[in Old Ruins] and

Transcription

[in Old Ruins] and

The Book of Tourism Vs Heritage
International Point of View
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Identificar, num Mundo cada vez mais
global, onde as regiões são cada vez mais
incaracterísticas, devido ao elevado número
de objetos, obras, produtos e até de uma
arquitectura, chamada de ocidental, mas
onde
apenas
se
repetem
ícones
internacionais, levados a cabo pelo
consumo global, são, quanto a mim, um
dos maiores problemas que a sociedade
vive, do ponto de vista cultural.
A Globalização, que até há bem pouco
tempo parecia uma mais-valia, tornou-se,
num exagero mal aproveitado, onde as
oportunidades culturais foram postas em
causa, sem que ninguém desse por isso.
Estamos numa época, até porque a moda
também nos leva a esta temática, onde as
memórias dos anos passados são cada vez
mais utilizadas como um revivalismo
cultural, que não é mais do que a
necessidade de reencontrarmos as nossas
raízes culturais.
O património construído, tem valores de
uma dimensão, que em muitos casos é
facilmente mensurável, mas noutros casos,
torna-se quase impossível avaliá-los e
relativiza-los em relação a fórmulas
matemáticas e estatísticas, que induzam a
um valor real, do que está a ser avaliado,
por isso, quando se tenta entender e
descobrir velhos, e até novos, valores que
representam a memória do local ou a
cultura de uma região, torna-se muito
difícil decidir qual o caminho a tomar.
Estamos a falar de números silenciosos,
que do ponto de vista estético e cultural,
são induzidos no cálculo de uma avaliação
1. Introdução:
A importância que o turismo tem, como
veículo impulsionador da manutenção e
recuperação das memórias culturais,
materiais e imateriais de uma rua ou de
uma região, é motivo de destaque, para se
levar a cabo uma investigação, que ofereça
conhecimentos vários, sobre as várias
matérias e problemas que podem ser
resolvidos com a correta utilização do
turismo e do significado de turismo.
As regiões que cada vez mais se enchem de
turistas, onde todos são quase que levados a
comprar os mesmos produtos, iguais em
todos o lados, onde apenas o nome da
cidade é alterado, onde todos acabam por
procurar as cadeias de restaurantes
internacionais, e onde as visitas são
igualmente organizadas, tal como em outro
qualquer país, são cada vez mais motivo de
preocupação, abrangendo todas as áreas da
sociedade e da economia.
Ruas desertas ao lado de outras
movimentadas, centros urbanos, tratados
como um parque de diversões, onde nem
sequer existe espaço para se respirar e
usufruir das vistas e da cultura local, são
aspectos que muitos gostariam de ver
resolvidos.
A cultura individual do turista e as suas
características, levam-no a procurar
determinados produtos, mas em qualquer
um desses produtos turísticos, as memórias
do local, e a cultura da região, serão sempre
uma mais-valia a ter em consideração
quando se organizam visitas turísticas ou
simplesmente estadias de descanso.
The produced texts are of each author responsibility.
Os textos são da responsabilidade de cada autor.
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de um produto turístico, por quem o
propõe, através de uma certa simpatia,
condescendência ou interpretação cultural,
do individuo que está perante uma proposta
percursos catalisadores de movimentos
culturais muito abrangentes.
Esses factores são de tal modo,
culturalmente, emotivos, que nuns casos
são conotados como uma apreciação e
noutros casos como uma depreciação, a
acrescentar à fórmula de cálculo utilizada,
genericamente sistematizada e aceite, do
ponto de vista económico, sobre as opções
tomadas.
O património pode ser considerado como
um produto (Kotler, 2000), mas para
entendermos melhor o que é um produto,
teremos que pensar em Marketing, em
Design e só depois em Arquitetura, uma
vez que a Arquitetura incorpora as
anteriores. Mas um produto turístico não
pode nem deve ser entendido como um
fator material, apenas, mas também
imaterial, que não se vê, mas sente-se, que
se sabe existir, uma vez que será por causa
desse fator imaterial, que o património
material existe, com as suas características
mais tradicionais.
É por isso um processo problemático, e
profundamente discutível, a metodologia a
aplicar e a escolher, para fazermos uma
avaliação correta do objecto, no seu sentido
mais lato, material e imaterial.
Os factores humanos, a vivência das
pessoas, que vivem uma determinada
cultura, desperta curiosidade ao turista.
Trata-se de uma curiosidade saudável, e
que pode ser explorada num sentido
ascendente,
cultural
e
patrimonial.
Mantendo assim as memórias e tradições
específicas de um povo.
Introduction:
The importance that tourism has, as vehicle
to the maintenance and recovery of
cultural, material and immaterial memories
of a street or a region, it is a matter of
emphasis, to carry out an investigation,
which could offer different points of view
and knowledge about various matters and
problems that could be solved with the
correct use of tourism and tourist
significance.
Heritage can be considered as a product
(Kotler, 2000), but to better understud what
is a product, we should think about
Marketing, Design and Architecture, since
the architecture incorporates the previous.
But a tourist product cannot and must not
be understood as a material factor, only,
but also immaterial, what you can't see, but
you know about that existence.
The human factors, the experience of
people who live inside a particular culture,
arouse curiosity for tourists. This is a
healthy curiosity, and that could be
exploited in a cultural and patrimonial
upwards. With that we will keep the
memories and specific traditions from
people, or regions.
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Nota de Autor:
Este livro é dedicado a todos os que se preocupam com a cultura individual de uma região
e de um povo.
Ao longo do livro, organizado em capítulos, com temas de vários autores, podemos
encontrar espelhadas, várias preocupações, resultados e propostas.
Por mera curiosidade ninguém se referiu à pintura, escultura, ou à música, por exemplo.
Talvez porque essas formas de arte estejam patentes no imaginário coletivo, e global,
sendo elas realmente universais. Pela sua dimensão física, ou dimensão de propagação das
suas imagens.
Também, porque as mesmas formas de arte tradicionais estejam preservadas
através do folclore, e dos produtos artesanais.
Fica no entanto este ponto por discutir, tal como todos os outros, aqui espelhados, onde
cada um por si só iria gerar discussões muito acesas e interessantes.
Por tudo isto, organizou-se, em Torres Vedras e em Lisboa, no mês de fevereiro de 2015,
as conferências internacionais, sobre o tema: Tourism Vs Heritage, onde investigadores
de vários países reflectiram sobre o significado de cultura, associado ao turismo,
mostrando e dando exemplos dos seus países ou regiões.
Os textos, que se seguem, são de autores diversos, onde se podem reconhecer
preocupações e ou soluções, para esta problemática.
Author's Note:
This book is dedicated to all who care about the individual culture of a region and a
people. Throughout the book, organized into chapters, with themes from various authors,
we can find several concerns, results and proposals. By mere curiosity nobody referred to
the artistic painting, sculpture, or music, for example. Maybe, because these art forms are
patents in the collective imagination, and global, and they are really universal.
We had organized, in Torres Vedras and in Lisbon, during the month of February 2015,
the International Conference on the subject: Tourism Vs. Heritage, where researchers
from various countries reflected about the meaning of culture, associated to tourism,
showing and giving examples of their countries or regions. The texts below are of various
authors where they can recognize concerns and or solutions about this problem.
2.
Scientific Committee
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Conteúdo
1.
INTRODUÇÃO: ................................................................................................................................................. 1
2.
SCIENTIFIC COMMITTEE .......................................................................................................................... 3
3.
SENIOR TOURISM IN ALGARVE: A WAY TO PROMOTE THE REGENERATION OF THE
TERRITORY ..................................................................................................................................................................... 5
4.
GRAPE HOUSE ................................................................................................................................................... 6
5.
BEYOND SUSTAINABILITY – BIOPHILIC AND REGENERATIVE DESIGN IN
ARCHITECTURE ...........................................................................................................................................................12
6.
IN-SIGHTSEEING HERITAGE VS TOURISTING ...................................................................................21
7.
HOW CULTURAL HERITAGE CAN POSITIVE INFLUENCE TOURISM ............................29
8.
PHENOMENOLOGICAL AND AESTHETIC EXPERIENCE IN A SUBURBAN VILLA OF THE
EIGHTEEN CENTURY - QUINTA DAS ÁGUIAS, IN LISBON ..........................................................................35
9.
THE DICHOTOMY OF 'SILENCE' [IN OLD RUINS] AND 'NOISE' [IN NEW
CONSTRUCTIONS] PRESENT IN ARCHITECTURE..................................................................................43
10. REALIDADE VIRTUAL - MOSTRA UMA NOVA VISÃO PARA O TURISMO E
PATRIMÓNIO ..............................................................................................................................................................49
11. FATORES INTENSIFICADORES COMUNS DA EXPERIÊNCIA TURÍSTICA CONTRIBUTOS PARA A COMPREENSÃO DA ATRATIVIDADE DO DESTINO .........................56
12. IMPOSSIBLE OBJECTS!SPACE-TIME EXPERIENCE OF ARCHITECTURAL HERITAGE ........75
13. AMBIVALÊNCIAS NA EXPERIÊNCIA TURÍSTICA – DEFINIÇÕES PARA O
IMAGINÁRIO TURÍSTICO DO DESTINO LISBOA.....................................................................................83
14. AUTHENTICITY CRITERIA IN CONSERVATION OF SACRED BUILDINGS ............... 101
15. AUTHENTICITY CRITERIA IN CASTLES OF IVANO-FRANKIVSK REGION .............. 104
16. EVANESCENT SURFACES: THE WINDOW AS SCREEN................................................................. 110
17. INTERVENTION IN THE POMBALINE LIVING SPACE THROUGH SUSTAINABLE
ATTITUDE ................................................................................................................................................................. 120
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18. PROMETHEUS IN THE COMPANY OF TEACHERS, STUDENTS AND OWL ...............128
19. TRINDADE STATION AN ICONIC BUILDING ............................................................................138
20. RENEWABLE ENERGY SOLUTIONS FOR TOURISM ..............................................................145
21. REUSE OF HUGE INDUSTRIAL AREAS .........................................................................................153
22. AS QUINTAS SENHORIAIS AGRÍCOLAS NO CONCELHO DE TORRES VEDRAS ....165
23. IMPACTOS TURÍSTICOS EM DESTINOS SENSÍVEIS E DE PEQUENA DIMENSÃO.187
24. SURF: ROYAL SPORT FOR THE NATURAL KINGS OF EARTH - UMA PERSPETIVA
HISTÓRICA. .................................................................................................................................................................202
25. IDENTITY AND MEMORY - VILLAGE TOURISM IN BEMPOSTA ...................................219
26. THE IMPORTANCE OF TOURISM IN PRESERVING OF ARCHITECTONIC ZONES .229
27. [RE]PLACE- AN INTERVENTION PROPOSAL TO BEMPOSTA ..........................................235
28. LANDSCAPE TOURISM- AN INTERVENTION PROPOSAL TO BEMPOSTA ................245
29. THE INFLUENCE OF THE AUDIOVISUAL IN CONTEMPORARY ARCHITECTURE254
30. BIOCLIMATIC SOLUTIONS IN VERNACULAR .........................................................................264
31. HEALTHY PLACES: THE RELATIONSHIP BETWEEN ARCHITECTURE AND
NURSING ....................................................................................................................................................................270
32. THE ENERGETIC PERFORMANCE OF OLD BUILDINGS: HOW TO IMPROVE IT? ..276
33. MULTIFUNCTION IS NOT ENOUGH -AN APROACH TO A NEW CONCEPT IN
URBAN SPACE LE TERROIR .............................................................................................................................283
3.
SENIOR TOURISM IN ALGARVE: A WAY TO PROMOTE THE
REGENERATION OF THE TERRITORY
Ana Bordalo, (Architect PhD)
ISMAT – Instituto Superior Manuel Teixeira Gomes
CIAUD – Centro de Investigação em Arquitetura Urbanismo e Design da Faculdade de
Arquitetura de Lisboa, Portugal
Abstract:
In a society strongly marked by aging, the communities of living dedicated to the elderly
needs are today a strong alternative to the traditional nursing homes. These conciliate
residential structures (permanent or temporary) with services and equipment’s able to
potentiate a differentiated quality of life to residents.
In Portugal, in border line between Algarve and Alentejo – according to Census 2011 - we
found a territory characterized by aging and depopulation, were Vila do Bispo,
Monchique and Alcoutim recorded one marked loss of population – Alcoutim posted the
largest loss of population of all Portuguese municipalities (22,6%).
Algarve is one of the most important regions of tourism in Portugal and in Europe. This
work will analyze part of its territory and develop an intervention proposal that can
conciliate the existent urban and architectural structure, in order to preserve the local
heritage. And, simultaneously, can transform the region in a laboratory of what can be the
future senior tourism in Europe: permanent and intergenerational residential structures
conciliated with tourism areas (dedicated to the elderly people), adapted to the existence
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urban structures in a process of abandonment; able to attract an fixed young active people
and, with that, combat the aging and the depopulation process in inner regions; and,
simultaneously, promote the revitalization and the regeneration of territory.
Key Words: Senior Tourism, Territory Revitalization, Spatial Equity, Independent living
in old age, Home support.
4.
GRAPE HOUSE
Bruno Silva, Ph.D
CITAD, Portugal
Abstract:
The present article concerns our will to expand and rebuild a previously assembled
building with the purpose of producing, processing and commercializing regional
agricultural products.
The main focus of this project will be the usage of a terrain with specific agricultural
features which will be used not only for private use and consumption but also for
exporting/marketing of regional agricultural products.
This marketing strategy will be conducted through the amplification and rebuilding of a
pre-existing stone masonry house located in the plot. In other words, the housing will
work as a “Tasting House” for its own agricultural products.
The project has one other purpose concerning the advertisement of several other regional
manufacturers. In this regard, the project will have its own exhibition site which will
subsequently have one other adjacent unit related to agro-tourism activities and a
swimming pool, complementing the desired effect on the marketing strategy for the
region.
The possibilities/philosophy brought by the agro-tourism to the region will allow not only
to spread its recognition but also to generate more jobs regarding the agro-cultural
production and the maintenance of all the adjacent structures.
Note: Currently applying for financial support (PRODER)
Key Words: Welfare, Familiar environment, Tourism.
Introduction:
Tourism is a phenomenon which takes us to the old days. Many civilizations, such as the
Greek or even the Roman, had secondary residences in the suburbs. Nowadays this
practice hasn’t changed significantly, since the human being has felt the need to move.
This behaviour may be associated to other factors, from the search for attractions and
diversions to climatic factors, economic factors or even fulfilling a fantasy.
For all these reasons and some others, it is believed that tourism is a culture unifying
activity, and therefore quite profitable, because people all over the world consider trips a
good way to spend their free time.
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International acknowledgement
In recent years Europe has registered an increase of income associated to tourism of about
306 million euros. Portugal is not an exception since it has taken advantage of this
tendency in a certain way.
A curious fact concerning the evolution of Portugal when compared to other countries
with much more potential, such as Sweden and Poland, is that in 2001 the country was
able to collect about 6.1 million euros, surpassing these two nations.
A study released by the World Tourism Organization in 2006, considers Portugal one of
the 20 best destinations in the world. A fact that proves this right is the increasing number
of foreigners that want to visit our country, which has even surpassed the number of
national residents.
In the year 2007 Portugal even surpassed Russia, reaching 12.3 million tourists, and in
2013 received an acknowledgement by the Condé Nast Traveller, which claimed that our
landscapes, gastronomy, beaches, the people’s affection and mainly our expertise in using
technology while respecting our History made Portugal the best destination to travel in
that year.
The year 2013 was indeed a very positive period. Lonely Planet elected Porto the best of
10 destinations in Europe, and in the following year the North American newspaper USA
Today chose Portugal as the best country to spend vacations in Europe, focusing on the
beaches, the gastronomy, the Algarve, the Port Wine and, of course, fado (World
Heritage).
All these numbers concerning the growth of tourism in Portugal mentioned above are
reinforced by INE (Statistics National Institute) in studies carried out in 2012 and 2013,
which are presented as follows:
“According to the provisional data from the World Tourism Organization, the number of
worldwide tourist arrivals in 2012 stood for a year-on-year growth of 4.0%, corresponding
to 39 million tourists. Europe hosted more than half of the international tourists (51.6%)
and presented a 3.4% growth when compared with the previous year. However, the most
favourable results came from Asia and The Pacific (+7.0%) and Africa (+6.4%). The
Middle East was the only region to present a declining result in year-on-year terms (5.4%).
In Portugal, according to the Balance of Payment produced by Banco de Portugal, the
item Travel had its revenue increased by 5.6% and the expenditure decreased by 0.9% in
2012. Therefore, the balance of this item showed a significant positive trend in this year.
Revenue reached EUR 8 606 million while expenditure stood for EUR 2 946 million,
which led to a EUR 5 660 million balance in 2012 in Travel item, against EUR 5 172
million in 2011 (+9.4%). (…)”1
The region of Asia and the Pacific recorded the biggest increase in tourist arrivals
(+6.2%), followed by Africa (+5.4%) and America (+3.2%). The Middle East recorded,
yet again, a decline in the number of incoming tourists (-0.2%) in comparison with the
previous year.
According to data from Banco de Portugal with regard to the item “Travel and Tourism”
from the Balance of Payments, with reference to 2013, revenue has increased for the
fourth consecutive year in relation to the previous year (+7.5%), totalling EUR 9 250
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million. Expenditure on “Travel and Tourism” went over the EUR 3 million mark (EUR 3
120 million), a 5.9% growth compared to 2012. In 2013, the balance regarding this item
stood at EUR 6 130 million with a resulting 8.3% annual growth (+9.4% in 2012). (…)”2
--1 Instituto Nacional de estatísticas; Estatísticas do turismo 2012 ; editor: Instituto
Nacional de Estatística, I.P ; Ano 2013; ISBN 978-989-25-0205-2; pagina 4
2 Instituto Nacional de estatísticas; Estatísticas do turismo 2013 ; editor: Instituto
Nacional de Estatística, I.P ; Ano 2014; ISBN 978-989-25-0267-0; pagina 4
“In 2013, according to the provisional data from the World Tourism Organization, the
number of tourist arrivals worldwide totalled 1 086.8 million, representing a 5.0%
increase when compared to 2012.
Europe concentrated more than half of the arrivals of international tourists (51.8%), 5.4%
more than in 2012.
Tourism in the Rural Environment
If we analyse the philosophy of Rural Tourism we conclude that it consists of a set of
activities connected to country life which are carried out in exchange for a salary, and
whose main goal is to offer the tourist the opportunity to practice the values and traditions
of the rural societies. This way it becomes essential to highlight that rural tourism is one
of the solutions to ensure the rural economic revitalization.
Within the concept of rural tourism we have several classifications, which according to
the Portuguese legislation (DL nº 15/2014, de 23/01) can be integrated in one of the
following types:
a) Hotel establishments;
b) Touristic villages;
c) Touristic apartments;
d) Resorts;
e) Enterprises of tourist housing;
f) Enterprises of tourism in rural environment;
g) Campsites and caravan parks;
h) Enterprises of ecotourism.
As it was mentioned at the beginning of this article, this refers to a project of rural
tourism, more specifically agro-tourism. This client’s will emerged from the possibility of
applying for PRODER funding to create jobs, which include his own as a businessman,
and hence allow the advertising of the region and its traditions, since the interior keeps
being insufficiently explored in what this type of concept is concerned.
Bearing in mind all of these factors, and mainly the increase of international demand for
Portuguese tourism, the Grape House project is born. A main unit, a biological swimming
pool with its own backup structure (restrooms, lockers area and first-aid post) and two
adjacent buildings connected to the pool are part of this project.
In what the main unit and its functions are concerned, it will be ready for production,
transformation and trading of agricultural products produced in the complex, as well as to
use these products to cook tasting menus.
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Likewise it is intended to advertise other regional producers through partnerships or even
by organizing events as, for example, fado nights and handicraft exhibitions, among
others.
The two adjacent buildings connected to the pool will be used as private apartments, each
one of them composed by two bedrooms, one toilet, one pantry and a kitchenette.
The rest of the program refers to the terrain which will shelter the agricultural production
itself, approximately 11.400 m2, composed by 15 plots.
Images from the site as well as 3D images of the Grape House project are presented
below.
Picture 1: Location of the Grape House, between the city of Covilhã and the village of
Orjais, Source: Google Earth, accessed on 7th January 2015
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Picture 2: Set of photos of the existing
Source: Taken by the author on 3rd September 2014
Picture 3 and 4: Set of 3D images of the proposal
Source: Elaborated by the author on 6th December 2014
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Conclusion:
The elaboration of this project had a double personal satisfaction. On one hand the client
is a relative of mine, on the other hand I had the opportunity to learn about this topic
which is new to me.
After analysing the legislation for this type of enterprise, the several cases of rural tourism
existing in the country (not many), and mainly after getting to know better the region
where this project is supposed to be installed, it becomes very clear that there is a gap that
needs filling as soon as possible.
