture, Art, Image and Innovation (AAI2) project about emerging dynamics of change in the Metropolitan Area of Porto (AMP). Contemporary Photography Projects (CPP) will be developed and implemented in specific places, conceived as "visual narratives" that intentionally interfere with the metropolitan territory in an exercise of self-reflexive representation of its own process of urban change. This network of public and collective spaces will constitute an "Open Museum" in the AMP, stimulating artistic and cultural institutions to broaden their reach and participation in the public space.

The territory under study in this project is used simultaneously as the laboratory for empirical experimentation and the stage of visual representation of the agents and processes of urban change that are intended to be analysed. This project will produce visual syntheses of these dynamics, in order to give visibility to specific aspects of their interconnected nature and historical uniqueness that are difficult to perceive without the purposeful use of image and photography.  This project opens new avenues of investigation by proposing an original combination of methods of visual research and spatial analysis, in order to change perceptions about contemporary dynamics of transformation of the public space, with the objective of collectively transforming the imaginary of the city to the metropolitan scale, contributing to the identification of opportunities for co-evolution between citizens, institutions and the urban environment. 

This international contest is thus part of a dynamic of research for the creation of a set of tools that aim to respond to the need to develop a deeper reading about processes of transformation of the city, through the universe of image, especially photography, supporting the communication of contents related to emerging dynamics of change in public spaces in articulation with historical spaces, museums and other cultural spaces of the AMP.

Theme and object of the contest

The VSC Portable Projector is an idea contest with the objective of motivating students of architecture, art, photography, multimedia and design, as well as artists and interdisciplinary treams, to develop an original concept for a portable projector to be used along the implementation phase of the VSC project.

Inserted in this broader context, this contest intends to reward original ideas for the creation of a set of mobile Portable Projector devices for the display of various analogic and digital contents. The Portable Projector device proposed by each candidate should be made up of a structure that is light and portable or that integrates locomotion mechanisms that enable easy transport and displacement from each installation and exhibition space.

The evaluation of the proposals will value the design of the Portable Projector structure, its mobility and flexibility of use and adaptation, the capacity to be used in exterior and interior spaces and the feasibility of the project, considering that the mobile projectors will be placed in several points of the AMP.

The portable projectors should be designed to provide various levels of interaction with the public, from the display of photographs, book, tablet and iphone - in order to be complementary devices to these various supports, thus responding to the following functional categories:

(a) To allow different levels of interaction with the public, allowing on the one hand the projection of images (fixed or moving) from the CPPs communicating the various spaces of the cities and territories of the selected MPA. On the other hand, allow individual interaction with a person from the audience, between representations of fixed images of the space of the VSNP and the real space;

(b) Allowing individual or book photographs with images of the cities and territories of the AMP and viewing these two-dimensional images in three dimensions (stereoscopy) to allow a kinesthetic experience that defies normal monocular vision;

(c) To allow the placement of ipad and iphone devices in the portable projector and to project to another scale in the space of the VSNP the contents of various visual narratives and CPP that will be accessible through an online VSC platform, as well as through augmented reality (4D).

Through these functional applications and uses of the portable projectors, these will allow the general public to visualize different aspects of selected spaces of the AMP with diverse supports, encouraging interaction with the represented spaces and a greater critical perception of the processes and dynamics of change in the territory under study.

Organization and responsibility of the international contest

This competition is open to all students in the areas of Architecture and Design, nationally and internationally, being possible and desirable the constitution of multi-displinars teams. Students / teams with winning proposals will have the opportunity to become directly involved with the VSC project, materializing their proposal with appropriate material and conceptual support.

The launching and organization of the competition is the responsibility of the research group Center for Communication and Spatial Representation (CCRE), integrated in the FAUP R & D center (CEAU), in collaboration with the CITYSCOPIO Cultural Association, being linked to the project Visual Spaces of Change (VSC).

The coordination of the competition is the responsibility of the consortium CCRE-CEAU / FAUP and Centro ALGORITMI-Lab2PT / UMINHO responsible for the application presented by U. Porto in the contest - Projects for Scientific Research and Technological Development (IC & DT) - http: //www.poci -compete2020.pt/concursos/detail/AAC_02-SAICT-2017.