There is an enormous potential that is not being capitalized, it is necessary to advertise our
traditions and our people’s manners better. It is urgent to preserve some natural
sanctuaries, not only in a cultural way but as a handle of economic development in the
regions where it is applied.
It would be interesting, in case it didn’t exist, to create some sort of program in schools to
advertise these regions which so rich in History and natural landscapes, because it could
be an effective methodology to transmit the existing values, and therefore raising a future
generation that pays more attention to the potentiality that Portugal possesses.
To conclude I would really like this project to make a difference in advertising Beira
Interior, more precisely the area between Covilhã and Orjais, because I am certain that it
is a radical life change in all its aspects, at least in a personal way (client).
Final Note: This article was translated into English by Wall Street Institute (Covilhâ)
Este trabalho é financiado por Fundos Nacionais através da
FCT – Fundação para a Ciência e a Tecnologia no âmbito do Projecto UID/AUR/04026/2013.
References:
Carneiro, Inês Ferreira; O Desenvolvimento Rural em Portugal: caminhos percorridos e
por percorrer, A contribuição do Programa de Iniciativa Comunitária LEADER para uma
Política de Desenvolvimento Rural em Portugal; ISCTE, Lisboa, Portugal
(available online on: http://webcache.googleusercontent.com/search?q=cache:I7RZ6gVQKQJ:www.cetrad.info/static/docs/documentos/105.pdf+&cd=2&hl=ptPT&ct=clnk&gl=pt e acedido em 10/02/2015)
Instituto Nacional de estatísticas; Estatísticas do turismo 2013 ; editor: Instituto Nacional
de Estatística, I.P ; Year 2014; ISBN 978-989-25-0267-0; page 4
Instituto Nacional de estatísticas; Estatísticas do turismo 2012 ; editor: Instituto Nacional
de Estatística, I.P ; Year 2013; ISBN 978-989-25-0205-2; page 4
Martinho, Vítor João Pereira; Desenvolvimento rural e conservação do campo, Dinâmica;
(available online on: http://www.ipv.pt/millenium/19_spec10.htm e acedido em
10/01/2015)
Turismo de Portugal; Plano estratégico nacional do turismo para o desenvolvimento do
turismo em Portugal; editora Tipografia Peres, S.A; Year 2007
Turismo de Portugal, IP; Barómetro de Conjuntura Inverno 2014/15 Estabelecimentos
Hoteleiros, Aldeamentos e Apartamentos Turísticos; editor Proturismo; Year 2014; page 3
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5.
BEYOND SUSTAINABILITY – BIOPHILIC AND REGENERATIVE
DESIGN IN ARCHITECTURE
Bruno Duarte Dias, (MA)
Lusíada University, CITAD, Portugal
Abstract: The environment friendly design movement emerges from the clear view that
human conventional action is destroying the living systems that support life on earth as
we know it.
This review paper underlines the limits of Sustainable concept and looks at Biophilia and
Regenerative Design, two emerging concepts that appear to have a more appropriate
answer to the environmental problems that we face today and in the future. This paper
will give an overview of each concept and design framework, trying to interpret the way
they operate, the differences, similarities and goals.
Key Words: Ecological design, Sustainable design, Biophilic design, Regenerative
design.
Introduction:
The foundations for the environment friendly design movement (ecodesign) starts to lay
down in the US on the late 60’s, but was in the 70’s with the oil crises and books like
“Silent Spring” and “The Limits to Growth” that the subjects like bioclimatic design and
efficiency start to be developed. From the ecodesign design emerged two branches. The
“Ecological Design”, that is define by Sim Van der Ryn and Stuart Cowan as any form of
design that minimizes environmentally destructive impacts by integrating itself with
living processes that is based in understanding the natural process and take benefit from
them. The second design branch focus on low-impact environment and high efficiency
solutions based on the use of technology. These are the main subjects on Green and
Sustainable Design.
Hans Bruyninckx executive director of the 2014 Intergovernmental Panel on Climate
Change (IPCC), states “We urgently need to reduce global emissions to avoid the most
extreme impacts. The window for action is closing fast.”. If we focus on sustainability
concept in order to achieve a sustainable balance between our needs and the health of our
life support (nature), we have to constantly lower human ecological footprint because the
population is increasing.
Yes we need to reduce, but if the projections of the table 1 are correct, reduce will not be
enough, we need to make positive contributions to balance the earth ecosystems.
Table 1 -This
table merges the
human population
impact on the
planet with the
predominant
ecological
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concept, that were applied and developed in design field
Dr. Raymond Cole was invited to present his view on the “Future in Sustainable Design
and Development” on the “World Sustainable Building Conference" Helsínquia 2011. He
argues that Mitigation is not enough to invert the current situation. In Cole perspective a
more accurate answer is “to co-develop partnership and the relationship between human
and natural systems, through Regenerative design and development.”
Jonathon Porrit describes the concept of sustainability as "if something is sustainable,
meaning that you can continue to do indefinitely. If we cannot do indefinitely without
causing problems is not sustainable.”
Bill Reed argues that we could build LEED Plantina buildings (near 90% sustainable) in
the next 100 years and continue to destroy the system that supports our life on the planet.
Build in this way cannot be done indefinitely, so it's not sustainable. William McDonough
states that sustainability goal is the first step to slowdown the situation we are in. To
change first we need to slowdown to be able to reverse the course of events.
1. Biophilia
Bio means “life or living things”, philia means “love”. Biophilia can be translated to Love
to life. It was first used by Erich Fromm in 1964 to describe a psychological orientation of
being attracted to all that is alive and vital. But the term became popular when Edward
Osborne Wilson wrote the book "Biophilia" in 1984. This book proposed the deep
affiliations that humans have with nature and that they are rooted in our biology. Unlike
phobias and fears that people have of things in the natural world, philias are the attractions
and positive feelings that people have toward certain habitats, activities, and objects in
their natural surroundings. (Heerwagen 2009)
“The concept of biophilia implies that humans hold a biological need for connection with
nature on physical, mental, and social levels and this connection affects our personal wellbeing, productivity, and societal relationships.” Sheeps Meadow, 2004
1.1 Empirical Studies
Although the concept of biophilia is relatively straightforward to grasp, the neurological
and physiological foundations and their impacts on the environment are critical for truly
appreciate its value.
Studies reveal that the contact with nature is beneficial to all, regardless of age, gender,
race, or ethnicity and it should be available to all urban dwellers, not just those who can
afford to live on the edges of parks and open spaces. (Newman 2010) Connection to
nature on a daily basis reinforces the values of respect and care for the environment
(Heerwagen 2009), increase in parasympathetic activity resulting in better bodily function
and reduced sympathetic activity decreased stress and irritability, and the increased ability
to concentrate. (Browning 2012)
Between 1972 – 1981 Roger Ulrich made the first controlled test in a Hospital trying to
access if a room with a window view to a natural setting, might have restorative
influences in patients recovering from surgery. Two recovery rooms had different views,
one had a view to a wall and the other to trees outside. He concluded “in comparison with
the wall-view group, the patients with the tree view had shorter postoperative hospital
stays, had fewer negative evaluative comments from nurses, took fewer moderate and
strong analgesic doses and had slightly lower scores for minor postsurgical complications.
(Ulrich, 1984)
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A review article published in 2009 by Two Noreugeum researchers went over more than
fifty relevant empirical studies focusing how important is eye contact with nature to
human health. They concluded that interacting with nature can offer positive effects on
health and well-being, that is a fact that seems to be reasonably well substantiated. It
seems worthwhile to encourage interaction with plants, both outdoor and indoor, as this is
likely to be a useful environmental initiative with a sound cost-benefit profile.(Bjørn,
Grindal 2009)
1.2 Biophilic Design
“Biophilic design recognizes that nature contribute to our well-being, helping our
productivity and creativity” Janine Benyus.
Buildings are newcomers on the evolutionary. The sun provided warmth and light as well
as information about time of day. Large trees provided shelter from the midday sun and
places to sleep at night to avoid terrestrial predators. Flowers and seasonal vegetation
provided food, materials, and medicinal treatments.(Heerwagen, 2009)
In average the western society individual spend about 90% of its time indoors. Cities and
indoor environments are dominated by manmade objects. Many traditional design
strategies that ignore nature can lead to negative impacts on human health, child
development, community safety and worker satisfaction.(Browning, 2012)
Practitioners must realize that biophilic design intervention must benefit humans and
nature needs. Using inspiration from local natural environment and vernacular cultural
expressions are critical to create a sense of place in Biophilic design.
1.2.1 Biophilic design standards – Stephen R. Kellert set 6 elements and 75 attributes to
guide practitioners in the design process.
1.Environmental features - characteristics and features of the natural environment such
as sunlight, fresh air, plants, animals, water, soils, landscapes, natural colors and natural
materials such as wood and stone.
2.Natural shapes and forms - simulation and mimicking of shapes and forms found in
nature. These include botanical and animal forms such as leaves, shells, trees, foliage,
ferns, honeycombs, insects, other animal species and body parts.
3.Natural patterns and processes - functions, structures and principles characteristic of
the natural world, especially those that have been instrumental in human evolution and
development.
4.Light and space - spatial and lighting features can evoke the sense of being in a natural
setting. These include natural lighting, a feeling of spaciousness and more subtle
expressions such as sculptural qualities of light and space, and the integration of light,
space, and mass.
5.Place-based - connections between buildings and the distinctive geographical,
ecological and cultural characteristics of particular places and localities. This can be
achieved through incorporating geological and landscape features, the use of local and
indigenous materials and connections to particular historic and cultural traditions.
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6.Evolved human relationships to nature - basic inborn inclinations to affiliate with
nature such as the feeling of being in a coherent and legible environment, the sense of
prospect and refuge, the simulation of living growth and development, and evoking
various biophilic values. (Ruiz 2014)
1.2.2 Restorative Environmental Design (RED) or Restorative Design
Restorative design thinks about design in terms of using the activities of design and
building to restore the capability of local natural systems to healthy state of selforganization. (Reed, 2007). Low environment impact and organic design are necessary
but not sufficient for achieving restorative environmental design. Without a balance
between culture, history and ecology, design and development are inevitably transient and
unsustainable.(Kellert, 2008)
Theories
connecting
human
and
natural
systems
Ecosystem
Services
Biophilia
Sense of Place
Design Strategies - Linking human and Natural Systems
LowImpact
Design
Organic
Design
Vernacul
ar design
Small ecological footprint in construction and
operation of the building
Direct, indirect and symbolic experience of nature,
using natural materials and ecological engineering.
Design in relation of the ecology of place, culture
and history. Design to avoid loss of local and
regional identities
Table 2 The principles of Restorative Environmental Design (Kellert, 2008)
The fundamental objective of biophilic design is to extract a positive valued experience of
natural and built environment. Restorative environment design seeks to repair the
relationship between nature and humanity in a world increasingly marred by
environmental impoverishment and social and psychological alienation. The most
sustainable designs combine both the technical efficiencies of low environmental impact
design and the enhanced connections to nature characteristic of biophilic design. Low
environmental impact and biophilic design are the complementary components of
restorative environmental design. Combined, they represent the promise of development
that can help heal the prevailing malaise of modern society in adversarial relation to the
natural world. (Kellert, 2008)
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1.3 Economic benefits with Biophilic design
The economic benefits of reconnecting people to nature are often miss consider because
of the difficulty of quantifying the variables associated with the positive outcomes. By
assigning value to a variety of indicators influenced by biophilic design, the business case
for biophilia proves that disregarding humans’ inclination towards nature is
simultaneously disclaiming the potential for positive financial growth. (Newman, 2010)
Work place - when well-designed, spaces can reduce deficient productivity, absenteeism,
loss of focus, negative mood, and poor health. (Kellert, 2008).
Hospitals - incorporating natural elements into the healthcare industry can reduce the cost
of both patient care and staffing while improving medical outcomes.
Retail Spaces -the psychologically soothing and calming effect of nature can draw
shoppers into stores with biophilic elements can boost sales compared to those without.
Education – classrooms can be strategically designed with biophilic elements to foster
better test scores, optimal health, and increased learning rates. Schoolyards with natural
elements can trigger mental restoration, better behavior and enhanced focus in
students.(Wolf, 2014)
2. Regeneration Paradigm
The foundations of regenerative development and design are based in the work done by
the Landscape architect Ian McHarg that published in 1969 the book “Design with
Nature”, pioneering a technology for ecological land-use planning founded on
understanding natural systems.(Mang3, Reed, 2014)
The highest aim of sustainable development is to satisfy fundamental human needs today
without compromising the possibility of future generations to satisfy theirs, the end-goal
of regenerative development is to redevelop systems with absolute effectiveness that
allows the co-evolution of the human species along with other species.
The dynamic of natural systems evolution can be understood by the results of the well
documented “wolves reintroduced program” in Yellowstone National Park in 1995 after a
70-year absence. Within a surprisingly short time, valleys and gorges started to regenerate
and bare valley sides turned into forests of cottonwoods, aspens and willow. In some areas
trees quintupled in height in less than six years. Populations of songbirds, beavers,
muskrats, fish and reptiles multiplied. Hawks and eagles as well as bears showed up in
greater numbers. Even the physical geography and behavior of the river changed to
support more life. The wolves ‘caused’ these changes but not in the linear way. In an
ecological system, one species fulfilling its role enables all the other species to play their
roles, even those where there is no direct connection. The value of a role in an ecological
system derives not from how something functions but rather from the pattern of
relationships that enable particular exchanges of value.(Mang3, Reed, 2014)
Learning from this event, human activities can be design to benefit the place where is
located by introducing elements that build a new and prosper order that improves the
evolution of human and natural systems.
2.1 Regenerative Design
Van der Ryn argues that green design only slows the rate of destruction. Designers are
increasingly prepared to acknowledge that design practices not only need to do no harm,
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they must initiate regenerative processes to replace the degeneration resulting from past
practices. (Mang, 2001)
Is not the building that is ‘regenerated’ in the same sense as the self-healing and selforganizing attributes of a living system. Rather, the act of building and inhabiting a
system consisting of the building, its inhabitants and the bio-physical and socio-cultural
context is regenerative and provides a catalyst for positive change within the unique
‘place’ it is situated (Mang, Reed, 2012)
Regenerative design requires an Ecological worldview, shifting focus from objects to
relationships. The stability of an ecosystem depends on its biodiversity, on the complexity
of its network of relationships. In science (mechanistic worldview), we have been told
that things need to be measured and weighed to be understood, but relationships cannot be
measured and weighed; relationships need to be mapped. (Capra, 1996)
Like John T. Lyle said, “let nature do the work, designing to take advantage and flows
typically result in systems that conserve resources, do less damage, and are less expensive
to create and operate”.
2.2 Regenesis Group approach to regenerative design
There are different approaches to regenerative design, this paper will approach the
“Regenesis Group” framework, consider to be a leading regenerative practice.
Table 3 – Ecosystem + people + building and infrastructures
Table 4 – Regenerate as a level of work
Regeneration design aims to merge nature, building and people (table 3). To this
relationship Bill Reed calls it “A Whole Living System”, where the final objective is to
regenerate the earth ecosystems. To accomplish this we need to work in all level of work
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(table 4). In another words, we need green and sustainable design to mitigate our impacts
(operate and maintain), but to sustain life we must engage the restoration and regeneration
of the living systems around us (improve and regenerate).
Living Systems thinking (developed by Charles Krone) question the organization and
order of living systems, how they are structured, how they evolve, etc. This approach
requires that the person applying this way of thinking sees what they are working on as a
system of energies or life processes, rather than as things or as a system of things. It
begins by trying to see what is at the core of a system, around which the system organizes
and orders itself. (Mang, Reed, 2012)
The table 4 intends to show the level of works that every living system or entity must
continually engage to be sustainable in a world that is nested, dynamic, complex,
interdependent and evolving. Evolution takes place within four levels of processes, in
which each level is essential to a system’s continuing vitality, viability and capacity for
evolution.
Existence - what is already manifested. Engaging in only operating and maintaining
systems completely discards the system's potential to evolve as existence is ruled by
entropy. (Bartlett, 2013)
Operate - the green building movement focuses on increasing efficiency of energy
and material use, and achieving standards through capable and disciplined practice.
Maintain - focus on resilience, like the Transition Towns movement.
Potential – is what exists but is not yet manifested. (Mang, Reed, 2012) For example, the
invention of the Internet in the 1960s took years before that potential manifested with the
creation of Google, Facebook and Twitter.(Fullerton, 2013)
Improve - is a restorative level, where humans try to restore the capability of local
natural systems to a healthy state of self-organization.
Regenerate - goes beyond improving current systemic performance to embedding into
the system the capacity to continue to improve its own performance through time and
through varying environmental conditions (Reed, 2007) without the existence, there is no
system, without potential the existence cannot permit the system evolution toward
regeneration. (Bartlett, 2013)
Three fundamental aspects of design to regenerate
The Regenesis Group presents the notion that our responsibility is not designing “things”,
in our case “buildings”, but designing the “capability” of the constructed world to support
the positive co-evolution of human and natural systems. It shifts from building as product
to the role of building in positively supporting human and natural processes. The building
is central to create higher levels of order and, as such, creating increased variety and
complexity. (Cole2, 2010) As such, this will require a qualitatively different type of
acceptance by clients and stakeholders of a building’s current and potential merits. The
benefits of regenerative design and development cannot be fully understood at the
completion of a project, it will take considerable time before the necessary sustained
engagement and stewardship can be gauged in a culture that is currently impatient and
short-sighted. (Cole1, 2012)
1 º Understand the place and its unique patterns - The purpose of this phase is to
understand the unique dynamics and potential of a site, project and community in
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relationship to their living place, and to conceptualize how, through right relationship, the
project can be a regenerative force. (Mang, Reed 2012)
Project’s conventional processes start with gathering discrete packets of knowledge from
experts in water, energy, soils, etc. Without an integrative systemic context, such
knowledge can be both fragmenting and misleading (Reed, 2007). Integral assessment
(process develop by Regenesis) gather information from a wide range of sources and
disciplines, including site visits, existing data, reports and maps, and interviews. It seeks
patterns that are present both historically and across natural, social and economic
sectors.(Mang1, Reed 2012)
Place is defined as unique, is an expression of integrated ecologies of climate, resources
and culture critical to the shaping building, human and natural development. (Cole2,
2010), a multilayered network of living systems within a geographic region that results
from the complex interactions, through time, of the natural ecology (climate, mineral and
other deposits, soil, vegetation, water and wildlife, etc.) and culture (distinctive customs,
expressions of values, economic activities, forms of association, ideas for education,
traditions, etc).(Mang2, Reed, 2012)
Patterns of the place – Patterns are configurations of relationships that appear again and
again. The study of relationships, then, leads to the study of patterns. Reading or
understanding patterns reveals the underlying energy flows, both actual and potential,
shaping a system. A pattern can reveal the directionality and strength of flows (wind,
water, foot traffic, etc.). (Mang1, Reed 2012)
2º Designing for harmony with place - It sets the building within and connects it to a
larger system and is concerned with an overall systems approach to design (Cole2, 2010)
This serves as the framework or container for decisions made in the subsequent stages of
design, selection of appropriate green materials and technologies, construction,
operations, and long term operation and maintenance. In design charrettes, the client and
the design team draw on the insights and understanding developed out of the first phase of
work to generate collectively a development concept that integrates human needs and
aspirations in a reciprocally beneficial relationship with the living systems of the site and
surrounding contexts.(Reed, 2007)
3º Co-evolution – The act of creating a building is not a conclusion but a beginning and
catalyst for positive change.(Cole2, 2010) Regenerative development and design does not
end with the delivery of the final drawings and approvals, or even with construction of a
project. The responsibility of a regenerative designer includes putting in place, during the
design and development process, what is required to ensure that the ongoing regenerative
capacity of the project, and the people who inhabit and manage it, is sustained through
time. It is in this phase that the real potential of a project’s systemic relationship to its
place can be realized. This phase unfolds from the work of the previous two phases. If
they have succeeded in creating a culture of co-evolution in and around the project, and
not just a physical product, its effect can be seen even before final construction. (Mang1,
Reed 2012)
Conclusion:
“The major problems in the world are the result of the difference between how nature
works and the way people think” Gregory Bateson
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Practitioners of biophilia and regenerative design integrate sustainable design concepts of
efficiency and the will be neutral in every way. Both concepts accept that any intervention
should be a result from the understanding of the place and culture that is unique in several
ways. Biophilia introduce the importance of human health and well-being to be in contact
with natural elements and Kellert emphasizes the need to engage nature restoration,
discarding the idea of using natural elements for human benefits only. Regenerative
concept brings a holistic view, follows the idea that we are nature and we can have a
positive impact by co-evolving human and nature needs, conceiving buildings that are
part of the ecosystem where they’re located.
The notion that nature is beneficial to humans (biophilia) and human activities can have a
positive impact in nature (restoration and regeneration) is a “win-win situation”. These
new design concepts are not separated, they operate in different levels but share the same
goal to improve and regenerate living systems: connecting man and nature, make a
positive change to the earth systems and explored a co-evolution to reverse the course of
events to reestablish earth self-healing capability.
References:
Bartlett, Karen. Regenerative Development Processes: Beyond Systems Thinking, SBSP
Topics Class April 22th, 2013.
Bjørn, Grinde; Grindal, Grete. Biophilia: Does Visual Contact with Nature Impact on
Health
and Well-Being? Int. J. Environ. Res. Public Health, Norway, 2009
Browning, Bill, The economics of Bioplhilia , Terrapin Bright Green LLC New York NY,
Washington 2012
Capra, Fritjof, The Web of Life, Doubleday, New York, 1996
Cole1, R.J., Regenerative design and development: theory and practice, Building
Research &
Information 40(1), 1–6, London, 2012
Cole2, R.J., New Context, New Responsibilities: Building Capability, University of
British
Columbia Canada, 2010
Fullerton, John, Regenerative capitalism, Capital Institute, Working Draft, June 2013
Heerwagen, J.H., Restorative commons: creating health and well-being through urban
landscapes, U.S. Depart of Agriculture, Northern Research Station:38-57. 2009
Kellert, S.R., Heerwagen, J.H., Mador, M.L. Biophilic Design: The Theory, and Practice
of Bringing Buildings to Life. Hoboken, NJ: John Wiley & Sons, Inc. 2008.
Newman, Peter. Can Biophilic urbanism deliver economic and social benefits cities?,
Sustainable Built Environment National Research Centre, Australia, 2010
Mang, Pamela; Regenerative Design: Sustainable Design's Coming Revolution July 1,
2001
Mang1, Pamela; Reed, Bill. Designing from place: a regenerative framework and
methodology, Building Research & Information 40(1), 23–38, 2012
Mang2, Pamela; Reed, Bill. Regenerative Development and Design Regenesis Group and
Story of Place, Encyclo. Sustainability Science & Technology, 2012
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Mang3, Palmela; Reed, Bill. The nature of positive, Building Research & Information
2014
Reed, Bill, Shifting from ‘sustainability’ to regeneration, Building Research &
Information, London, 2007.
Ruiz, Fernando - http://www.ecobuildingpulse.com/green-building/biophilia-becomes-adesign-standard.aspx (25/10/2014)
Ulrich, S. Roger. View through a window may influence recovery from surgery? US,
1984
Wolf, Kathleen. Biofilia Economics, http://www.charteredforesters.org/news/item/238economics-biophilia-collaboration-tpbeii/ (30/10/2014)
6.
IN-SIGHTSEEING HERITAGE VS TOURISTING
Madalena Folgado, MA
Lusíada University of Lisbon/CITAD, Research Centre in Territory, Architecture and
Design, Portugal
Abstract:
Instead of a destination, this article aims to draw an approach path to meaning. In this
sense, we will build up our answer through five senses, with the intention of emphasizing
architectural experience formative effect; paradoxically, focusing on re-placing what
could be ephemeral for something more permanent and powerful for our everyday lives.
The chosen place is Santa Bárbara Inn, at Oliveira do Hospital, designed by Manuel
Tainha, about to be reopened after being renovated under contemporary hospitality
requirements. Time will be challenged through landscape contemplation; as a result, we
will share several instants – in-sights of embodied affection. We believe that, in opposite
to the flash shots from tourists cameras, capturing the instant during the architectural
experience – in-sightseeing – allows us to expand consciousness and re-create new
bonds; from this particular place to other places. By fulfilling our baggage with a
strengthened consciousness, hopefully, we decrease heritage burden, after all, all we need
is to develop simple and sustainable strategies to move forward.
________________________________________
Key Words: Architectural experience, Contemplation, Instant, In-sight, Strengthened
consciousness.
I. In-Sight:
Manuel Tainha, Santa Bárbara Inn’s architect, tells us that: “Architecture is an act in
which the present extends into the past and into the future”. (Tainha, 2002, p. 46). True
architecture masterpieces extend our existential understanding; but, of course, we have to
take action. Architectural experience can be human being formative when considered as
an intentional – volunteer – act; an act of seeing, touching, smelling, hearing, and,
sometimes, tasting, when experienced through a synaesthetic or kinaesthetic process. In
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other words, by being as present as possible – human being present – and, consequently,
by allowing five senses to be the paths which lead us in-to meaning. Yet, we are not
talking about pursuing a particular scent, texture or sight. Pursuing would take us away
from the present – the architectural experience time. Therefore, architecture experience
leads us in-to meaning, likewise, in-to the past and in-to the future, yet by staying
anchored in the present, as the time we can make decisions, and see the unlimited
possibilities open gate – the instant gate, or the in-sight gate. Furthermore, we regard that
this gate is preceded by the five senses paths, or, in an existential sense, a sense path.
Thus, it does not appears instantly.
Paradoxically, to overcome time we have to stop pursuing it; instead, we have to feel it. In
a world in which time dictates our agenda, this last affirmation could be presented as
irresponsible, however, we rather believe that we have the response-ability to feel,
otherwise, if we are not already felling lost, we will became. It is urgent to create an insightseeing route.
Concerning contemplation, and its relation with History, particularly, with the moment
which precedes the discursive formulation, the Portuguese historian José Mattoso tells us
about the instant where the subject of knowledge realizes his bonds with the human past
(Cf. 2002, p. 46) . Somehow, in-sightseeing is to discern about what is meaningful; to
discern, in its turn, means judging through senses, therefore, is to decide, and take action –
is to move forward.
Consequently, we are considering heritage as the result of a discerning process, as
something that establishes meaningful bonds with the human past, and because of that, it
is something culturally valuable. On the other hand, as we know, culture is something that
we experience; effortlessly, today steps are drawing the bonds to future, through some
sort of topo-graphy. Manuel Tainha says that: “O discurso arquitectónico é sinónimo de
percurso.” (2006, p. 26).
Santa Bárbara Inn, was launched in 1971, although, its designing process started in 1957.
In 2012 this signature architectural work was officially classified by the Portuguese
heritage main authority – IGESPAR – as a Monument of Public Interest. We last visited it
under construction and rehabilitation work, the present owner Mrs Susana Caetano
assured us that it is about to be reopened, as soon as possible, with a new spa. Manuel
Tainha passed away before he could finish the spa’s design; it was one of his last works.
However, we believe that the Inn is and will be in good hands. Yet, as we will see, from
the beginning of the design process to its end, Manuel Tainha attempt to overcome time.
He bequeathed us an embodied narrative of affection, revealed through architecture
experience. We will present it, literally and metaphorically as a work-in-progress.
II. Human Being Present Sight:
Santa Barbara Inn is a Manuel Tainha’s masterpiece and well-known architectural work;
the fact that this building has a touristic program puts itself on web sites, outdoors,
rotaries, leaflets, all around the world. This architectural project is, perhaps, best known as
a touristic object, being often presented through publicity. Regarding what we said about
human being present as possible, in order to create bonds with the past and the future,
through architectural experience, we remember the art critic John Berger’s words about
publicity, on his essay “Ways of Seeing”: “Publicity, situated in a future continually
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deferred excludes the present and so eliminates all becoming, all development.
Experience is impossible within it. All that happens, happens outside it.”
As we all know, tourism as a commercial purpose, obviously, has to rely on publicity, and
there is nothing wrong with it. But, are we not all tourists and masters of our own destiny,
at the same time? Can we, as tourists, literally, afford to give up on becoming?
Choosing a destination can be at the same time – human being present – the process of
being aware of our own destiny. We shall not be afraid of using the word destiny; we
conceive destiny as path, as something, continually, presented as work-in-progress, in
which we have the possibility to draw, and redraw our in-sightseeing route. Architectural
experience, placed at the present, allows us to visit those places of interest; from the past
and from the future, strengthening our conscience. As we saw, if we give up deciding,
publicity can, inexorably, determine an unhappy future. We say unhappy because it would
happen outside of our personal route, far away from the things that we personally care
about, love, and recognise as meaningful. Furthermore, by far away, we mean not creating
bonds to return. Instead of restraining the becoming, publicity could use its imperative
tone in order to motivate us to come and, simply, be.
Having in mind drawing routes and creating bonds, we now regard Manuel Tainha’s
design process. In his first sketches, when exploring the Inn’s surroundings – mountain’s
natural environment – the architect took note not only of the pine trees placement, but also
of small-impact bushes as rosemary . The rosemary perfume, we believe, would have
allowed him to create his own bonds with his past and future. As we now, a scent can
drive us to one of those personal places of interest. At the present, on foot, by taking a
walk around the Inn we still can fell it, and re-place that experience on our own baggage,
although, establishing new bonds with other times and experiences. As experiencing
nature – natural environment – architectural experience allows us to achieve many layers
of personal depth. The most profound they are, the closer we get to the place where we all
feel sheltered. In this case, this place of meaning is embodied in an Inn. The Finnish
professor and architect Juhani Pallasmaa says:
An architectural project is not only a result of a problem-solving process, as it is also a
metaphysical proposition that expresses the maker’s mental world and his/her
understanding of the human life world. The design process simultaneously scans the inner
and the outer worlds and intertwines the two universes. (2009, p. 108).
Therefore, we can extend this proposition to other creative processes, from the most
prosaic, to the most complex; after all, we all are creators. Sometimes the creative process
coincides with the interpretive process; it can arise from a personal approach to
something. In her documentary about Manuel Tainha, the film-maker Luciana Fina films
Santa Bárbara Inn, and despite the beautiful and careful plans – the visual aspects – she
also re-places us at the Inn through a particular sound: the ravens caw. (Cf. Fina, 2013).
Concerning art, in an essay entitled The Sight of a Man, Jonh Berger, says:
The distinction between works produced according to an abstract schema and those rare
works which extend, as distinct from transposing, the experience of the spectator, is that
the latter never remove appearances from the essential and specific body of meaning
behind them. (They never flay their objects). They deny the validity of any outside prize.
(2001, p. 224).
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In-sightseeing is to deny the validity of any outside prize. In this sense, heritage is an
inner prize, kept inside our baggage, which does not increase its weight, rather, enlightens
it. As we have been seeing, through this work of art – Santa Bárbara Inn – that we can
extend and re-unite time; in the course of experience, ultimately, through several instants:
in-sights of deep understanding. Time read as kairos, as distinct from chronos.
This continuity sense is valid not only for the tourist or the visitor, but also for the staff.
This building does not have unqualified spaces. The visitor can experience outside and
inner space as one, and at different levels of intimacy. Under a different purpose and
circumstances, an inn’s worker has to move through different spaces, from the most
prosaic space as the kitchen or the laundry, to visitor’s rooms or living room. In order to
create the same sense of continuity, all spaces are qualified – human being developed.
After all, there are no spaces, but only space – architecture’s basis material. From one
hand, experience is continuous, from another hand, our response-ability to discern space
attributes can design different categories of space. The more ambiguous space can get, the
better it is; the further we insight-see, the better we know ourselves. Furthermore, we
could use the architect own words: “Procurar o significado ‘na’ forma é como procurar o
objecto perdido não onde ele se perdeu mas onde há luz para ver.” (Tainha, p. 14, 2006).
Despite using different materials; from noble woods as rosewood to simple 10x10cm
square ceramic tiles, Manuel Tainha did not lower his architectural space standards. Space
quality can arise from the same body of meaning, using John Berger words. From the
reflection on and in Santa Bárbara Inn’s kitchen tiles, we were able to recognise reflected
inner light on another building; we in-sighted the late 15th century Church of Jesus at
Setúbal, particularly, its altar window. Manuel Tainha knew very well this church, in his
opinion, tiles should only be applied at inside spaces, as a light reproduction material.
(2006, p. 51). The church’s sense of interiority is strengthened by the tiles application
inside; the light movement as something intimately enlightening. In our in-sightseeing
route, sacred and profane coincide. However, as far as we know, Manuel Tainha never
related publicly these two buildings.
Once again at Oliveira do Hospital, in the inn’s living room, we regard another
coincidence: the stone masonry coincides with the light masonry. More than ever, space
and time is us. The building extended our experience, as those rare works that John
Berger talked us about.
Regarding the two architecture’s primary concepts of open and closed, Manuel Tainha
says:
The former renders the sense of inwardness, of a space of welcome, shelter and cloister
that the inn should offer the passing traveller. The latter embodies these atmospheric
qualities that characterize the distant landscape of the Serra da Estrela, not forgetting that
in architecture relating to the landscape sometimes involves negating it: this is the case of
the interior patio.
The feeling of grandeur and austerity awakened by this place inspired the design of the
building and, in turn, the choice of materials influenced the design of the interiors and
furniture: wood, stone, leather, copper, mirrors, wool, etc.
The chosen materials work as in-sights from the outside; through senses, they convey the
sense of continuity that we have been referring all along. Although, as we know, mother
nature is not always pleasant to human beings; the inn reminds us our relative human
24
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scale, and how humble we have to remain, in other to, slowly, achieve a bigger
understanding from the surroundings. In this sense, materials build and represent our
comfort zone.
We can only freely sightsee the landscape – the mountain slope – at the end, inside the
room; until that moment, starting from the main entrance to the dining room, we get into
some sort of learning process. Regarding two spaces, the patio and the dining room, we
can say that the former brings up the landscape through evocation; the fact that we are not
able to see, allows us to be more awareness of sounds, scents and flavours –
metaphorically, the intertwined rips of wood partake of our re-union aim, in order to get
the two universes intertwined, as Juhani Pallasmaa says. Now considering the late, we can
say that the schist columns, interposed between the dining room and the landscape, create
a slightly tense atmosphere. As we previously said, the more ambiguous space can get, the
better it is. This space teaches us that great sights seek for intention; landscape is
something that cannot be served in a tray. At the end, after all these lessons had been
learned, the architect offers us a prize: a thoughtfully designed handrail, where we can lay
our arms and, freely, without any object between, in-sightsee the mountains. Heritage is
something that as to be learnt, in order to remain meaningful. Would you thought that you
would come into Santa Bárbara Inn to spend your time touristing? Time is too much
precious to be spent in flash shots.
III. Mirror Sight:
Our final considerations would not take too long. We will, simply, tell part of the current
owner’s story with the inn, particularly, the way she kept this classified building in her
personal baggage. Till her early twenties, she often visited the inn, but only as a bar
costumer, because by that time, she was too young to afford staying. As she told us, she
kept inside her every instant from while she was there. Despite living nearby, the inn
awakened her to a sense of peace and understanding of her own life that she could not get
in any other place. For years, it was the only place that, truly, sheltered her. From the inn,
her living environment, as she lived nearby, seemed to be clearer; balanced. Years
passed, and her life totally changed. A couple of years ago she bought Santa Bárbara Inn,
and met the inn’s architect. She was overwhelmed by his character; a gentle e noble man,
interested in her point of view, memories an insights about the inn, even knowing that she
was not an architecture expertise – or, particularly, because she is an architecture
expertise, we personally believe.
In one of their pleasant conversations, she told him about how meaningful the mirror of
the top of the living room was to her. There is a bar behind it; the purpose of the mirror
was simply to guarantee that the barman could oversee the costumers without being seen.
However, she share with him that by looking in to the mirror as she was leaving, she
would never say goodbye to the inn. After several instants of landscape contemplation, its
reflection in the mirror as the inn’s last sight, made her felt, endlessly, hopeful. Yet, she
felt that she was taking with her peace, and a piece of the inn, and that she would never
turn her back to that sheltering place. And she did not. One of her aims is to share her
acknowledge of architecture’s formative effect. As we are about to see, when Santa
Bárbara Inn reopens, what Susana kept in her baggage was something more powerful and
permanent than a mirror reflection: her past turned into her future, and she was presented
with the understanding of her personal story.
25
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FCT – Fundação para a Ciência e a Tecnologia no âmbito do Projecto
UID/AUR/04026/2013.
References:
Berger, John. Ways of Seeing. London: Penguin Books, 1977.
Berger, John. John Berger – The Selected Essays. London: Bloomsbury, 2001.
Fina, Luciana. In Medias Res. [Documentary film]. Lisboa: LAFstudio, RTP, 2013.
Mattoso, José. Obras Completas – A Escrita da História. Vol. 10. Rio de Mouro: Círculo
de Leitores, 2002.
Pallasmaa, Juhani. The Thinking Hand. Chichester: John Wiley and Sons, 2009.
Tainha, Manuel. Manuel Tainha – Projectos – 1954 2002. Coord. José Manuel das Neves.
Porto: Asa, 2002.
Tainha Manuel. Manuel Tainha – Textos de Arquitectura. Casal de Cambra:
Caleidoscópio, 2006.
Illustration 1 – Santa Bárbara Inn; view of the living room’s top mirror. (Author’s illustration, 2013).
26
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Illustration 2 – From the left to the right and
from the top to the bottom: Santa Bárbara
Inn’s reception, dining room, and patio.
When the visitor gets into the inn, faces a
small scale space, from that point, slightly to
the left, he can go upstairs, directly to the
rooms or, a few steps down, he can find the
living and dining room. From the same point,
at left, there is also an entrance to the patio.
The schist columns can start to be seen from
that corner.
From this view, in the patio, below the wood
porch, we can see the three entrances; from
left to right, dining room, living room and
reception. The patio is a physical central
space, which intertwines the two worlds;
inside and outside worlds. (Author’s
illustration, 2013, 2014).
Illustration 3 – From left to right: Santa Bárbara Inn, room door’s handle and handrail of the
Thedaproduced
texts are of
each author
responsibility.
room’s balcony. View of Serra
Estrela. (Author’s
illustration,
2013,
2014).
27
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Illustration 4 – From the left to the right: Altar’s window of the Jesus Church at Setúbal
and kitchen’s window of Santa Bárbara Inn. (Author’s illustration, 2013).
Illustration 5 – Windows of Santa Bárbara Inn’s living room: when the stone masonry
coincides with the light masonry. (Author’s illustration,2013).
28
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7. How Cultural Heritage can positive influence Tourism
The memory of Place
Alexandra Maria Barros Alves Chaves Silva Vidal Saraiva, (Ph.D.)
Universidade Lusíada - Porto, CITAD, Portugal
Abstract:
The purpose of this article is to show how architects, planners and local authorities
can create their own language interpretation and application of formal relations, at the
same time; they developed their rehabilitation programs and promotional tourism, which
transposes the analysis of the cultural landscape to the formal development of each
program unit.
The designation of cultural heritage results of the configuration analysis in History,
Geography and Architecture in direct relation to the phenomena that arise. And tourism
can contribute substantially to the financial maintenance of monuments, and also to help
public support created for conservation policies.
And all organizations such as World Heritage Cultural Landscape, ICCRDM and
ICOMOS, help define the purpose of the question. The heritage depends on a
phenomenological and sociological interpretation related then with History of
Architecture, with the goal of understanding the cultural heritage.
The main conclusion of this article is to emphasize that the factors which will
determine the new heritage, and also influence Tourism, are defined by population,
lifestyle and economy. Therefore they are important factors to achieve successfully
interventions and programs, public or private.
Key Words: Heritage, Tourism, Memory, Place.
1. Introduction
Our reading and comprehension of architecture remain intertwined, with architecture
history always supported in Art History tradition, oblivious of social analysis and social
and historical identity. Therefore, it is almost impossible to analyze both the memory and
29
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the place without comparing them to natural and cultural landscapes, heritage and
architecture.
Architecture, art, literature, philosophy and history have always determined broad and
deep domains.
The purpose of this article is to demonstrate how natural and cultural landscapes and
also heritage can positive influence tourism.
2. How natural and cultural landscapes and also heritage can positively influence
tourism
The designation of natural and cultural landscape results from the analysis of
configuration at History, Geography and Architecture in direct relation to the phenomena
that arise.
The heritage can be divided into four groups, monuments, places, historic cities and
Natural and Cultural Landscapes. It’s important highlight what Choay (2000, 87) refer,
‘Magic power of the concept of heritage. Transcends the barriers of time and taste’.
Christian Norberg-Schulz, in Genius Loci - Towards a Phenomenology of
Architecture states the importance of place, and how can establishing its character and its
essence, without forget the population. How often people identify themselves is done
according to the places and defines the identity concept. As Norberg-Schulz referred the
meaning of genius loci as a result of three fundamental ideas: identity, history and
tradition (NESBITT, 2008, 457). Identity is determined by the location, the general spatial
configuration and the characteristic link of each place. History demonstrates the
impossibility of a place, the surroundings, be subject to continuous change. Finally the
tradition is the result of the union between identity and history of the place.
Fig.1-What influence heritage
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Maurice Halbwachs regarded space as 'a reality that lasts: our impressions succeed,
each other, nothing stays in our spirit, and would not be possible understand that we could
recover the past, if it does not retain, in fact, the material environment that surround us'
(1990, 143). For this Sociologist memory corresponds to a selective representation of the
past, which is never exclusive of the individual alone, but this included in a familiar,
social and national context.