Participants

The competition is open to all students of Architecture and Design, or to multidisciplinary teams in which one of these areas is present, nationally and internationally.

Each participation / proposal must fall at least, into one of the categories indicated in the section of this regulation "Subject and object of the competition": a), b), c) or may include more than one category simultaneously, according to the versatility of the proposed portable project.

Participation in the contest is individual or in groups up to 5 elements. It is encouraged that the composition of the groups to be interdisciplinary, provided that one element is a student in the areas of Architecture or Design.

Material to be delivered by each candidate:

- Poster, in A1 format, printed with the presentation of the proposal / concept. The graphic elements to be presented should be decided by each competitor and should give priority to expressive communication of the idea and its materialization.

- In case of being selected to execute the proposal, the competitor will have to deliver, within two weeks after announcement of the result, an A3 dossier with complementary plants, cuts, constructive details and descriptive memory. In case of not fulfilling this obligation, the organization reserves the right to disqualify it and to elect the proposal in second place to be fulfilled, passing through the same process.

- Any competitor may submit the complementary dossier to the proposal before the winner is announced, if it deems it necessary for a better understanding of the project. - CD with PDF of Poster A1 (resolution of 300dpi) and Dossier A3 (if applicable).

- Document in A4 format containing personal information about the competitor, including name of each element, telephone contact, email and Institution of Education.

Submission of the proposals

The works will be delivered by 6:00 pm on January 1, 2019, at the CEMR premises (at CEAU-FAUP) or by post. Any competitor may submit their tender before that date. At the time of delivery, participants will receive a receipt confirming receipt of the work.

Júri

The works will be evaluated by a jury composed of the following elements:

– Pedro Leão Neto (FAUP, coordinator of the VSC project);

- Luis Gonzaga  (UMINHO);

- José Barbedo  (Researcher / FAUP - CCRE-CEAU);

 - Invited researcher (FAUP - CCRE-CEAU);

 - Invited researcher (UMINHO) ;

- Invited researcher (UMINHO);

- Invited researcher (UMINHO) 

- (invited person(s) from outside VSC project)

In case of a tied vote, it is up to the VSC coordinator to resolve the final decision. The jury reserves the right not to award any of the prizes provided for in this Regulation if it considers that the submitted works do not meet the expected meritorious levels. The decisions of the jury are sovereign, not admitting appeal.

Awards

The prizes for the 3 winner (s) will be the inclusion of their study and credits in the VSC research project, being at least ensured the inclusion of one of the proposals for execution. The authors of this winning proposal will be contacted to deepen the project, with the support of CCRE-CEAU-FAUP, AAi2 Lab and Centro ALGORITMI-Lab2PT / UMINHO and other partners, in order to make feasible its construction.

Without prejudice to the prizes awarded to each of the winning proposals, a certificate of participation will be given to each contest team, as well as their entries will be made available on the platforms and networks of the CCRE group (websites, social networks, etc.).

Disclosure and publication of results

The result of the contest will be announced until 28 February 2019 on the contest website, social networks and internet platforms associated with the VSC project, namely:chttp://scopionetwork.com/, https://sigarra.up.pt/faup/pt/web_page.Inicial and other public sites.

Ownership and permissions

Without prejudice to the respective copyright, the works submitted by the competitors will become the property of the organizing entities to which the publication and exhibition rights will be reserved.

CCRE reserves the right to disclose, within the scope of this competition, by the means it deems most convenient, the work submitted by its competitors, always referring to the authorship of the work.

The intellectual property of the works is reserved to the authors of the proposals.

General provisions

The act of presenting to the competition presupposes the full acceptance of the rules defined by this Regulation. Failure to comply with the rules makes it impossible to enter the competition. The organization does not accept any additional responsibilities other than those explained in this Regulation, directly or indirectly arising from this Contest.