Fig.2-What defined cultural identity
As Naumov (2014, 73) refers ‘it remains unclear whether authenticity reflects the
history, heritage and cultural identities of local societies or it only concerns certain
attributes of the past which are promoted and interpreted for tourism purposes’, I think it
is important to try to preserve the cultural identity of each place and avoiding the
‘collective amnesia’.
Some authors (Assamann 1995, 125-135; Huyssen, 1995) when analyse
contemporary societies to describe the "collective amnesia" as the lack of emotional
connection to the references of the past, due to the distance and alienation of the past.
Newby (1994, 208) in his article 'TOURISM Support or threat to heritage?' show a
diagram a relationship between tourism and heritage. We decided to redesign and present,
because his reading is very direct and sums up quite well the relationship between the two
elements.
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Fig.3- Relationship between tourism and cultural heritage
This is why it becomes important to define properly the intervention strategies
proposed when you intend to make available the natural and cultural heritage for tourism.
Currently the real situation of the market and consequently the tourism product, the
new trend is highly oriented to the revaluation of cultural heritage, territorial identity,
local promotion and branding. The cultural heritage becomes the main reason for tourists
choose your destination, enable the tourism sector against global economic crisis and
promote development.
Weaver (2000) considers that the market can evolve in two different ways, the first
corresponds Sustainable Mass Tourism (SMT), resulting in a high flow of tourists,
allowing a immediate development, or the second hypothesis Alternative Development
Type (ADT) where the development of a touristic destination is voluntarily held back in
order to preserve the natural balance, creating a socio-economic niche, where tourist
activities are granted only to a small elite.
It is therefore important that you try to frame the different intervention proposals in
the natural and cultural heritage, using as an example, national brands fitting in
International programs.
In the National panorama, there are three major brands, which value and distinguish
this heritage. The brands are divided into "Historical Villages of Portugal", "Villages of
Portugal" and "Schist Villages", rural villages with touristic potential, which respect and
preserve the history and traditions of its architecture, culture and customs. Through the
promotion and preservation of the rural heritage and local and regional endogenous
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resources, they intended to provide a return to origins, assuming the commitment to
improve the rural population quality of life and to revive the experiences and the
Portuguese rural tradition. Reflecting itself in the increase of economic values, through
tourism, through territories that already have other values: human values, ecological
values and the values of tradition.
In the International panorama, European Network of Village Tourism is a project
that aims to develop, in a sustainable manner, a quality touristic offer in the rural areas,
whose genesis is in the concept of Village Tourism (Rodrigues, Rodrigues, 2009). This
network involves five European countries being these, Finland (8), Italy (8), Poland (1),
Portugal (14), Romania (1) and implements in 32 villages. Being Portugal the
coordinating country of the project, through the Tourism Region of Évora.
The European Network of Village Tourism, won the Prix Ulysses Award 2007 for
Innovation in Tourism for NGOs, awarded by the World Tourism Organization - which
includes five European regions, Alentejo, Lapland, Trentino, Arad and Lomza.
The added value of this network is to allow approach and analyse a set of points that
define a economical feasible management and business model and simple to perform, in
order to promote their development. Partly trying to avoid what Cohen (1979) states,
where the sectors, public and private typically define different goals, and usually at
different scales.
Conclusion
Although tourism can be seen as a cultural and social change agent, Salazar and
Porter (2004, 2) refer ‘In many cases, tourism has been identified as both a force for
cultural enrichment or rejuvenation and the loss of cultural integrity’. It’s important to
remember this duality, and only highlight the positive part.
As researcher and advisor of several dissertations on this topic, I always try that the
proposed intervention projects be true and also respect the tradition and heritage. For
these two factors to coexist, interventions should not mimic the existing, but to date the
intervention. We must not hide when it was intervened, because then, we will commit the
next and future generations’ perspectives about heritage. While ensuring sustainable
proposals, either in construction, economic and social terms.
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Tourism is undoubtedly a positive factor both for national, regional or local
development, but we should try be selective, not just turn our natural and cultural
heritage, in some mega amusement park.
The methodology that I always propose it is the SWOT analysis, finding the
strengths and weaknesses, the weaknesses and opportunities for the definition of a
positive strategy, where the memory of the place is preserved and where tourism is the
positive attraction element, in heritage protection.
In fact, the Rural Heritage will survive while collective memory lasts, because it also
depends on the identity, and without identity there is no sense of belonging because
belonging to a place means to have an existential support base in an everyday concrete
sense. (NORBERG-SCHULZ apud NESBITT, 2008, 459)
In the Portuguese context, we cannot allege that the future of Rural Heritage
Portuguese will be provided exclusively for tourism, because Modern tourism proves that
people have great interest for new experience in different places, though, it seems, this is
also one of reasons to the today decline. (NORBERG-SCHULZ apud NESBITT, 2008,
455). But we cannot consider tourism, natural and cultural, as a significant factor for
rurality problems salvation.
References:
Ashworth, G.P., Larkham, P.J. 1994. Building a new Heritage: Tourism, Culture and
Identity, New York, Routledge.
Assamnn, J. 1995. Collective Memory and Cultural Identity, New German Critique, 65.
Spring-Summer, pp. 125-135
Cohen, E. 1979. A phenomenology of tourism experience, Socology, 13, pp.179-201
Choay, F. 2000. A alegoria do património, Lisboa, Edição 71
Halbwachs, M. 1990. A memória coletiva, São Paulo, Vértice
Huyssen, A. 1995. Twilight Memories: Marking time in Cultural in a Cultural of
Amnesia. New York, Routledge.
Naumov, N. 2014. Heritage Tourism in Urban Areas – Contemporary Complexities and
Challenges, Illuminare, Vol.12, Issue 1, pp. 67-75
Nesbitt, K. 2008. Uma nova agenda para a arquitetura – antologia teórica: 1965-1995.
Trad. Vera Pereira. São Paulo, Cosac & Naify, 2ª ed.
Newby, P.T. 1994 TOURISM Support or threat to heritage? Building a new Heritage:
Tourism, Culture and Identity, New York, Routledge, pp.206-228
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Rodrigues, A., Rodrigues, A. 2009. Turismo e Inovação em Espaços Rurais: estudo de
caso da rede europeia de turismo de aldeia. Turismo em análise, V.20, no.1, pp.35-47
Salazar, N.B., Porter, B.W. 2004.Cultural heritage and tourism: a public interest approach,
Antropology in Action, Vol. 11, no. 2/3, pp. 2-8
Santamato, V.R., Albano, F.R. 2013. Eco-sustainability and cooperation in tourism:
cultural heritage as a source for competitive advantage
Weaver, D. 2000 A Broad Context model of Destination Development Scenarios, Tourism
Management, 2000, vol.21.
8. Phenomenological and Aesthetic Experience in a
Suburban Villa of the Eighteen Century - Quinta das
Águias, in Lisbon
Amílcar Gil Pires, PhD
CIAUD, Faculty of Architecture, University of Lisbon, Rua Sá Nogueira, Pólo
Universitário, Alto da Ajuda, 1349-055 Lisboa, Portugal
Abstract
On Suburban Villa, architectural and spatial universe of great complexity and rationality
(functional, geometric and symbolic), we find, in their relationship with nature and artistic
imaginary with which it is designed, a rich array of sensory and visual experiences only
possible to understand in all its dimensions, if we associate different fields of knowledge,
here chosen 'Architecture' and 'Phenomenology'.
When apprehends architecture, the observer assumes an active position that permits the
dynamic achieve of its formal and spatial characteristic. This type of perceptive
experience is determined by the architectonic object and by the suggestions that it causes
on its beneficiary. This interaction made from the architecture apprehension is an
imaginative experience that has necessarily a strong subjectivity dimension and can even
reflect a conception of its object totally different from the common, instinctive,
perception.
The ‘Phenomenology of Architecture’ can be understood through the conscious
apprehension of the observer, when he recognizes and experiments its space. In contrast
with a simple physical analysis of the building, he identifies its proportions or stylistic
properties that can be directly associated to the architectonic space.
Key Words:Suburban Villa; Phenomenology of Architecture, Quinta das Águias.
Introduction
“In the matter of experience that man has of the environment that surrounds it is proven
that the 'sense of place' is a complex process which concern many variables. We don´t
simply noticed a common world to us all, as claimed by some naive, practical and
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realistic men, but different worlds that are the product of our motivations and previous
experiences. In general, the perception highlights valid assumptions about the
environment around us and such assumptions vary depending on the situations in which
we participate. The perception interfere in a world that could be described also perfectly
as events in a four-dimensional space-time.”
Christian Norberg-Schulz, Existencia, Espacio y Arquitectura, Ed. Blume, Barcelona,
1975, p.10.
“Addressing qualitative totalities of a complex nature, places cannot be described
through analytical concepts of scientific character. As a matter of principle, science
makes abstract elements collected to achieve a neutral and objective knowledge. You lose,
however, daily life, which should be the main concern of man in general and in particular
architects. Fortunately there is a method known as phenomenology, which was designed
as a 'back to things', as opposed to abstractions and mental constructions.”
Christian Norberg-Schulz, Genius Loci, Towards a Phenomenology of Architecture, Ed.
Rizzoli, New York, 1984, p.8.
It is from "Existence, Space and Architecture" and "Genius Loci" that Christian NorbergSchulz builds a unique theoretical field under the Theory of Architecture, asserting itself
as its first and main proponent1 - the "Phenomenology of Architecture "- theoretical and
operational support of the work presented here.
We propose a phenomenological analysis of architecture that part of a conscious and
imaginative perception of it space, inseparable from the particular experience of the one
who perceives. From an active position of the observer looking dynamic recognition of
formal and spatial characteristics of the building, the suggestions brought in users, always
ends up determining a type of individualized perceptual experience. This experiment
architecture, having an imaginative structure has an inherent subjectivity due to the
individualized reading of architectural object and the effects that this causes in the
directions of its viewer - it is evident, first, the sight associated with the dynamics of
movement of the body in space, supplemented successively or simultaneously by the
other senses.
Fig. 1 - Villa Cetinale, Siena
1
Fig. 2 - Villa Cetinale, Siena
Kate Nesbitt, Theorizing a New Agenda for Architecture, an Anthology of
Architectural Theory: 1965-1995, Ed. Princeton Architectural, New York, 1996, p.29.
36
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We propose as an analytical structure of the ‘Quinta das Águias’, one of the most notable
examples of the Suburban Villas of Lisbon, the principles theorized by Norberg-Schulz
and the "method for the beautiful experience" defined by Raymond Bayer in his “Traité
d'Estétique”2, that is developed in four phases: "open experience"; "Sensible intuition";
"Aesthetic organization of space and time"; and "intellectual intuition".
1 – Open Experience
The first phase of the "beautiful experience" as a method to evaluate a work of art is the
"open experience," Raymond Bayer relates to "all that is unfinished in an image or show"
- "all you can specify regards the object, its particularity and its natural determinations".
The "indeterminacy" is another sense expressed by the work of art, is a pretext of looking
- the prospecting attitude that assigns a heuristic quality to "beautiful experience”.3
As the Art focuses on the particular, unlike science that seeks the universal, is the
emerging feature of the individuality of the artist who gives authenticity to the work
created. As a result, the contemplation of the beautiful tends to "single" and focuses on
the individual and the relationship that this created with the work.
Fig. 3 - Quinta das Águias, Lisboa
Before discussing the subject of study is a brief reference to a “suburban Villa model” that
could/should have had major influence in its design - the Villa Cetinale (Siena, Italy). This
is argued, through its architecture, such as a streamlined unit with a perfectly harmonized
integration with the site, and gives us a succession of multiple and varied experiences that
lead us to a universe of sensations, only settled on the subject describing their paths and
seize their spaces.
The interpretation of the architectural complex individual parts is a pretext of searching
for understanding of all by the subject, which will aim to give a general sense to factors
which, in part, may arise as undetermined due to the subjectivity inherent in the very
nature of interpretive act.
Contemplation and qualitative recognition of the ‘Quinta das Águias’ architecture is built
on progressive relationship that his interpreter creates with its spaces, to be recognized as
a whole as a complete entity. Its aesthetic perception begins in a first moment, when the
Villa is visually recognized in the distance, giving it a sense of uniqueness.
2
3
Raymond Bayer, Traité d’Estétique, Librairie Armand Colin, Paris, 1956.
Idem, p.11.
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The suburban Villa is starting to be recognized in detail when it takes the first step in its
space appropriation - when transposing its main entrance, giving access to the forecourt
before the house.
The heuristic pleasure inherent in the aesthetic experience of the architecture begins, right
away, to develop due to the understanding of the links between spatial areas with
differentiable functional identities - proceeds thus a qualitative understanding of its
architectural entities, recognizing their values as a function also of their usefulness.
Continued experience in analyzing its architecture allows the informed observer interpret
and understand the signs that identify a particular object, with reference to the
environment or place, and to give its judgment on factors that are determinants as the
"proportion", "balance", the "hierarchy", the "strength", among others, enabling him to
understand their particular qualities and their meaning, and distinguish those that have
great architectural and artistic value.
2 - Sensitive Intuition
The second phase of "beautiful experience," defined by R. Bayer, is the "sensitive
intuition", which has the support or root sensory qualities which are the source of the
sensations that the work of art provides or suggests. "The experience of beauty is, of prime
order, a 'test' of the sense of sight and hearing”. 4
Unlike the "open experiment", on "sensitive intuition" is not part of "nothing", the refusal
of pre-existing influences, but guides the sensitivity to certain directions that conscious
states instinctively.
4
Raymond Bayer, Op. Cit., p.18.
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The perception and understanding of the suburban Villa architecture exceeds their simple
visual reading. These always seek recognize the significance on information gathered by
the senses instinctively and add it the knowledge previously acquired in similar situations.
Memory plays an important role in this phase of the experience of architecture, not only in
recognition of spatial order of analogies, as well as in association conceptual frameworks
that may have influenced in any way, intentionally or not, the architectural structure of the
object in question and their spatial relationships with the surrounding.
These factors take into account the feelings suggested by the architecture (open
experiment phase), but it can arise also recognition of an exemplary type or model, from
the intuitive association with this, can deepen a more rigorous understanding of the
creative intentions of its spatial organization and its formal design, the conceptualization
of its architectural structure.
At this stage of the analysis can begin to develop an approach that considers four types of
essential spaces for the understanding of architecture - physical space; perceptive space;
functional space and conceptual space, identifying the latter as a result of the
understanding of others to perception.
A sensual experience initially of intuitive nature begins thus to provide "intellectual
apprehension" that combines the phenomenological analysis side of the mental
construction of a compositional rationality and rigor that creates a gradual rapprochement
with the very embodiment tectonics of the building and the architecture of gardens.
3 - Aesthetic Organization of Space and Time
This third phase of the phenomenological analysis, "aesthetic organization of space and
time," has implications for the understanding of the spatial and temporal relationships of
architecture, where the "sensible intuition" shall be objectively focus on the interpretation
of key factors in the architectural composition as the "module" and "rhythm", which
contemplates the proportions study of associated space and time measurements as well as
conceptual geometries such as the "golden section".5
In the examples shown, the rhythms of the windows and the colonnades of "loggias" not
only reflect the horizontality of the spatial progression of all built as evidence the modular
structure of its spaces. These follow a geometrization with predetermined proportions,
seized naturally in almost all stopping points along the possible routes.
5
Raymond Bayer, Op. Cit., p.30.
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The aesthetic organization of space is also marked by a clearly defined division or limit,
and nips and spatial extensions. The rationalized spatial distribution of its volumes is
easily interpreted by the observer, along with the rhythms and limits of various orders
who consider objectively the human scale, which oppose or relate strictly.
By creating an architectural variable module, referenced to the size of a building, is
assumed as a uniform measure given by the human dimension, but also related to the
dimensions of the materials and the scale of built and environment.
“A door will not grow in proportion to the building. If the door is made for man, it shall
keep the scale of the recipient; a step will always be a feasible step. The module is given
by the man, and this module is invariable." 6
With the module are created materialized cadences, for example, colonnades defining
architectural and spatial rhythms. Although composition rules are defined, they do not
overlap the heuristic result of the work of art in which all phenomena are considered
simultaneously. Only a formalistic attitude is that supersede the value of the rules, the
number and geometry to all others.
The rhythmic phenomena have a psychological application and are directly related to
"immediate perception of time." This is always limited to a zone of short intervals where
consciousness immediately distinguishes a duration or time division which is more
convenient for a spontaneous perception.
The rhythm formation, rather than of a measure requires a certain speed in reading the
work of a whole, and this interaction. To be associated with time, the rhythm relates to the
experience of human activity and has arguably qualitative value. "The rhythm is
something that comes from a spiritual phenomenon", and its subjectivity joins the
perception all analogies that could relate the architectural space with the senses triggered
by it.7
The aesthetic organization of architectural space can also be enriched by the recognition
and interpretation of these "spaces of realities related by opposition”. 8
6
Idem, p.33.
Ibidem, p.41.
8
Leland M. Roth, Entender la Arquitectura, sus Elementos, Historia e Significado, Ed.
Gustavo Gili, Barcelona, 1993, p.47.
7
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At this stage of analysis, recognition and interpretation of the realities of architectural
space is performed by three pairs of opposites. The first contrasts the "connected spaces"
or interrelated fluidly to "static spaces", individualized or autonomous. The second
concerns the opposition between the "directional space" and the "non-directional space"
which can occur of one or more formal and spatially expressed axiality, or other orders geometric and topological. The third concerns the difference between "positive spaces" or
"negative spaces" - originating in juxtaposition/adding parts or, on the contrary, the
volume subtraction to an all preconceived as closed unit. The cases in question are
mapped to the first type (positive spaces).
4 - Intellectual Intuition
The last stage of the analysis, defined in the "beautiful experience" by R. Bayer as
"intellectual intuition" begins, in our case, of the results acquired in the previous phases
and considers all the architectural context information (theoretical, morphological and
typological), historical and cultural. It is also crucial given the symbolic importance, the
symbol and its meaning as building aesthetic value of the work.
Fig. 15 – Quinta dos Marqueses de
Fronteira, Lisboa
Fig. 16 - Quinta dos Marqueses de
Fronteira, Lisboa
The symbol has been considered by art history the primary element rendering artistic
identity to the work of art recognized as such, and even their own reason of origin. This
causes the imagination to understand the work by suggesting messages or puzzles that
transform it spontaneous ambiguity in sensory and emotional experiences particularized
by the very act of reading or apprehension.
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The symbolic value is evident on ‘Quinta das Águias’, a first level, the very identity of the
architectural complex and its immediate identification in the landscape. The Villa
expresses itself as a symbolic affirmative entity and its constituent parts have, in turn,
comes in with its own symbolic purposes loads that gave them typological identity in the
spatial context built - see yourself as comparative example the square formal garden of
‘Quinta dos Marqueses de Fronteira’, which rigorously embodies the archetype of "ideal
garden ".
However, there are many and varied symbolic values associated with architectural
elements - loggias, entry gates, fountains, sculptural niches, caves, pergolas, gazebos, etc.
- Whose most objective or subjective symbolism establish a purposeful dialogue with
users of space and build the cultural identity of the work.
Fig. 17 - Villa Almerico Capra, La Fig. 18 - Palacete Mendonça, Lisboa
Rotonda
Any architectural element identified as a symbol has three complementary dimensions
that give architectural value. The "expression", which is subjective in nature and suggests
the interpretation; the "representation", which refers to a language of communicative
value; and "pure meaning," which arises from the ideas conveyed by the signs that define
it. This reveals an open image that appeals to a number of defined and different values,
which can be interpreted from an analytical decomposition of representing meanings.
While the first part of this analytical approach is strictly phenomenological framework conscious apprehension of the sense of space, a demand to achieve the internal language
of the building, contrary to its strictly physical analysis - with the "intellectual intuition" is
developed the ability to intellectual understanding of architecture, with reference to an
imaginative mind that starts on a visual perception, which associates the experience of the
observer to the immediate understanding of the case study.
Conclusion
In architecture, and in any art, the simple visual act is totally different from the perception
or understanding of complete work. The mind of the perceiver always finds a meaning or
significant in all sensorial information that receives or assigns instinctively a particular
significant to each specific information. In the act of receive has in account all the
knowledge previously acquired about similar information. That permits to accomplish a
satisfactory preliminary interpretation and locate the collected information in a place with
meaning.
The continued experience in analyzing architecture permits not only to the informed
observer to interpreter and understand the signs that identify a particular object, referring
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to an environment or Place, and to give its judgment on factors that are determinants as
the proportion, balance, hierarchy and solidity, etc., but also to make a judgment about
determined understand their particular qualities and its meaning, and distinguish those that
have architectonic value and artistic from the common objects, from the simple
construction.
References
ARNHEIM, Rudolf, Arte e Percepção Visual – Uma Psicologia da Visão Criadora,
Livraria Pioneira Editora, São Paulo, 1988.
BAYER, Raymond, Traité d’Estétique, Librairie Armand Colin, Paris, 1956.
DUARTE, Rui Barreiros, A Poética do Lugar, in Arquitectura e Vida, n.23, Janeiro 2002,
p.44-49.
HALL, Edward T., A Dimensão Oculta, Relógio D´Água Editores, Lisboa, 1986, p.13.
MEISS, Pierre Von, Elements of Architecture – From Form to Place, E & FN Spon Ed.,
London, 1990.
NESBITT, Kate, Theorizing a New Agenda for Architecture, an anthology of
architectural theory: 1965-1995, Ed. Princeton Architectural, New York, 1996.
NORBERG-SCHULZ, Christian, Architecture: Presence, Language, Place, Ed. Skira,
Milan, 2000.
NORBERG-SCHULZ, Christian, Existencia, Espacio y Arquitectura, Ed. Blume,
Barcelona, 1975.
NORBERG-SCHULZ, Christian, Genius Loci, Towards a Phenomenology of
Architecture, Ed. Rizzoli, New York, 1984.
PIRES, Amílcar Gil, A Quinta de Recreio em Portugal - Vilegiatura, Lugar e
Arquitectura, edição da ‘Caleidoscópio - Edição e Artes Gráficas, SA’, Lisboa, Dezembro
de 2013 (461 págs.), ISBN 978-989-658-245-6.
ROTH, Leland M., Entender la Arquitectura, sus Elementos, Historia e Significado, Ed.
Gustavo Gili, Barcelona, 1993.
SCRUTON, Roger, Estética da Arquitectura, Ed. 70, Lisboa, 1979.
9. The Dichotomy of 'Silence' [in Old Ruins] and 'Noise'
[in New constructions] present in architecture
Inês Daniel de Campos, Master, UBI, Portugal
Abstract: In the analysis and design of an architecture project there are two factors with
a philosophical nature, such as the Silence and the Noise, which can help the development
of creativity, the understanding of how people feel the art and experience the architecture
in its full sense.
The combination of old and new, the recovery of ruins introducing contemporary ideas,
allows to respect the past, the memories and the culture, without the need to recover as it
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was, being almost impossible to build in the same way, due to the existing technological
developments, either constructive or material solutions, it does not make sense to return
to the past, and that people today live the space in a different way.
As architects we must raise the creativity to the development respecting what was the left
to us by our ancestors adding a new language to differentiate times, thus allowing a
historical evolution.
“O que é o silêncio? Perguntei ao mestre… - Uma floresta cheia de ruido.” 9 (Casimiro
de Brito, poet, b. 1938)
Silence and Noise can be connoted negative or positively depending on the interpretation,
energy and each person's state of mind. Silence can be deafening and the noise can be
enjoyable, as well as the interpretation of architectural works. In a landscape (Fig. 1), by
being on site, each observer has the ability to identify these two elements, depending on
the state of mind, on how he/she feels and lives his/her life, the importance of the
memories, what the five senses transmit and to where the memories are recalled. The way
you see the old, if it is understood as noise or silence, and how one can intervene.
Fig. 1, Ruins, Porto dos Asnos, Fundão
Source: Inês Campos Year 2014
The architecture and its spaces, contemporary or ancient, raise in the architect or the
usufructuary of the space the feeling of noise or silence.
9
“What is the silence? Asked the master ... - A forest full of noise.” Retrieved from
http://www.citador.pt/frases/citacoes/a/casimiro-de-brito on 01-02-2015
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By examining the Site, the natural silence of emptiness predominates in the steps taken
over the stone walls, perfectly designed, following towards the sound that nature gives us,
whether the water steams with its waterfalls, the sound of the wind in the trees or in dried
herbs, the birds singing, or the silence of the air.
While analyzing the place, territorial occupation allows us to understand how the space
was used and transformed to fulfil the needs of the rural agricultural season.
Fig. 2, Nature, Porto dos Asnos, Fundão
What sensations does this dichotomy transmit? As architects, how does it influence us on
the recovery and rehabilitation of these places and buildings? What is the sensory and
visual perception of the space "between" the close relationship of two seasons?
Rehabilitate spaces (Fig:3) with their own experiences and "silences", once lived and
forgotten, replacing the "noise" of today which will respond to the new ways of living and
feeling the place.
On the outside, the site analysis and its pre-existences can bring us the memories, history,
culture, which should be preserved. And how should we do it?
On the inside, the analysis and understanding of these external factors can develop the
imagination, creativity which leads us to the concept, the Project Idea.
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Fig. 3, Building in ruin, Porto dos Asnos, Fundão [indoor and outdoor] Source:
Inês Campos Year 2014
Designing something to fit in spaces and places that somehow are sentenced to death is
important to interpret the essence, projecting according to the references which are
transmitted by the memories left. Only this way, unique and differentiating projects can
be developed, stressing the importance of specific understanding of each place.
Projecting a house requires an understanding of the concept of Living, and all physical
and sensory functions involved in feeling the space, either in the silence or noise of living,
the Society, Culture and the evolution of lifestyles, respecting all the conditions imposed,
adapting and acquiring the identity of place (Genius Loci).
The Dovecote Studio (Fig:4) is an example of a rehabilitation using to the extreme
something that at a first glance would be demolished without a second thought. The
project authors had the sensitivity to look beyond something that had no value thus giving
it a new use and making it distinctive and provocative of different sensations and certainly
favourable, and the most unfavourable, reviews and it is in this provocative way that
architecture should follow.
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Fig. 4, Dovecote Studio, Suffolk
Source: Haworth Tompkins Year 2009
The rehabilitation of buildings or ruins requires the perception of spaces and sites,
strongly characterized by history, taking advantage of all that was left, so that the "new"
dialogues and adds a new "life" to the existing one.
It is important to give people sensations that can make them feel the new spaces, causing
either restlessness or feelings of tranquillity, of dimension or reduction, relaxation and
introspection or activation and movement. Only by feeling can someone have an opinion
about something, just dealing with our feelings can describe something, expressing it with
words.
The architect has to pass on to the project the essence of the site, of what the program
needs and seeks to provide to the customer, in order to be entirely experienced as a work
of art and as a need of space to inhabit.
In the project of the Auditorium Of Sant Francesc (Fig:5) the architects had in mind to
keep its original structure in sight, recovering the indoor/outdoor space, adding specific
items according to the program of rehabilitation and transformation of the existing adding
new features. Contemporary elements designed individually outside were introduced to
stress important points, such as the building entrance. In the outer internal spaces it was
introduced a set of volumes, of new construction, with walls almost in ruins that serve as
the backdrop for the new space with new sensations of scale, proportion, harmony and
challenge of those who experience the building.
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Fig. 5, The Auditorium Of Sant Francesc, Catalonia, Spain
Source: David Closes Year 2011
Projecting contemporarily in an imposing pre-existence demands a surgical intervention
in order to respect and value both periods. It is necessary a deep analysis of each case, of
each pre-existence, of the way it was programmatically used, of how it was scoured and
felt, and 'matched' with the new program, taking advantage of the existing to meet new
needs using the 'clues' that are shown when analysing in detail the object and site to be
recovered.
Fig. 6, Project Valuation in Castelo Novo, Portugal
“O Silêncio é o diálogo mais profundo.” 10 (Juliana Pacheco)
10
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The journey that is made along each project, in the silence of thought with the sound of
steps on the chosen material, must promote inquietation towards something unknown,
thus allowing the development of creativity of each user of the carefully space designed in
order to ascertain all senses.
It is important to follow our Creativity, enjoying everything that worries, moves, thrills,
delights us with harmony and proportion together with the identity of the site
10. REALIDADE VIRTUAL - mostra uma nova visão para
o turismo e património
José Paulo Guerra, (MA);
Miguel Moreira Pinto, (PhD);
Cláudia Beato, (PhD)
Universidade da Beira Interior / Covilhã, Portugal
Resumo:
Observar o Património, um monumento, arquitectura ou UMA ESCULTURA e receber
imediatamente INFORMAÇÕES ÚTEIS e ADICIONAIS para INTERPRETAR
MELHOR, É UMA DAS PROMESSAS Da tecnologia e da realidade virtual.
O conceito de realidade virtual está longe de ser um conceito novo. Muitas experiências
sobre formas de sobrepor camadas de informação, adicionais aos elementos do mundo
real, em observação directa, foram feitas ao longo da última década, explorando diferentes
tipos de utilizações, em contexto de lazer e/ou profissional. Melhorar a percepção da
realidade, em contraste com a realidade virtual, ofereceu outras iniciativas que substituem
o contexto de um mundo simulado, e a possibilidade de utilizar uma forma interativa de
manipulá-la de uma forma digital, são as mais recentes conquistas que abriram novas
perspectivas de evolução da realidade virtual.
A ideia por trás da maioria das aplicações de computador é melhorar a interacção dos
utilizadores com o mundo real, adicionando informações através do uso de ferramentas e
técnicas que foram confinados ao mundo digital. Mas essas aplicações podem ser usadas
“Silence is the deepest dialogue.” Retrieved from:
http://www.filosofiahoje.com/2012/12/o-silencio-e-o-dialogo-mais-profundo.html on 0102-2015
49
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na orientação do turismo nas cidades e no mundo profissional, em diversas áreas, como a
arquitectura em ambiente BIM, arquitectura de interiores ou design, com a projeção de
elementos como adequação do mobiliário ao espaço disponível e ser visualizado no
espaço
virtual.
A capacidade de conceber, verificar e partilhar novas realidades, que já está a ser
explorada por empresas, que adicionam novas camadas de informações a serem utilizadas
nos seus catálogos e produtos que transformam literalmente os PC híbridos, tablets e
smartphones dos clientes em fontes de informação, que levam a conhecer melhor o que é
observado, mas é no sector do turismo e património que a realidade virtual está a ser
utilizada
de
forma
mais
intensiva.
Realidade Virtual pode ser uma boa maneira de viajar e compreender o mundo turístico.
Palavras-chave: Realidade virtual e aumentada, turismo e património.
Introdução
A realidade virtual tem tido um contributo no contexto dos videojogos[1], na arquitectura
e no turismo, mas as aplicações são tão vastas e estendem-se às diferentes formas de
entretenimento, ao ensino ou educação e até outros sectores de actividade onde possibilita
a vivência de experiências com relevância. Este cenário permitirá uma nova abordagem
da realidade virtual, transformando esta curiosidade tecnológica num instrumento
verdadeiramente útil, tanto em situações de entretenimento como em contextos
empresariais, comerciais ou publicitários, sejam esses por exemplo, arquitectónicos ou
outros, como o turismo e o património. Podemos visualizar em 3D o catálogo de produtos
que permite atrair vários mercados e oferecer aos potenciais clientes a possibilidade de
tomar contacto mesmo que de forma virtual, antes de os visitar ou comprar.
A realidade aumentada começa agora a tomar novas formas com a ajuda dos smartphones
e de novos acessórios como os Google Glass. Através da evolução da capacidade de
processamento dos smartphones e da qualidade das câmaras transportaram para o bolso de
todos uma verdadeira máquina de mostrar a realidade aumentada[2]. Este é o principal
dispositivo que tem sido utilizado nas experiências, tal como os tablets que se multiplicam
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um pouco por todo o lado, mas ao qual se juntaram rápidamente os óculos de vários
fabricantes. Com uma câmara de boa qualidade, capacidade de processamento e ligação á
internet que possa reconhecer os lugares e objectos para juntar dados, com um ecrã para
projectar a informação e estão reunidas as capacidades para ter um dispositivo de
realidade aumentada, disponibilizando informação útil em conjugação com a realidade
virtual circundante, permitindo ao utilizador poder interagir por toque, texto ou por sons e
voz, por exemplo em cenários de turismo e património.
Realidade Aumentada vs. Realidade Virtual
A diferença entre a realidade aumentada e a realidade virtual é que na primeira adicionase informação digital às imagens e contextos da vida real[2], enquanto que na segunda se
oferece ao utilizador um novo mundo no qual ele é imerso, permitindo por exemplo, voar
sobre uma cidade sem tirar os pés do chão. Os dois conceitos são usados em situações
semelhantes podendo viajar pelos seus pés, por exemplo no Museu do Louvre, enquanto
vê a informação adicional sobre as obras expostas, ou sentar-se comodamente no sofá,
colocar uns óculos de realidade aumentada e fazer uma visita virtual ao museu. Os
clientes reagem positivamente a componentes de marketing com a tecnologia da realidade
aumentada, melhorando a experiência, visualização dos detalhes e enquadramento,
levando a finalizar a aquisição de produtos e/ou serviços que esta tecnologia da realidade
virtual nos propõe na sua oferta.
Rentabilizar a realidade aumentada como diferenciadora
Todos os dias surgem ideias e projectos em todo o mundo relacionados com a tecnologia
da realidade aumentada. A publicidade e o marketing são destinos evidentes de
investimento das empresas com a inovação da realidade aumentada[3], através da adição
de uma nova camada de informações com anúncios impressos visíveis e/ou audíveis. A
área de formação e informação sobre produtos, processos e equipamentos é uma das que
tem registado um avanço significativo e que pode trazer para a linha de produção,
laboratório ou atelier, uma forma de dar mais conhecimento e experiência aos
utilizadores, através de dispositivos como os tablets e outros semelhantes aos Google
Glass.
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Os óculos da Google não estão ainda disponíveis comercialmente, mas já despertam
interesse a muitas empresas que estão a desenvolver aplicações para os explorarem.
A GuidiGo[2]
decidiu tornar os Google Glass num guia para museus, adicionando
informação sobre as obras expostas, com visualização de vídeos e fotos, bastando uma
ordem de voz para “iniciar a visita“ ativando a câmara da app (aplicação) que oferece a
tradicional “visita guiada“ em modo áudio e um mapa em tempo real que mostra a
localização do utilizador, indicando o caminho a seguir. Os mapas em tempo real estão
sempre atualizados e referenciados através de GPS, juntamente com a câmara do
smartphone dão nova vida aos mapas de bolso dos vários fornecedores, mas se
apontarmos uma determinada direção numa posição e orientação[4], a aplicação vai darnos a indicação de pontos de interesse na proximidade, como restaurantes, lojas, hotéis e
bombas de combustível, etc.
Reviver o passado com a realidade aumentada
Interligando história e património, cultura e turismo, capturamos e visualizamos imagens
digitais dos edifícios históricos, do património cultural e centros da cidade que são
recriados na app Rewind Cities Lisboa[2], é uma aplicação que abre as portas a novas
possibilidades de descoberta da capital portuguesa em tablets e smartphones Android, iOS
e Windows Mobile. As vantagens das imagens digitais do património e turismo são a
visualização imersiva na realidade virtual e a captura não evasiva e rápida dos locais
históricos e culturais.
As memórias do passado são exploradas em várias app, entre as quais a Forgotten City[2]
em que é possível ver imagens e vídeos do local através do tempo ou de acontecimentos
que aí tiveram lugar e fizeram a história da cidade, mediante a sobreposição e junção de
imagens e informações rápidas e úteis em tempo real.
O conceito de passeio fica assegurado através do Time Traveller[2], no qual as imagens
antigas de edifícios ou monumentos podem servir de pano de fundo a postais ilustrados
com fotos de turistas mas sem esquecer informação actual como a localização de eventos
culturais.
A realidade imersiva em museus e património
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A realidade virtual e aumentada pode oferecer aos museus, ao património e turismo
muitas aplicações úteis, fornecer uma experiência sensorial e permitir a cultura ser
acessível a todo o público[5], a preservação dos locais e do meio ambiente, substituir a
visita real do local ameaçado ou inacessível pela visita virtual de turistas, exploradores e
pesquisadores, com o potencial para várias experiências virtuais, em termos de interação e
imersão, muitos exemplos existem no link (http://www.photojpl.com/cities/lisbonportugal/) em 2015/1/30.
Os museus virtuais baseados na web representam um complemento atraente da
vizualização de museus reais, são bons exemplos de realidade virtual baseada em
dispositivos portáteis[6], existindo muitos bons museus virtuais, como por exemplo, um
dos maiores e mais famosos museus do mundo, é onde se encontra a Mona Lisa, a Vénus
de Milo, obras-primas de grandes artistas da Europa como Rembrandt, Michelangelo e
Goya, numa das maiores mostras de arte do mundo, que o Museu de Louvre em Paris,
mostra no site com o link (http://www.virtualsweden.se/panorama/louvre-apollo-galleries0?set=77) em 2015/1/30.
Em Portugal há vários temas de realidade virtual, por exemplo, o caso do Palácio da
Quinta da Regaleira[7], registado no SIPA - Sistema de Informação para o Património
Arquitectónico,
considerado Imóvel de Interesse Público pela Direcção-Geral do
Património Cultural, é uma arquitectura residencial, revivalista, ecléctica, uma quinta de
gosto romântico, com palacete e capela de concepção marcadamente cenográfica e em
estilo neomanuelino, apesar de conciliar outros revivalismos como o neo-gótico e
neorenascentista, como mostra no site com o link (http://cliente.digisfera.pt/regaleira2.8/interactive/) em 2015/1/30.
A realidade imersiva em turismo
Uma empresa portuguesa oferece serviços de design e desenvolvimento para web, é lider
mundial em projectos que envolvem a fotografia 360º, visitas virtuais de alta qualidade e
aplicações inovadoras com imagens panorâmicas que permitam uma experiência imersiva.
Uma visita virtual realizada por exemplo num passeio em Lisboa ao som do Fado, é um
projecto elaborado pela Digisfera em parceria com a Direção-Geral do Património
Cultural e Secretaria de Turismo da Lisboa, o 360Tour Lisbon consiste numa visita virtual
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interativa em Lisboa, permite andar pelas ruas e praças da cidade, pelo exterior e interior
de monumentos e museus e em mais de 30 locais de interesse, num total de 55 fotografias
panorâmicas em 360º.
A visita virtual são fotografias panorâmicas tiradas em vistas de miradouros, praças,
monumentos e museus, incluindo importante informação histórica dos locais em 5
idiomas[8].
Um postal digital em DVD 360Tour Lisbon[8] está à venda nas lojas dos monumentos e
museus da Direção-Geral do Património Cultural, nas lojas do Turismo de Lisboa e
noutros locais turísticos. A visita virtual incluída no DVD está temporariamente
disponível, no site com link (http://www.360tour.pt/demo/) em 2015/1/30.
Fig. 5 e 6 - Praça do Comércio e mapa de Belém, Centro da Cidade e
Parque das Nações
Conclusão
A Cultura, o Património e o Turismo são hoje reconhecidos como valores fundamentais
da atratividade de um país, tal como revelam estudos de caracterização de motivações de
turistas que nos visitam. O objetivo deste Artigo permite a interligação entre Património e
Turismo, desde que reúna a criatividade, as ferramentas necessárias e experiência de
quem projecta, que possa abrir caminhos a novos projectos e conquistar o seu espaço de
integração e divulgação.
A realidade virtual é a tecnologia presente que transformará o futuro, como qualquer
inovação terá o seu uso, permitindo ao utilizador novas experiências, conhecimentos e
competências, é uma reprodução exata do mundo real que incorpora a visualização virtual
54
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e as sensações na envolvente ambiental e cultural. Esta realidade imersiva incentiva os
turistas nas visitas virtuais e na escolha dos locais a visitar, benéfico para o estudo e
preservação do património.
A realidade aumentada fornece ao setor do turismo uma nova tecnologia a ser explorada
pelos profissionais da Cultura, Turismo e Património, pelas oportunidades únicas que
apresenta.
Referências:
[1]
Goffredo M, Schmid M, Conforto S, D'Alessio T; 3D Reaching in Visual Augmented
Reality Using KinectTM: The Perception of Visual Target. pp. 711-715. Springer Berlin.
2013
[2]
Avelar L, Santos B; Trends - Realidade Augmentada, Revista Imagine. nº2, Nov. 2014
[3]
Furht B; Handbook of Augmented Reality. Florida Atlantic University. Springer, 2011
[4]
Kent J; The Augmented reality Handbook, Everything you need to know about
augmented reality. 2011
[5]
Magnenat-Thalmann N, Papagiannakis G; Mundos Virtuais e Realidade Aumentada em
aplicações do Património Cultural, Workshop Internacional sobre Recording,
Modelagem e Visualização de Património Cultural. Ascona, Suíça, 2005
[6]
Oliveira P; Augmented Reality Mirrors Game, Revista Exame Informatica. nº236 Feb.
2015
[7]
Adrião V; Quinta da Regaleira; Sintra, História e Tradição. Livro Dinapress, Lisboa
2013
[8]
http://www.360tour.pt/#home, em 2015/01/30
Pinto, Luis; Desenho, Percepção e Forma, Ed. Colibri, Lisboa, 2011
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11. Fatores Intensificadores Comuns da Experiência
Turística - Contributos para a compreensão da
atratividade do Destino
Sérgio Da Silva; João Correia; Diogo Sousa; Ricardo Ribeiro; Sérgio Araújo
ESTM - GITUR - Instituto Politécnico de Leiria
Abstract
Regardless of the specifics and substantial differences of each of the studied touristic
experiences, it is expected with this present work the conjecture of the existence of
common intensification factors, regarding each individual study case, which can be
rescued as touristic integration factors in their own destinies. The interest of this
confirmation lies on the strengthening of the significance extent of those intensification
factors as touristic integration agents, promoting the development of each destiny. Given
the existence of an endless multiplicity of touristic experiences, we opted to focus on the
differentiated experiences, in order to equate the said subject in a more eloquent sense of
generalization.