More information:

http://www.eracareers.pt/opportunities/index.aspx?task=global&jobId=101596

https://sigarra.up.pt/faup/pt/cur_geral.cur_view?pv_curso_id=45

https://drive.google.com/file/d/1ZN8uHG9_O9tcwEJ_da2NNWnz-TUa0OWX/view?usp=sharing

https://drive.google.com/file/d/113TRpManojTfHVZNFqJ43zuYPGpyhUvC/view?usp=sharing

VSC PORTABLE EXPOSITOR IDEAS INTERNATIONAL CONTEST

VSC PORTABLE EXPOSITOR IDEAS INTERNATIONAL CONTEST

RESEARCH PROJECT  VSC

U. Porto – CCRE-CEAU/FAUP

U.Minho – Centro ALGORITMI – Lab2PT

Deadline for submitting applications: January 31st, 2019.

GENERAL CONTEXT

This contest encourages students of architecture, artists and multidisciplinary teams to come up with an original idea for the creation of a mobile structure designed for the exhibition of Contemporary Photography Projects within the research project VISUAL SPACES OF CHANGE (VSC).

VSC is the first stage of an Architecture, Art, Image and Innovation (AAI2) project about emerging dynamics of change in the Metropolitan Area of Porto (AMP). Contemporary Photography Projects (CPP) will be developed and implemented in specific places, conceived as "visual narratives" that intentionally interfere with the metropolitan territory in an exercise of self-reflexive representation of its own process of urban change. This network of public and collective spaces will constitute an "Open Museum" in the AMP, stimulating artistic and cultural institutions to broaden their reach and participation in the public space.

The territory under study in this project is used simultaneously as the laboratory for empirical experimentation and the stage of visual representation of the agents and processes of urban change that are intended to be analysed. This project will produce visual syntheses of these dynamics, in order to give visibility to specific aspects of their interconnected nature and historical uniqueness that are difficult to perceive without the purposeful use of image and photography.  This project opens new avenues of investigation by proposing an original combination of methods of visual research and spatial analysis, in order to change perceptions about contemporary dynamics of transformation of the public space, with the objective of collectively transforming the imaginary of the city to the metropolitan scale, contributing to the identification of opportunities for co-evolution between citizens, institutions and the urban environment.

This international contest is thus part of a dynamic of research for the creation of a set of tools that aim to respond to the need to develop a deeper reading about processes of transformation of the city, through the universe of image, especially photography, supporting the communication of contents related to emerging dynamics of change in the public space of AMP in articulation with identity and historical spaces as well as museums and other cultural spaces.

Theme and object of the contest

The VSC Mobile Exhibition Structure is an idea contest with the objective of motivating students of architecture, art, photography, multimedia and design, as well as artists and interdisciplinary treams, to develop an original concept for an exhibition structure to be used along the implementation phase of the VSC project.

Inserted in this broader context of research, this contest intends to reward original ideas for the creation of a mobile structure for the exhibition of photographic projects.

The structures to be proposed by each candidate should be light and portable, possible to use with different lengths – modular system -, or and may integrate locomotion mechanisms that enable easy transport and displacement from each installation and exhibition space.

The evaluation of the proposals will value the design of the structure, its mobility and flexibility of use and adaptation, the capacity to be used in exterior and interior spaces, the possibility to use with different lengths – modular system - and the feasibility of the project, considering that the exhibition structures will be placed in several points of the AMP.

The exhibition structures should be designed to provide various levels of interaction with the public, allowing the exhibition of images in various supports for the visualization of different aspects of the selected spaces with diverse media of representation, favouring a greater critical perception of the processes and dynamics of change in the territory under study.

Organization and responsibility of the international contest 

This competition is open to all students in the areas of Architecture and Design, nationally and internationally, being possible and desirable the constitution of multi-displinars teams. Students / teams with winning proposals will have the opportunity to become directly involved with the VSC project, materializing their proposal with appropriate material and conceptual support.

The launching and organization of the competition is the responsibility of the research group Center for Communication and Spatial Representation (CCRE), integrated in the FAUP R & D center (CEAU), in collaboration with the CITYSCOPIO Cultural Association, being linked to the project Visual Spaces of Change (VSC).

The coordination of the competition is the responsibility of the consortium CCRE-CEAU / FAUP and Centro ALGORITMI-Lab2PT / UMINHO responsible for the application presented by U. Porto in the contest - Projects for Scientific Research and Technological Development (IC & DT) - http: //www.poci -compete2020.pt/concursos/detail/AAC_02-SAICT-2017.