Keywords: Tourism Experience; Common Enhancers Factors of Tourist Experience;
Integration; Destination Development.
Resumo
Independentemente das especificidades e diferenças substanciais de cada uma das
Experiências Turísticas estudadas, perspetiva-se com o presente trabalho a hipótese de
haver fatores intensificadores comuns às referidas experiências, passíveis de serem
resgatados como fatores de integração turística nos Destinos em causa. O interesse desta
confirmação reside no reforço da amplitude da significância dos referidos fatores
intensificadores enquanto agentes de integração turística e consequente desenvolvimento
dos Destinos. Dada a aparente infindável multiplicidade de Experiências Turísticas,
optou-se por Experiências diferenciadas no intuito de equacionar de forma mais eloquente
o referido sentido de generalização.
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Palavras-chave: Experiência Turística; Fatores Intensificadores Comuns da Experiência
Turística; Integração; Desenvolvimento do Destino.
1 - Introdução
Nos dias de hoje, e cada vez mais, o Turismo assume-se como uma atividade marcante no
Sistema Internacional, materializando uma importância crescente a vários níveis,
nomeadamente nos planos económico, sociocultural e ambiental, sendo mesmo de
questionar em que medida é que a sua dimensão de integração condiciona positivamente
as relações políticas entre os Estados.
Por outro lado, temos vindo a observar uma mudança do paradigma no Turismo. De facto,
o turismo de massas tem vindo a ser interpretado de forma diferente pelos consumidores,
contribuindo para esta visão o surgimento de ofertas mais associadas ao Turismo
Alternativo, preconizado pela própria Organização Mundial de Turismo (OMT). Essa
nova tendência centra-se na valorização da experiência, satisfazendo as necessidades
intrínsecas dos turistas.
Num mundo cada vez mais globalizado e fortemente competitivo, torna-se imperativo
para as empresas/destinos turísticos, que se adaptem, pela adoção de novas abordagens, de
forma a irem ao encontro das novas e cada vez mais exigentes necessidades do mercado
da procura.
É neste âmbito que novos tipos de produtos turísticos, de carácter mais alternativo,
fortemente assentes na componente experiencial, têm vindo a surgir e a ganhar um peso
exponencial no mercado turístico, criando desta forma novas oportunidades de
diferenciação para os destinos turísticos. A crescente perceção e valorização da
componente da autenticidade existencial (Wang, 1999), induz-nos para a importância do
estudo e da abordagem dos diferentes componentes capazes de potencializar ao máximo
as próprias experiências turísticas, os denominados fatores intensificadores da experiência
(LEO, 2009), e as formas como eles estão presentes, ou não, nos diferentes tipos de
experiências turísticas.
Neste estudo, de caracter exploratório, pretendemos estudar isso mesmo, avaliando as
realidades e especificidades de três produtos turísticos de características bastante distintas,
a Street Art, o Mergulho em Peniche e o Mercado Medieval de Óbidos, no intuito de
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identificar, ou não, a existência de fatores intensificadores comuns, expondo as formas
como os mesmos se materializam em cada uma das tipologias experienciais apresentadas.
Assim, em seguida iremos apresentar e descrever os três casos de estudo, realizando uma
breve contextualização dos mesmos, mas focando a nossa atenção mais concretamente na
componente da experiência oferecida em cada um dos casos, bem como no seu potencial
diferenciador para a oferta de um destino turístico. Por fim, iremos culminar este estudo,
constatando os elementos mais significativos e intensificadores da experiência das três
realidades, concluindo nas perspetivas através das quais podem, ou não, ser comuns entre
as mesmas e zelando pela respetiva atratividade do destino.
2 - Exemplos de Ambientes circunstanciais alternativos - “Street Art”
Podemos definir o conceito de Street Art como um formato de Arte livre e pública, “que
tem como objetivo interligar-se com a sua audiência, recriando espaços, permitindo que
as pessoas se identifiquem com os mesmos, proporcionando uma reflexão renovada sobre
a própria comunidade” (Sharp, Pollock et al, 2005, p.1003). Acaba por poder ser
considerada como uma forma de documentar, de forma consciente ou não, factos,
posições e opiniões, com o uso de superfícies ou espaços, ao longo do tempo. (Ghitahy,
1999 e Downing, 2001) Na realidade, é neste contexto que diversos autores defendem que
as origens do Street Art remontam à própria pré-história, associando as próprias gravuras
rupestres a registos artísticos sobre superfícies arquitetónicas. (Ghitahy,1999)
O termo “Street Art” evoluiu e tornou-se aceite pelas sociedades contemporâneas a partir
da década de 60, com o intuito de distinguir um cada vez mais emergente fenómeno de
Arte urbana, de manifestações de Graffiti territoriais e de vandalismo. Apesar de ainda
não existir um total consenso sobre os locais que originaram este movimento, é
maioritariamente aceite que o mesmo tenha despoletado nas cidades de Nova York e
Filadelfia, registando desde então um crescimento exponencial, transformando-se num
autêntico fenómeno transcultural. (Mathieson & Tapies, 2009) De facto, nos dias de hoje,
este tipo de manifestação artística pode se encontrado em edifícios, passeios, sinais de
trânsito e outras superfícies desde cidades como Nova Iorque, Londres, Barcelona, ou até
mesmo São Paulo ou Melbourne. Ao contrário do Graffiti, que apenas visa ser
compreendido por “alguns”, possuindo um caracter muito restritivo, a Arte Urbana é
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aberta ao entendimento público, colocando-se num patamar propício para ser adorada,
interpretada, julgada, odiada ou até mesmo ignorada. (Mathieson & Tapies, 2009) Apesar
de atualmente a larga maioria dos grandes centros urbanos e até mesmo algumas
localidades com características mais rurais, possuírem algum tipo de obra de Arte Urbana,
existem alguns locais já com um forte historial criativo e abertura para este tipo de
práticas, tais como Berlim, Londres ou Melbourne, sendo por isso mesmo amplamente
procurados pelos maiores nomes da Street Art internacional, como locais ideais para a
criação das suas obras, e consequentemente por visitantes expectantes por observar as
mais recentes e vibrantes criações desses próprios artistas. Com o surgimento de centenas
de brilhantes novos artistas urbanos, a Street Art assume-se como o grande fenómeno
artístico dos nossos tempos. (Idem, 2011)
2 – 1 A “Street Art” como património Cultural e ferramenta diferenciadora de um
destino turístico
Podemos definir património cultural como o legado que recebemos do passado, vivemos
no presente e transmitimos às futuras gerações. O nosso património cultural e natural é
fonte insubstituível de vida e inspiração, nossa pedra de toque, nosso ponto de referência,
nossa identidade. (UNESCO, 2011)
Atualmente estamos a testemunhar a mudança de paradigma relativamente à perceção e
valorização do fenómeno da arte urbana, deixando de ser um conceito fortemente
associado ao vandalismo, passando a ser valorizada como uma ferramenta capaz de
redefinir a próprio conceito de arte. Nesse sentido, afirmando-se e sendo reconhecida
como arte, a Arte Urbana passa imediatamente a fazer parte do património cultural
existente no local, tornando-se um atrativo que mostra a identidade do mesmo, pois o
traço dessa arte muda de artista para artista e de local para local. É uma manifestação
artística e expressão de identidade de um grupo social. Da mesma forma a Arte urbana
pode ser vista como um elemento que revitaliza o património arquitetónico já existente
(edifícios, paredes, tuneis, passagens, etc.), tornando os locais mais atrativos (Rodrigues,
2013)
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“Os grafismos encontrados nas grandes cidades são produtos da imaginação individual e
cultural e, de algum modo, provocam a sociedade em seus temas e pela possível
visibilidade de um maior número de imagens.” (Rink, 2011, p.75)
Esta nova perceção advém da própria evolução das sociedades e apresenta-se como uma
nova oportunidade para que diversos destinos turístico encarem esta nova valorização e
procura, como forma a diferenciar e enriquecer a sua própria oferta turística. Na realidade,
cidades como Barcelona já se apropriaram destes novos valores, incentivando a prática
destas manifestações urbanas nos seus domínios, incorporando-as nas suas próprias
ofertas turísticas. (Gelder & Robison, 2011) Desta forma, este tipo de destinos acaba por
ir ao encontro da própria mudança de paradigma turístico. Na realidade, à medida que os
fenómenos de globalização se têm alastrado a um ritmo exponencial, aliado ao sucessivo
desenvolvimento das próprias sociedades, que cada vez mais dispõem de mais e melhores
meios de informação, onde o stresse, a rotina e a competitividade se assumem como
características cada vez mais patentes, tem também vindo a aumentar a procura por
diferentes tipos de turismo, mais focados na diferenciação e na valorização da
experiência, em detrimento de um turismo mais massificado. (Lopes, 2010)
É então neste âmbito que diversos destinos turísticos passaram a encarar a “Street Art”
como um forte elemento complementar, de características assentes no “alternativo”, ou
mesmo como elemento central da sua oferta turística, apropriando-se deste novo tipo de
património cultural, como imagem de marca promocional, captando novos segmentos de
mercado e catalisando todo um processo de desenvolvimento turístico.
2 – 2 A “Street Art” e a Experiência Turística
O facto de a exploração turística do produto “Street Art” estar ainda numa fase
relativamente incipiente, faz com que ainda não existam praticamente estudos
relacionados com esta temática, equacionando-se a estruturação de parâmetros relacionais
e intrapessoais que a “Street Art” pode proporcionar aos turistas qua a vivenciam. “A
experiência turística só pode ser entendida, explorando contextos específicos nos quais a
mesma ocorre, embora dentro da moldura conceptual fornecida pelo trabalho existente”
(Sharpley & Stone, 2011) Contudo, e assumindo o caracter metodológico exploratório
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deste estudo, iremos desenvolver este ponto, baseado no entendimento obtido através da
interpretação da escassa bibliografia existente, bem como na nossa perspetiva pessoal
assente nas investigação realizada até ao momento.
Cada vez mais, o turismo passa a ser resgatado e encarado como um produto potenciador
para dar resposta às necessidades individuais e específicas de cada um, oferecendo as
ferramentas necessárias, através da oferta de experiências diferenciadoras e únicas, para a
emancipação pessoal de uma procura turística complexa e sempre mutável (Almeida,
2010)
O “novo turista” [...] constitui um “multi indivíduo”, mais informado, mais exigente,
mais sofisticado, domina a Internet e as tecnologias de informação e comunicação, com
uma maior disponibilidade financeira, valoriza a individualidade, a oferta da diversidade
e da autenticidade bem como de experiências únicas/personalizadas, enfim, não consome
o que lhe oferecem, procura incessantemente o que quer, e aquilo que quer tem de ser
único e autêntico. Lopes (2010, p. 89)
De facto, é a busca da unicidade da experiência, assente em produtos com forte carácter
identitário, que caracteriza a componente principal da motivação para a prática de
atividades turísticas, do perfil deste novo-turista.
“A forma como cada indivíduo vive uma experiência é sempre resultado de um conjunto
de fatores que lhe são próprios e a sua perceção será diferente quando comparada com a
de um outro indivíduo que vive a mesma experiência.” (Salvador, 2012). A própria
individualidade dos turistas e a sua relação para com a diferenciação da experiência
oferecida, assumem-se então como elementos fundamentais para a intensificação da
experiência, realidade essa que pode ser transportada para o contexto da Street Art.
A Street Art caracteriza-se pela existência de uma forte componente criativa, patente em
cada obra, que por sua vez, varia conforme a individualidade e identidade de cada artista.
Ou seja, as obras de arte urbana podem ser consideradas atrações por si só, pelos impactos
sensoriais, mensagens ou interpretações que sugerem, como também pelo facto de terem
sido concebidas por determinado artista, que conforme a sua perceção na mente do turista,
pode constituir-se como a motivação principal para o seu ato de visita, observando e
contactando de forma direta com obras artísticas autenticas. Isto indica-nos que a
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componente da autenticidade também se assume como um potencial fator intensificador
da experiência por parte dos visitantes. Por outro lado, ao existir uma procura por
produtos turísticos de Street Art, que se baseiam na exposição de obras que se situam em
antigos locais com relevância histórica e/ou cultural, ou possuam um forte simbolismo
para com os mesmos, ou até mesmo centrados na descoberta de novas ruas, novos
caminhos, com algum tipo de relevância para a história do local ou das suas gentes,
também nos revela o papel que a história pode ter como um potencial fator intensificador
da experiência para este tipo de turistas. Como exemplos disso mesmo, podemos destacar
as Street art tours em Paris focadas nos personagens ilustres que ali nasceram e viveram,
tais como a Edith Piaf ou as Tours de Street Art realizadas em Lisboa, de tema literário,
onde os visitantes têm a oportunidade de visitar excertos de obras literárias mais
significativas, de diversos autores em formato de Street Art, redirecionando-os para locais
marcantes e significativos relacionados com esses mesmos autores literários. O próprio
carácter Underground patente na cultura da Street Art e em muitos locais onde a mesma é
exposta, faz com que exista a possibilidade de ocorrência de fortes processos de contraste,
entre os locais/objetos/mensagem observados, para com a realidade vivida no dia-a-dia
dos visitantes, podendo desta forma também ser considerado como um possível fator
intensificador da experiência. Por fim, a Street Art como produto sustentável, inclusivo e
amplamente promovido pelas comunidades locais, pode também contribuir de forma
direta para a vertente da interação e integração dos turistas para com as comunidades
autóctones, contribuindo para a maximização da sua experiência. Um grande exemplo
desta realidade é o caso de Djerbahood, na Tunísia, onde uma pequena comunidade rural
se apropriou da Street Art como um elemento identitário, induzindo ao seu envolvimento
e partilha turística. Quanto maior for o número de fatores intensificadores presentes na
experiência, maior será a probabilidade de esta atingir elevados níveis de satisfação,
potencializando a ocorrência de rituais de desenvolvimento pessoal. (Almeida & Araújo
2012)
“A verdadeira Experiência Turística resulta não só da combinação de um conjunto de
experiências, mas sim do significado atribuído pelo Turista a essas experiências e dos
benefícios duradouros que esta lhe pode trazer. Os benefícios de uma Experiência
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Turística começam com a antecipação e continuam com as memórias da experiência
vivida” (Sharpley & Stone, 2011).
3 - Exemplos de Ambientes circunstanciais alternativos – O mergulho recreativo de
mar
O início do século XXI protagonizou um interesse crescente pelo ambiente e pelo turismo
da natureza. Contrariamente aos recursos terrestres que vão para além do ecoturismo,
como o turismo cultural, o turismo rural ou o turismo urbano, o turismo em áreas
marinhas concentra-se na relação do visitante com o ambiente natural subaquático.
Segundo Ince e Bowen (2010), citando Tanaka (1992), o atual mercado do mergulho,
influenciado pela evolução tecnológica e social do segmento, não pode ser visto apenas
como um desporto. Para muitos praticantes mais experientes constitui a sua atividade
preferida gerando muita dedicação e envolvimento, enquanto para outros é apenas uma
extensão do turismo dos três esses (sun, sand and sea).
O mergulho de mar pode ser basicamente dividido em duas categorias: mergulho livre e
mergulho autónomo. O primeiro é realizado em apneia, com recurso ao próprio folego,
recorrendo apenas a máscara, tubo e barbatanas, podendo ser praticado sem necessidade
de nenhuma certificação.
O mergulho autónomo utiliza equipamentos de respiração subaquática, sendo mais
complexo, obriga a um curso de mergulho com certificado reconhecido. Existem vários
níveis de mergulho autónomo que variam desde o básico, onde o mergulhador fica
habilitado a mergulhar em qualquer parte do mundo, passando por diferentes níveis até
instrutor. Diversas especialidades estão associadas ao mergulho como a fotografia, a
orientação, o mergulho profundo ou o mergulho noturno.
Para Gaspar (2014), existem basicamente dois tipos de mergulhadores: aqueles que veem
a atividade como lazer e aqueles que encontraram no mergulho um estilo de vida. A
diferença básica é a curiosidade, a necessidade de desenvolver a sua técnica e os seus
conhecimentos teóricos. É esta vontade de evoluir na técnica e no espírito que transforma
o mergulhador recreativo em mergulhador técnico. Poder ter mais capacidade de avaliar,
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planear, reconhecer os próprios limites e lidar com frustrações, torna-se mais útil do que
ter coragem excessiva.
Vive-se atualmente uma mudança de paradigma relativamente ao mergulho de mar. O
mergulho recreativo teve um enorme desenvolvimento nos últimos 10 anos e conta com
mais de 10 milhões de praticantes em todo o mundo com a associação “Professional
Association of Diving Instructors” (PADI), uma das três maiores para além da (NAUI)
“Worldwide, Dive Safety Through Education” e “Scuba Schools International” (SSI), a
certificar perto de 1 milhão de praticantes todos os anos, não existindo dados sobre
Portugal onde tem cerca de 70% do mercado.
Portugal nos seus 2500 quilómetros de costa regista mais de trezentos locais de mergulho
existindo a noção que haverá muitos mais por descobrir. A facilidade de acesso ao mundo
subaquático democratizou-se a partir do momento em que as escolas de mergulho se
reproduziram da escassa meia dúzia do início de 1990 até atingirem as cerca de 150
unidades atualmente em funcionamento.
3 – 1 O mergulho e a Experiência Turística
Mergulhar de cabeça pode ser entendido como conhecer sem medo. Significa incerteza
nos breves segundos que dura a penetração num meio totalmente divergente do habitual.
Segundos de completa noção do vazio enquanto dura o processo de mudança e adaptação
ao ambiente marinho. Os sentidos reposicionam-se quando o equilíbrio é recuperado após
ser atingida a flutuabilidade e a respiração sustentada.
O termo mergulhar reflete a transição brusca a que o organismo é submetido na mudança
para o meio aquático, desde logo num mundo de vibrante silêncio onde o som do bater do
coração é a presença mais intensa e constante. A audição está diminuída e a visão mais
condicionada. A quantidade e diversidade de elementos submersos presentes aciona uma
maior inquietude dos sentidos que geram mais emoções podendo ir do medo à excitação
em frações de segundo.
O novo turista subaquático representa um novo paradigma na forma e na atitude de olhar
para os oceanos, para natureza e para o espírito da descoberta. Os oceanos vistos como a
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última fronteira, o derradeiro desafio de enfrentar o medo pelo desconhecido, como uma
necessidade de fuga e de crescimento interior.
Apesar de parecer uma atividade radical, o mergulho recreativo autónomo é entendido
pelos seus praticantes como uma busca pela serenidade. A excitação descontrolada leva a
um maior aumento do consumo de ar e a uma maior dificuldade de flutuabilidade o que
prejudica a experiência, pelo que os mergulhadores são muito focados na sua atividade e
sensorialmente muito despertos.
Ong e Musa (2012), entendem por experiencia de mergulho a soma acumulada de todas as
experiencias de toda uma vida. A vida passada do individuo é refletida num estilo de
participação e também se reflete num nível de conhecimento o que tem influencia no
modo como se sente, reflete e toma decisões. Os autores encontraram evidências na
relação existente entre a experiencia e o comportamento responsável debaixo de água.
Ince & Bowen (2010), identificaram os elementos chave usados pelos mergulhadores
recreativos certificados e experientes para determinar a satisfação e discutem a relativa
importância dos elementos sobre a experiencia pessoal, propondo um quadro conceptual
que explique a formação da satisfação nos mergulhadores. Destacam o papel das emoções
sobre quaisquer outros antecedentes relativos a elementos tangíveis e intangíveis da
experiencia de onde os mergulhadores derivam um senso de significado.
Por experiência de mergulho de mar entende-se a viagem ambientalmente sustentável a
áreas não perturbadas, propícias a experiências de lazer e educação, aprendizagem e
crescimento, contribuindo para o desenvolvimento económico local numa perspetiva de
sustentabilidade turística. A experiência do mergulho de mar pode nestas circunstâncias
constituir-se como experiência turística alternativa, contribuindo para desenvolvimento
pessoal, conferindo êxtase e plenitude existencial.
O mergulho recreativo de mar caracteriza-se por uma forte componente ambiental do
meio natural. Cada região, cada conjunto geológico e biótico representa e reflete uma
única individualidade. A Reserva da Berlenga é única e extraordinária e mesmo por entre
outras ilhas atlânticas da costa, aquela com mais magia. Para o atestar, o mergulho
recreativo atesta a sua autenticidade na forma como simbolicamente é representada pelas
comunidades de Destino. Questionado um instrutor de mergulho sobre o que tem a ilha de
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especial, respondeu: “Tem tudo. Por isso é que é mágica” (entrevista profunda realizada
aos operadores locais). O que é tudo do ponto de vista de um mergulhador recreativo
experiente? Desde logo a História, o que está subjacente nos nomes dos locais de
mergulho, na toponímia dos recantos da ilha. A evocação difícil destes nomes, cuja
origem é um profundo quebra-cabeças para historiadores, evocando muitas vezes míticos
nomes fenícios. Desde logo o contraste da atividade remete para outros sistemas de
valores. A proximidade dos sujeitos e o envolvimento da comunidade é profundo, as
regras prendem-se mais com mecanismos de segurança o que não deixa de ser um
contributo para o estreitar de relações, mesmo que efémeras no destino. A ligação entre
mergulhadores e homens do mar locais já adquire outro significado. As conversas do fim
de tarde junto ao mar falando e trocando experiencias é outra das magias das comunidades
de acolhimento. A interação é elevada, os mergulhadores tornam-se crianças dentro de um
aquário. Brincam com polvos, nadam com peixes lua, procuram espécies em covas ou
percorrem florestas subaquáticas, perseguem safios ou cardumes de carapau, por entre
cavernas e despojos de navios, assistindo a cações a caçar as suas presas, isto é, relaxar
suavemente noutro mundo composto de vibrante silêncio, este é o mundo do mergulho
recreativo de mar. A perceção multi-sensorial está ao rubro uma vez que havendo sentidos
diminuídos na sua função, outros sentidos entram em ação. Perde-se a audição, a
visibilidade é menor, a sensibilidade cutânea diminui senão mesmo desaparece, entram os
estímulos da mente, da necessidade de substituição por outra referência de alerta. O risco
pelo contacto com animais de comportamento desconhecido acrescenta adrenalina ao
risco e satisfação ao realizar das brincadeiras. Resgatando os conceitos desenvolvidos por
Winnicott (1975), o mergulhador está num parque infantil de onde progride até à
maioridade. Fazer amizade com moreias e meros, desafiar polvos para a brincadeira, entre
outras, pelo que de um modo geral é uma atividade muito agradável. A maioria das
espécies são tímidas e passivas, raramente atacam um mergulhador.
3 – 2 O mergulho como fator diferenciador da oferta
Águas límpidas e temperaturas de 20 graus fazem as delícias dos mergulhadores e
correspondem ao imaginário do cartaz dos destinos de sonho mundiais como o Pacífico, o
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Mar Vermelho ou as Caraíbas. Os Açores e a Madeira estão na rota destes destinos, no
continente a realidade é outra. Mergulha-se praticamente o ano inteiro, mas com menor
visibilidade e com temperaturas a rondar os 16 graus.
Contudo, outras diferentes realidades diferenciam a nossa oferta atlântica nacional. O
Algarve com os seus cerca de 9000 mergulhos anuais tem um perfil de mergulhador
associado ao turismo dos três ”s”. A ria Formosa tem por exemplo, a maior comunidade
de cavalos-marinhos de focinho comprido (Hippocampus guttulatus) do Mediterrâneo e
uma nova vertente de mergulho arqueológico e histórico está em desenvolvimento, com
roteiros de visita a despojos de antigas batalhas da 1ª e 2ª guerra mundiais.
O mergulho recreativo está hoje mais divulgado desde que foi finalizada a carta
arqueológica subaquática nacional por iniciativa do “Centro Nacional de Atividades
Subaquáticas (CNAS)”. Por outro lado, a publicação da obra “Costa dos Tesouros” de
Mónica Belo reuniu e inventariou em livro tudo o que se conhece sobre naufrágios e
despojos marítimos de interesse arqueológico nacional que associado ao estímulo pela
descoberta que proporciona contribuiu para o reconhecimento da atividade que permite
em primeira instância poder aceder a esses acervos. Deste acervo, a Região de Peniche é
reconhecida como ponto de passagem da carreira das índias, onde o resgate do espólio do
Galeão Espanhol “San Pedro de Alcântara” será a história documentada mais antiga da
utilização do mergulho por campânula em Portugal.
De facto, Peniche pode assumir-se como um bom exemplo da capacidade diferenciadora
que o Mergulho pode ter, na sua oferta turística como destino Turístico. De facto, sendo
um destino fortemente associado ao produto turístico de Sol e Mar, bem como ao Turismo
desportivo, provido de um crescimento e desenvolvimento de uma procura pelo produto
Surf, tem no mergulho uma ferramenta já utilizada, para a diferenciação e complemento
da sua própria oferta, ajudando a combater a forte sazonalidade turística presente na
cidade.
No cenário do mergulho em Peniche, a Ilha das Berlengas assume o papel principal,
absorvendo o imaginário de cada um que a vislumbra. Pois muito embora a maior parte
nunca lá tenha estado, sente-a como sua, como parte do seu cronómetro do tempo.
Remete-nos desde logo para o imaginário da sociabilidade perfeita. Um espaço isolado do
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mundo exterior, com as suas regras próprias de adaptabilidade, propícias a um caminhar
na experiência e ao sentimento de segurança interior, o espaço imaginário onde vive “um
eu” mais simples, mais autêntico, o “eu” turístico. A viagem para a ilha remete-nos para
os ritos de passagem em turismo. É passar para o outro lado com o mar pelo meio. É ver o
mundo ao contrário, do mar para o continente.
A Reserva é reconhecida pela riqueza sua biodiversidade, sítios reconhecidos como
específicos para a realização de certas atividades, congregando uma capacidade de oferta
em todas as modalidades de mergulho, atraindo um número crescente de mergulhadores,
que “religiosamente” retornam ao local, ano após ano, atraídos pela existência de uma
experiência única e realizadora.
Torna-se então evidente, analisando a realidade de Peniche, o potencial que este tipo de
produto turístico pode obter, para a diferenciação da oferta turística de um destino,
maximizando a exploração dos seus recursos naturais de forma sustentável, criando as
condições necessárias para a criação de cenários de convergência de benéficos mútuos,
nomeadamente, para os turistas que usufruem da experiência única e para o próprio
destino, pelo aumento do dinamismo turístico e dos impactos positivos associados ao
mesmo.
4 - Exemplos de Ambientes circunstanciais alternativos – O Mercado Medieval de
Óbidos
O Mercado Medieval de Óbidos é um evento de recreação histórica, organizado pela
Empresa Municipal Óbidos Criativa. Trata-se de um evento com uma componente
comunitária muito presente. Com o centro histórico como palco privilegiado, Óbidos
acolhe muitas centenas de atores e figurantes trajados a rigor que proporcionam ao
visitante uma viajem no tempo. A vila transforma-se num grande mercado da idade
média, prepara-se para acolher muitos forasteiros num ambiente festivo e engalanado,
com muitos elementos decorativos alusivos ao período que pretende retratar, onde não
falta uma moeda oficial própria do evento, o “Torreão”. “Enquanto a motivação é a
razão, o movimento inerente à pessoa que predispõe a deslocar-se, a atração é o
elemento que responde a essa razão.(...)” (Cunha, 2001). Durante vários dias é frequente
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cruzar-nos com mercadores, músicos, artesãos, malabaristas, jograis, almocreves,
cavaleiros, lutadores, bailarinas, nobres, mendigos e até vítimas de peste.
O mercado medieval recebe todos os anos cerca de 80 mil visitantes, um número que a
estabilizou há 4 edições, quando no primeiro ano recebeu logo cerca de 30 mil visitantes,
desde a primeira edição que se debruça sobre determinadas temáticas extraídas da história
de Óbidos e da região, procurando formar novos públicos bem como permitir que o
visitante possa conhecer melhor a história de Óbidos e dos episódios mais marcantes,
através de mostras, palestras, pósteres, exposições e ações de formação que se realizam no
âmbito do evento, designadamente temas como, “ Do mundo da luz ao mundo das trevas”,
“O amor e a Guerra” ou “O Cerco da Vila pelo Conde de Bolonha”. De referir igualmente
ações como os cortejos diários, os desfiles de Trajes Medievais, na Cerca do Castelo,
ilustrando a indumentária que se usava na Europa no baixo, médio e alto período
medieval retratando os séculos XII, XIII ou XIV procurando representar as diferentes
classes sociais e extratos económicos existentes da época. As crianças podem contar
habitualmente com espaços próprios, com jogos tradicionais e de tabuleiro e também com
formação de manejo de espada e tiro com arco. O ambiente de festa a alegria e a
atmosfera que se vive durante estes dias, contrasta com o dos dias de desassossego e
dúvida motivados pelo terror e pelo desconhecido, mas contracena com o quotidiano da
maioria dos visitantes. “É esta atmosfera que se respira no Mercado Medieval de Óbidos.”
Face à dimensão e expectativa criada pelos visitantes neste evento há alterações de
organização do espaço criando novas áreas e conceitos que proporcionam ao visitante
experiências diferenciadoras, nomeadamente, o espaço novo do Parque da Vila, que foi
palco de um conjunto de atividades, designadamente de Encontros Internacionais de
Grupos de Recriação Histórica que juntam frequentemente vários grupos de países
europeus. Também no Parque da Vila se realizam torneios e caçadas medievais. A
animação do evento conta com a colaboração de grupos profissionais e amadores,
habitualmente a programação cultural conta com grupos de danças medievais, grupos de
música e grupos de animação diversa nacionais e internacionais, totalizando cerca de 300
elementos. Realizam-se também torneios diários, a pé e a cavalo.
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4 – 1 Experiência turística do Mercado Medieval
A indústria da recreação é hoje uma realidade diretamente transversal a vários sectores
de atividade. O turismo, enquanto sistema social e principal promotor da recreação,
reflete um sector de atividade organizado e muito atento às constantes mutações da
sociedade. O turismo explora um tempo de lazer, utilizado por um potencial “carente” de
recreação, potencial consumidor de produtos turísticos diversificados, organizados e
direcionados às suas necessidades – facto que tem vindo a angariar uma maior
importância, na medida em que se vão afirmando novos paradigmas que gravitam em
torno da experiencia turística. (Almeida & Araújo, 2012). Aos visitantes deste evento é
proporcionado um conjunto de ofertas relacionados com as vivências da época
representadas pelas classes sociais de então, designadamente a alta nobreza, onde os
turistas e visitantes são convidados a participar. É frequente assistir-se a manifestações de
apoio por parte dos turistas em defesa do seu cavaleiro ou das causas que defendem e que
apenas são resolvidas no confronto direto, o Turista pode ser convidado a ir à liça e lutar
como um verdadeiro cavaleiro, obtendo ao “Nível Emocional” reações difíceis de prever e
controlar, respondendo positivamente, manifestando alegria, excitação satisfação, prazer e
um sentido de triunfo por algo que considera como significativo. O clero, organizado
através de conventos e abadias, nos seus mais variados ofícios, para além do culto, tinham
como atividades, os escrivãos, os doceiros, pintores entre outros, e sempre uma presença
obrigatória, proporcionando ao visitante um melhor conhecimento sobre os hábitos da
época, e o povo através dos vários serviçais que deambulam no evento, “bobos da corte”,
“mendigos”, “músicos”, “bailarinos” entre muitos outros que fecham o círculo de uma
sociedade do Séc. XII. A “peste negra” é retratada através de gafarias, onde leprosos eram
enviados e perseguidos sem qualquer esperança de cura. Atores profissionais e locais,
bem caracterizados refletem um lado negro e escuro do período medieval, onde persiste
em muitos turistas a dúvida das maleitas que estes padecem, em que ao “Nível Racional
processamos estímulos sensoriais fornecidos pelo ambiente e agimos de acordo com eles,
aprendendo, pensando, aplicando conhecimentos e formando opiniões.”
O Mercado Medieval tem uma componente gastronómica muito forte, a presença de
tavernas é uma constante, onde se pode disfrutar de várias iguarias, todas oriundas da
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região, espelhando um cariz cultural marcante através da carne, peixe e dos mariscos face
à sua proximidade do mar e Lagoa de Óbidos. Os cheiros intensos das comidas e bebidas,
o fumo provocado pelas inúmeras fogueiras e archotes, os aromas dos alquimistas,
intensificam e provocam nos visitantes sensações invulgares, e deixam vestígios nas suas
vestes, marcas e memórias de tempos vividos ou sonhados, usado como meio de
transporte numa viagem a um mundo imaginário.
(...) A experiência turística é intensificada em determinados contextos de transmissão de
valores históricos, de autenticidade, de interação, e de integração nas comunidades
locais contribuindo, por um lado, para o desenvolvimento pessoal do Turista e por outro,
para o desenvolvimento das comunidades locais.” (Almeida & Araújo, 2012) O evento
tem uma componente de animação turística muito marcante, a música medieval é uma
constante em todos os recantos, a sua característica de festa cativa e entusiasma todos
aqueles que à mesa ou de passagem ficam contagiados pela energia que conseguem
transmitir. O teatro com os bobos, saltimbancos, dançarinos e restantes atores criam
pontos de entretenimento e captam a atenção dos mais distraídos com rábulas animadas e
divertem os espetadores em seu redor.
4 – 2 O Mercado Medieval como elemento diferenciador da Oferta
O Mercado Medieval é um dos grandes eventos de Óbidos que faz parte de uma estratégia
de marketing territorial que visa criar polos de atração distintos para quem visita Óbidos,
criando massa crítica e escala para que Óbidos possa afirma-se à dimensão nacional e
internacional como uma referência na área da animação turística, do turismo e da
criatividade. “O desenvolvimento e a implementação dos objetivos estratégicos que
buscam satisfazer os desejos dos turistas e as necessidades da comunidade local
dependem da boa relação entre os atores envolvidos nos processos turísticos.” (Bigné &
Font & Andreau, 2000).
5 - Considerações finais
Ao avaliarmos as realidades transcritas nestes três casos de estudo, torna-se possível
constatar a existência transversal de fatores intensificadores em comum. Apesar das
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diferenças bem patentes no tipo de produto e oferta nas três situações abordadas, podemos
identificar componentes que, para a perspectiva do turista, são determinantes para a
maximização da sua experiência. Assim, fatores como a história, a autenticidade, a
perceção multisensorial, o contraste, a interação, a própria individualidade e diferenciação
inerente aos três tipos de experiência, de uma forma ou de outra, serão equacionados nas
presentes investigações e em todos os casos, como fatores intensificadores da experiência.
Na realidade, e devido à própria individualidade, não só da tipologia da experiência
turística oferecida, como do próprio individuo que a vive, existem diferentes pesos
atribuídos a cada um desses mesmos fatores, não só numa perspectiva comparativa entre
as 3 experiências aqui abordadas, como também dentro de cada experiência individual,
uma vez que as motivações e perceções experienciais variam de individuo para individuo.
Assim, é provável que para um determinando turista que busque mais a vertente autêntica
de uma obra de street art, a componente da autenticidade vá ter um maior peso
intensificador na sua experiência, em comparação com um outro turista que apenas
procure o street art pela vertente do contraste e busca do meio underground. Esta mesma
situação pode ser replicada para a experiência individual de cada um dos restantes casos
estudados, estando esta realidade diretamente relacionada com as próprias motivações
intrínsecas de cada visitante. Contudo, é importante referir que quanto maior for o número
de fatores intensificadores da experiência, mais intensa será a experiência do visitante.
(Almeida & Araújo, 2012)
É então neste contexto que se torna cada vez mais fulcral o estudo para com esta temática,
identificando as diferentes formas de procura existentes, não só de uma forma mais
genérica, mas também assentes nos parâmetros de especificidade que caracterizam o
próprio setor da procura, criando desta forma diferentes tipos de oferta turística, baseada
em segmentações de mercado focadas nas motivações diferenciadas da procura,
promovendo desta forma produtos turísticos alternativos, direcionado para nichos de
mercado, facilitando a própria implementação e gestão de princípios de ordem
sustentável.
Num contexto de experiência turística cabe à organização proporcionar experiências
únicas e que fiquem na memória do turista. Desta forma, é fundamental perceber que
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contributos e impactos poderão despoletar as experiências oferecidas. O desenvolvimento
deste tipo de produtos, assentes na valorização da experiência, levantam diversas
oportunidades que devem ser dinamizadas pelos destinos turísticos. É fundamental
fomentar o envolvimento comunitário e direcionar a oferta de forma a incluir as próprias
comunidades, já profundamente assumidas indentitariamente com os seus valores locais,
de forma a proporcionar bases para processos de integração ao longo da experiência
turística. As atividades dirigidas maioritariamente para os residentes e para os visitantes
permitem e convergem entre si, turistas e comunidade local através dos fatores que
intensificam a experiência turística.
Por fim, e apesar das diferenças conceptuais dos casos de estudos aqui abordados, há que
salientar o elemento comum principal, o primado da experiência, o grande elemento a ser
apropriado e desenvolvido pelos destinos, de forma a atingir a cada vez mais essencial e
tão desejada diferenciação da oferta.
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Almeida, P.& Araújo, S. (2012) Introdução à Gestão de Animação Turística, Lisboa:
LIDEL.
Almeida, A., (2013). A Animação Turística e o processo de intensificação da Experiência
no Destino – o papel dos intensificadores da experiência turística. Congresso Intervenção
Almeida, A., (2014). Turismo em Ambientes Alternativos – conceptualizações para uma
visão integrada em torno do Imaginário Turístico. GITUR, ESTM, IPL
Amirou, R., (2008). «Le Paradis, c’est les autres». Isolat relationnel et expérience du
paradis :
une
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tourisme.
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Augustowski, M., (2014). Atividades de mergulho como ferramenta de conservação em
Áreas Marinhas Protegidas: avanços e desafios. In book: Estratégias para a Conservação
da Biodiversidade no Brasil., Chapter: Atividades de Mergulho como ferramenta de
conservação em Áreas Marinhas Protegidas: avanços e desafios, Publisher: Fundação
Brasil Cidadão, Editors: Carbogim J.B.P, pp.58-63
Bigné, J, & Font, X. & Andrew, L. (2000) Marketing de Destinos Turísticos: Análisis y
Estrategias de Desarrollo. ESIC EDITORIAL , MADRID, ESPANHA
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Calado, M., (1991) Peniche na História e na Lenda, 4ª ed. Peniche: Edição de autor.
Cunha, L. (2001). Introdução ao Turismo. Lisboa, Editorial Verbo.
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Gitahi, C (1999). O que é Graffiti. São Paulo: Brasiliense, 1999
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through experiences.
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Mathieson, E & Tapies, X. (2009). Street Artists: The complete Guide. Graffito books.
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Rink, A & Metrau, M (2011) Grafitagem: resistência e criação. Revista Tamoios, UERJ,
p. 71 - 85.
Sharp, J., V. Pollock, et al. (2005). "Just Art for a Just City: Public Art and Social
Inclusion in Urban Regeneration.“ Urban Studies
Sharpley, R. & Stone, P. (2011). Tourist Experience – Contemporary perspectives. 1 st
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Soares, M., (2014). Portugal é cada vez mais mar. Vai um mergulho?. Jornal Publico,
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Winnicott,W. (1975). O Brincar e a Realidade, Rio de Janeiro: Imago Editora.
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12. Impossible
Objects!Space-Time
Architectural Heritage
Experience
of
Joaquim Santos, (Professor, Architect, PhD)
Lisboa Lusíada University, Portugal
CITAD – Centro de Investigação em Território, Arquitectura e Design, Lusíada
University, Portugal
Abstract:
Rose Seidler House is a particularly impressive house that is witness to the strength of the
Modern Movement world wide. The neoplastic reference is obvious and it is a personal
construction of the whole architectural space. From the environment the house stands on
the articulation of the inner-outer spaces and we may easily realise that we are inside an
impressive architectural masterpiece.
Yet, the place where Rose Seidler lived surrounded by the upper most comfortable
environment found its new destiny, a museum.
Thus, like other architectural
masterpieces, its perfection made the place impossible to live in. The touristic attraction
now dictates the destiny of the house. And writing about it from a personal point of view
may mean that we may treat architecture in general as tourists looking for pure
architectural experience.
Thus, tourism does not only frame important issues such as new uses from old buildings
and cultural heritage perspectives, but it can also give us a particular view of everything
and anything. Thus, we may tend to operate within a world made up of partial limited
views that, nonetheless, we read as universal.
Key Words: (art, architecture, heritage, tourism, civilization)
Introduction:
This article discusses some aspects of art, architecture, heritage and tourism. It presents
civilization as a spatio-temporal construct that is built upon human records that we may
fashion and thus recognize civilization as a long-term construct directed to both past and
future.
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Thus time arises at the centre of the awareness of historical records. The construct of time
is evaluated as a key element at the core of the historic artwork. Yet we can say that
modern time is our time and thus brings close to us the evaluation of Modern Architecture
as a present living object that we can fashion as if it was recently created. This fact
questions the sense of museology that may be interesting but that also must evaluate
properly buildings that are close to us in space and time.
Sydney Living Museums presents us a special conscientiousness of living houses that
combines into cultural tourism an awareness of Modern Architecture built afresh.
Certainly Harry Seidler’s Rose Seidler House, built in 1950 for his mother, is only one
example among many in Australia and worldwide. Yet, the fact that young countries have
a need to build and to present an architectural heritage that the movement of Modern
Architecture of the 20th century reinforces, highlights that which other countries have
dismissed.