Participants

The competition is open to all students of Architecture and Design, or to multidisciplinary teams in which one of these areas is present, nationally and internationally.

Participation in the contest is individual or in groups up to 5 elements. It is encouraged that the composition of the groups to be interdisciplinary, provided that one element is a student in the areas of Architecture or Design.

Material to be delivered by each candidate

- Poster, in A1 format, printed with the presentation of the proposal / concept. The graphic elements to be presented should be decided by each competitor and should give priority to expressive communication of the idea and its materialization.

- In case of being selected to execute the proposal, the competitor will have to deliver, within two weeks after announcement of the result, an A3 dossier with complementary plants, cuts, constructive details and descriptive memory. In case of not fulfilling this obligation, the organization reserves the right to disqualify it and to elect the proposal in second place to be fulfilled, passing through the same process.

- Any competitor may submit the complementary dossier to the proposal before the winner is announced, if it deems it necessary for a better understanding of the project.

- CD with PDF of Poster A1 (resolution of 300dpi) and Dossier A3 (if applicable).

- Document in A4 format containing personal information about the competitor, including name of each element, telephone contact, email and Institution of Education.

Submission of the proposals

The works will be delivered by 6:00 pm on January 1, 2019, at the CEMR premises (at CEAU-FAUP) or by post. Any competitor may submit their tender before that date. At the time of delivery, participants will receive a receipt confirming receipt of the work.

Jury

The works will be evaluated by a jury composed of the following elements:

– Pedro Leão Neto (FAUP, coordinator of the VSC project);

- Luis Gonzaga  (UMINHO);

- José Barbedo  (Researcher / FAUP - CCRE-CEAU);

 - Invited researcher (FAUP - CCRE-CEAU);

 - Invited researcher (UMINHO) ;

- Invited researcher (UMINHO);

- Invited researcher (UMINHO) 

- (invited person(s) from outside VSC project)

In case of a tied vote, it is up to the VSC coordinator to resolve the final decision. The jury reserves the right not to award any of the prizes provided for in this Regulation if it considers that the submitted works do not meet the expected meritorious levels. The decisions of the jury are sovereign, not admitting appeal.

Awards

The prizes for the 3 winner (s) will be the inclusion of their study and credits in the VSC research project, being at least ensured the inclusion of one of the proposals for execution. The authors of this winning proposal will be contacted to deepen the project, with the support of CCRE-CEAU-FAUP, AAi2 Lab and Centro ALGORITMI-Lab2PT / UMINHO and other partners, in order to make feasible its construction.

Without prejudice to the prizes awarded to each of the winning proposals, a certificate of participation will be given to each contest team, as well as their entries will be made available on the platforms and networks of the CCRE group (websites, social networks, etc.).

Disclosure and publication of results

The result of the contest will be announced until 28 February 2019 on the contest website, social networks and internet platforms associated with the VSC project, namely:chttp://scopionetwork.com/, https://sigarra.up.pt/faup/pt/web_page.Inicial and other public sites.

Ownership and permissions

Without prejudice to the respective copyright, the works submitted by the competitors will become the property of the organizing entities to which the publication and exhibition rights will be reserved.

CCRE reserves the right to disclose, within the scope of this competition, by the means it deems most convenient, the work submitted by its competitors, always referring to the authorship of the work.

The intellectual property of the works is reserved to the authors of the proposals.

General provisions

The act of presenting to the competition presupposes the full acceptance of the rules defined by this Regulation. Failure to comply with the rules makes it impossible to enter the competition. The organization does not accept any additional responsibilities other than those explained in this Regulation, directly or indirectly arising from this Contest.

Learn more about this exciting challenge at mil.up.pt/aai2lab and scopionetwork.com/news

more informations:

http://www.eracareers.pt/opportunities/index.aspx?task=global&jobId=101596

https://sigarra.up.pt/faup/pt/cur_geral.cur_view?pv_curso_id=45

https://drive.google.com/file/d/1ZN8uHG9_O9tcwEJ_da2NNWnz-TUa0OWX/view?usp=sharing

https://drive.google.com/file/d/113TRpManojTfHVZNFqJ43zuYPGpyhUvC/view?usp=sharing