Last but not least, the option for the Rose Seidler House to become an ‘experiential
museum’ was not alien to Kenneth Frampton’s where the remarkable qualities of the
building are summarized and stressed in ‘World Architecture. A Critical Mosaic 19002000. Vol. 10. Southeast Asia and Oceania’.
The world we live in and fashion creates a living interaction that develops in us an
awareness of both the world and ourselves, and thus creates the conditions to evolve
civilization. We thereby have changed nature, created tools and shelters, art and
architecture. Art and architecture witness needs that are not utilitarian, but needs that arise
from a higher spiritual level. Need by the means of function is synthesized into the Useful
and thus the need for shelter becomes a heuristic pretext to create the Beautiful.
The fact that human kind is able to create an Object to pursue pleasure alone, an aesthetic
experience, an Object to be seen and experienced that does not arise from the need of
bodily nourishment takes us to an upper order of understanding of our relationship to
ourselves and to the world we live in and fashion. And tourism may be an approach that
enables the pleasurable experience of the aesthetic.
Enlightenment has led to awareness and in a sense a need to experience nature that
combines the objectivity of modern science and the need for a sensory experience. It
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might be surprising that “For over two thousand years [before Jean-Jacques Rousseau]
mountains had been considered simply a nuisance: unproductive, obstacles to
communication, the refuge of bandits and heretics.” and that nature would become a
source of worship and pure aesthetic experience. Certainly Caspar David Friedrich’s
Silesian Mountains would not fit former approaches to nature.
Yet this new way of experiencing nature came along with a similar way of experiencing
history and from the ruins to the living buildings, architecture as a witness of a living past
soon arrived at a new stage to be experienced. A sense of worship of building-history was
thus brought to the realm of the aesthetic and to the experience of civilization. We could
say that a new awareness of civilization arose and a sense of “balance between individual
genius and the moral or spiritual condition of a society” could be evaluated and fashioned
afresh. We could then see the new emergent tourism as a kind of complete experience, a
civilizational experience that places the individual in an extensive spiritual world built
from a material world that combines nature, human kind and civilization. It is in this sense
that tourism is approached here, as an experience that may provide all the conditions of
fulfillment of a perfect existential experience. A perfect adherence of mind-body-world as
would be stressed within the context of a phenomenological approach.
Awareness of civilization is not crystal clear. The art object is meant to be universal and a
key record of civilization but art creations from former civilizations have been rejected
and misunderstood by new civilizations. Kari Jormakka asked why is painting an art and
questions common assumptions regarding our certainties of classifying art and thus
questions the production of art and the nature of the aesthetic experience. Thus a «certain»
agreement tells us what art is and there are certainly some strategies such as ars imitatur
artem and yet the true nature of the art work as embodying an exceptional nature from the
context is created, may show some difficulties of reaching that «agreement» even if one is
discussing a given art work or «object» among scholars.
Patrick Heelen stresses similar phenomena by making clear the way in which the theory
of art actually dictates what we see and inhibits our perception of the artwork to the point
of blinding ourselves. V. Molnar and F. Molnar argue along similar lines by
demonstrating that the asymmetry of Raphael’s Marriage of the Virgin is fundamental to
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its aesthetic qualities. Thus we look at the geometric framework of perspective and simply
forget light.
Time! Time characteristically bounds the «agreement» regarding the artwork. Raphael’s
asymmetry did not belong to the Renaissance theory of art and yet V. Molnar and F.
Molnar could stress it in the 20th century and the argument seems valid in the 21st
century. In the long term we may find some «adjustments» to what the main artworks are
and to nature of their characteristics. The contemporary exceptional may not be the longterm exceptional and later may not be understood as fundamental to the space-time we
live in today. The unique in artwork needs to be exceptional and to be classified as a
landmark in history. Further the characteristics of the exceptional in artwork and in
architecture need to be somehow defined in a type of agreement which is particularly
important when contemporary interventions deal with architectural heritage and are
certainly the centre of discussions in the debate of tourism versus heritage.
An important problem would be that the exceptional has an identity of its own and that it
is also a cultural construction as it requires long-term recognition that history is made or
easily understood from landmarks that, for instance, may translate the spirit of the age.
And cultural tourism uses and abuses this assumption by stressing exceptional aesthetic
characteristics of places and objects. Thus cultural tourism presents an ontological
character of objects that nonetheless may be questioned. In some sense, they are biased by
the same type of phenomena as Patrick Heelan stresses and we hardly can avoid them.
Time is definitely and intricately connected to architecture. Modern architecture has
moved time to the centre of architectural thought. Space-time as a universal reality needed
to be aesthetically explored and our time is closely connected to that modern time because
of this consciousness. The sense of motion, of continuous metamorphosis, of change was
to be found in society, politics, art, science, in brief, in civilization and thus time seems to
connect all civilizations. Futurist’s, departing from the Marinetti’s Futurist Manifesto
made it “tragically” clear, made time intense both as rational and as sensory experience.
Perhaps it was the sense of short time segments, a lack of stability or permanency, which
has taken us to the necessity for short time decisions on the nature of the artwork and the
duty of conservation. In this sense, the extreme position such as that of Dada has
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“exploded” space and time regarding civilization as a continuous construct. Yet, at the
end, even Dada was absorbed by the stream of time that civilization constructed and thus
constructed Dada itself.
It is exactly twentieth century architecture, in special Modern Architecture, that lays claim
to conservation. Yet, the fact that modern architecture belongs to our time means that we
can live in it effectively regarding the facilities and spatial organization it provides. Thus,
exceptional houses may not claim to be museums, not to be touristically approached and
have objects that were left behind in time, in its own time, just to be witnesses of a lost
civilization. Wright’s Falling Water or Aalto’s Mairea, despite the living atmosphere that
has been preserved, have somehow changed by becoming museums.
We thus come to a point in which Rose Seidler House appears to be a good example of
reflection on tourism and architectural heritage and does not come alone in the Australian
cultural context. Karen McCartney has already published particular comprehensive
surveys of Australian exceptional houses and together with Annalisa Capurro has worked
intensively on the necessity of keeping these houses alive for the experience of future
generations. Both live in iconic houses that have become iconic by working on their
recognition as such. Thus, the «agreement» discussed above is revealed as an actual
cultural construction that comes alive.
To live in iconic houses and display them occasionally or periodically, more as a family
or friendly visit than as an act of ‘pure tourism’ gives back to the visitor a more intense
sense experience of what the building transforms into an aesthetic experience. Thus, there
is a sense of fulfillment that cannot be acquired otherwise. The fact that someone actually
lives in the house emphasizes a sense of contemporaneity and validity of the Modern
House.
We may say that turning Villa Farnese into a permanent residence would validate a
modern and contemporary way of life, too. In some sense this is true. But by being true, it
stresses the argument regarding the modern house because it already belongs to a time
where new civilizational habits were built and where the organization of the house reflects
them. The free plan and the flexibility of space are there as heuristic working tools and it
is a new approach that, at the end, would give Villa Farnese a contemporary meaning as
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residence. Metamorphosis of space and time might be the most perfect expressions of the
heuristic tools conveyed by the free plan and by the flexibility of space.
We may say that there is a paradox on visiting Rose Seidler House because the house is
not inhabited except for its visitors and yet it belongs to a set of buildings where people
actually live. Yet, the person who works there actually lives in such, just as we work in an
office or a factory. A “housekeeper” we could say. Yet this way of “keeping” the house
directs it to a touristic approach to the Object.
Certainly the space is impressive, but, actually by acting as a tourist that is like visiting
the Canova’s Three Graces at the Victoria and Albert Museum, one may ask how far we
are being acknowledged with Rose Seidler’s House. In a sense it is like a text that needs
an imaginary reconstruction of living within the building. But how far has one lived in
such a space as an everyday dwelling activity? Perhaps drinking a tea or a coffee, reading
a book, sitting on a chair or sofa, inside or outside, listening to the news, would transport
us to a close experience of the house.
How can one demonstrate what it is like to live in such a space that appears to be so clean
and free of any human activity? The wonderful chairs seem stuck to the floor. It seems
gravity has fixed the chairs perpetually to the floor and it is a paradox that we can move
through the space. We cannot move them, they are dead witnesses of a lost past! The fire
has stopped burning in the fireplace and the house appears to be stopped in space and
time. And yet we can imagine how to move, how to move objects, to choose our favorite
place to see the trees, to sit by the fire place…
We seem able to figure our what living in means, we can use imaginary reconstructions of
reading, cooking, making laundry, sleeping, playing with children and let them go out to
play in the forest outside. Perhaps we can imagine Rose Seidler moving around and going
about her daily life. The fact that the house in its architecture is so close to the modern
time we share, makes an imaginary reconstruction possible in a way that is more difficult
to achieve than with earlier historical buildings, such as a palace or a castle. In the Rose
Seidler House, we can simply sit and start living there.
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Conclusion:
Living architecture that is actually “live” gives us a new sensory experience and the
aesthetic revelation of the Object becomes more powerful in the sense the awareness of
living is derived from iconic houses that are not far from our time. In fact they belong to
our time and by living them we give the house that meaning. This is particularly intense in
the revelation of Modern Architecture afresh and of “young” countries whose
architectural heritage is marked by modern architecture, are good examples that give us a
special awareness of Modern Architecture as a worldwide phenomenon.
The spatio-temporality that we share with the house and the house with us is strong
enough to inform about a duality of experiences. Somehow we are tourists and friends or
family visitors and we also feel like we can live with the house or that we have actually
lived there. Perhaps architecture, heritage and tourism are synthesized on the Rose Seidler
House.
UID/AUR/04026/2013.
References:
Bayer, Raymond. Traité d’Esthétique. Paris: Librairie Armand Colin, 1956.
Capurro, Annalisa, is designer, lecturer, writer, speaker, mcm aficionado, preservationist,
owner and custodian of the iconic 1957 Jack House by architect Russel Jack, Sydney.
[https://instagram.com/ms.modernism/]
Clark, Kenneth. Civilization. London: John Murray, 2005.
Frampton, Kenneth. World Architecture. A Critical Mosaic 1900-2000. Vol. 10. Southeast
Asia and Oceania.
Hammond, Michael, Jane Howarth and Russell Keat. Understanding Phenomenology.
Oxford, UK: Basil Blackwell, 1991.
Heelan, Patrick A. Space-Perception and the Philosophy of Science. Berkeley: The
University of California Press, 1983.
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Husserl, Edmund: The Crisis of European Sciences and Transcendental Phenomenology.
Evanston: Northwestern University Press, 1970.
Jormakka, Kari. Constructing Architecture. Notes on theory and criticism in architecture
and arts. Tampere: Department of Architecture, Tampere University of Technology, 1991.
McCartney, Karen. 50/60/70 Iconic Australian Houses. Three decades of Domestic
Architecture. Sydney: Murdoc Books, 2014.
McCartney, Karen. 70/80/90 Iconic Australian Houses. Three decades of Domestic
Architecture. Sydney: Murdoc Books, 2014.
Molnar, V. and Molnar, F. Hargittai, István (ed.). Symmetry, Unifying Human
Understanding. New York: Pergamon Press, 1986.
13. Ambivalências na Experiência Turística – Definições
para o Imaginário Turístico do Destino Lisboa
Daniela Gomes
School of Tourism and Maritime Technology
Polytechnic Institute of Leiria, Portugal
António Xavier
Paulo Almeida
GITUR – Tourism Research Group
Sérgio Araújo
GITUR – Tourism Research Group
Abstract: The image of a tourism destination is an increasingly important topic for
research regarding tourism, as it has a very important role in market segmentation and in
the
consequent
satisfaction
of
tourists.
A tourism destination should take into account the current needs of tourists. Its
development as a premium choice destination depends on its ability to create
differentiating products and the ability to grow in competitiveness and to attract visitors.
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This subject increases in acuity from the moment in which an ambivalence of Tourism
Experiences and consequent distinctive images emerge within the same destination.
This article is the result of two masters' degree research assignments, in which the adopted
methodologies were based on the application of a questionnaire to tourists who were in
the city of Lisbon, in order to understand and become aware of Lisbon as a target
destination by tourists who visit the city's heritage. Participant observation was the
method carried out in "Bairro Alto" and "Mouraria", by interviewing leading and active
local natives and by gathering different pieces of press information, regarding tourist
projection of those Lisbon's local typical places.
As far as as the visited city's heritage is concerned, we found that the image of Lisbon, in
spite of being positive, would deserve a different approach, so as to improve some
negative aspects of the city's heritage image that still persist. We found that the policies
adopted by the local authorities promote, on one hand and for the same destination, an
experience based on the true identity matrix, but on the other hand, an experience based
on the primary and immediate consumerism, in which the systems of true local values are
pushed
aside
by
the
easier
attainment
of
economic
benefits.
The research work carried out has provided us the possibility of noting the complex image
of a destination, resulting from the dualism supplied by the Tourism Experiences. The
Tourism Experience is increasingly seen as decisive in the Tourism Systems, either
contributing or not contributing to preserve the Tourism Imaginary of the Destination.
Keywords: Tourism Destinations, Tourism Heritage, Tourism Experience, Image of
Tourism Destinations.
Resumo
A Imagem de um Destino Turístico é uma temática cada vez mais importante para a
investigação sobre Turismo, uma vez que tem um papel muito relevante na segmentação
do mercado e na consequente satisfação dos turistas. Um Destino Turístico deve ter em
atenção as necessidades atuais dos turistas, o seu desenvolvimento como destino de
eleição depende em muito da capacidade que este tem de criar produtos diferenciadores,
tornando-se mais competitivo e apetecível de visitar. Esta temática ganha uma maior
acuidade a partir do momento em que, no âmbito do mesmo Destino, surge uma
ambivalência de Experiências Turísticas e consequentes Imagens distintas.
Este artigo resulta de dois trabalhos de investigação, onde as metodologias adotadas
tiveram como base a aplicação de um questionário aos turistas que se encontravam na
cidade de Lisboa, de modo a perceber a imagem do destino Lisboa pelos turistas que
visitam o património da cidade. Efetuou-se a observação participante no Bairro Alto e na
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Mouraria, entrevistando-se responsáveis por forças vivas locais e recolhendo informação
diversa junto da imprensa sobre a projeção turística destes espaços típicos de Lisboa.
Verificámos que a imagem do Lisboa em relação ao património visitado, apesar de
positiva, deve ser trabalhada de modo a melhorar alguns aspetos que ainda continuam a
marcar pela negativa a imagem do património da cidade. Verificámos que as mesmas
políticas autárquicas promovem, no mesmo Destino, por um lado, uma Experiência
assente na traça identitária original e por outro, uma Experiência assente no consumismo
imediato, onde os sistemas de valores locais são secundarizados em função da obtenção
mais facilitada de vantagens económicas.
Através destes trabalhos de investigação podemos constatar a complexidade da Imagem
de um Destino, resultante designadamente da dualidade de Experiências Turísticas que o
mesmo proporciona. A Experiência Turística é encarada cada vez mais como algo
determinante nos Sistemas Turísticos, contribuindo ou não para manter o Imaginário
Turístico do Destino.
Palavras-Chave: Destinos Turísticos, Património Turístico, Experiência Turística,
Imagem dos Destinos Turísticos.
1 - Introdução
A evolução dos sistemas turísticos justifica a relevância que a Imagem assume para o
destino e para satisfação do Turista. Enfatizando o Primado da Experiência Turística e
porque cada vez mais a Imagem está associada à Experiência Global do Destino, o estudo
detalhado da Imagem permite analisar a influência que esta exerce sobre o turista.
Facilitará ainda a implementação de processos de diferenciação e posicionamento. Para
Cai (2002), citado em Gomes a formação da imagem atua como um elemento central, não
único do branding dos destinos turísticos. As decisões dos turistas são tomadas em função
da imagem mental que é criada através da oferta disponibilizada.
De acordo com Jenkins (1999), a formação da imagem de um destino turístico é a
expressão de todos os conhecimentos, impressões, preconceitos, imaginação, emoções,
que determinado grupo ou individuo têm sobre um local específico, que resulta da
experiência vivida e da informação que recolhe durante o processo de escolha de um
destino turístico. Esse conhecimento pode estimular um efeito positivo ou negativo no
comportamento futuro dos turistas e condicionar o sucesso ou insucesso de um
determinado destino (Kastenholz, 2002).
Procurando contribuir para o estudo das relações entre a Experiência e a Imagem de um
destino, este artigo, resultante de um trabalho de investigação mais alargado no âmbito de
duas dissertações de mestrado que se complementam entre si, inclui o saber teórico de
autores referenciados, o saber adquirido através das respostas recolhidas nos inquéritos
realizados, a observação participante efetuada no Bairro Alto e na Mouraria na cidade de
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Lisboa bem como o levantamento de informação na imprensa e nas entrevistas realizadas
a forças vivas locais.
Pretende-se estabelecer uma relação entre os conflitos inerentes à organização e
apropriação do espaço construído e os seus respetivos usos. Compreender, nesta dialética
de organização espacial, o papel de políticas autárquicas de reabilitação e requalificação
urbana, relacionadas com o património, com o espaço público (as ruas, os largos e o
imobiliário urbano) e com as pessoas que habitam, vivem e consomem esses espaços,
apropriando-se deles e através deles reconstruindo as suas identidades e o imaginário
coletivo que os simboliza.
Assim, o artigo inclui revisão de alguns conceitos sobre a imagem e analisa alguns
estudos e autores que se têm debruçado sobre esta temática. A parte empírica resulta do
trabalho de campo realizado incluindo recolha de informação através da aplicação de
inquérito a turistas na cidade de Lisboa. Os dados foram posteriormente tratados através
da análise de clusters. Na parte final do artigo apresentamos as conclusões retiradas, bem
como algumas implicações para futuras investigações.
2 – Revisão da Literatura
Tal como citado em Gomes, Hu e Ritchie (1993) definem destino turístico como um
conjunto de facilidades e serviços turísticos, que, como qualquer outro produto de
consumo, é composto de uma série de atributos. Segundo Ritchie e Crouch (2000), cada
destino tem um perfil único que o torna competitivo, pois são as suas caraterísticas
especificas como as tradições, valores e objetivos que o diferencia dos restantes destinos.
Outros autores como Murphy, Pritchard e Smith (2000), definem destino turístico como
uma amálgama de produtos e serviços que, em conjunto, fornecem uma experiência aos
visitantes. Para Timón (2004), os destinos turísticos são um local onde um visitante está
pelo menos uma noite, englobando serviços de apoio bem como atrações e recursos
turísticos. Os destinos projetam uma imagem nos mercados turísticos e essa imagem pode
ou não ser decisiva para a visita, sendo mais favorável essa imagem, mais segurança
projeta e mais motivação transmite.
A imagem de destinos turísticos tem sido alvo de inúmeras investigações ao longo de
aproximadamente quatro décadas, e tem sua importância reconhecida internacionalmente,
pois tem grande influência no processo de escolha de um destino turístico.
Como citado em Gomes, segundo Crompton (1979), a imagem é a soma das ideias,
crenças e impressões, que um indivíduo tem sobre determinado destino turístico. Para
Gartner (1993), as características pessoais de cada indivíduo (idade, rendimento,
personalidade), têm grande influência na construção da imagem. Para Fakeye e Crompton
(1991), a imagem permite diferenciar os diversos destinos turísticos e ainda pode
influenciar os turistas a diferenciarem-se de acordo com os destinos escolhidos. Por outras
palavras, a imagem permite segmentar um destino, no entanto, se não for trabalhada as
suas características atrativas podem diminuir ou até mesmo desaparecer, o que será
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altamente prejudicial para o destino. Para Armas (2002), um possível visitante produz
uma imagem mental a partir da informação recolhida do meio ambiente, ou seja, a
imagem orgânica. Essa imagem vai gerar uma motivação para viajar, levando-o a procurar
informação para ajudar na tomada de decisão afirmando as suas percepções ou
modificando-as, imagem induzida. Diversos autores que se debruçaram nesta área
consideram que, as características sociodemográficas de um indivíduo, são determinantes
na definição da imagem de um destino, pois a idade, o sexo e a origem dos visitantes, vão
diferenciar os tipos de atitudes e comportamentos dos visitantes (Stabler, 1991; Ahmed,
1996; MacKay e Fesenmaier, 1997).
Tal como destacado por Gomes, Fakeye e Crompton (1991), elaboraram um modelo de
formação da imagem de um destino turístico. Segundo os autores, a primeira imagem do
destino desenvolve-se antes do consumidor turístico sofrer qualquer influência de material
promocional acerca do destino, ou seja, é uma imagem orgânica. Só depois o consumidor
sente o desejo/motivação de viajar, iniciando um processo de busca de informação acerca
do destino em causa, tendo sempre presente as suas motivações. Após a pesquisa
realizada, que é baseada em fontes comerciais turísticas, o consumidor começa a construir
uma imagem induzida sobre o destino turístico. Uma vez visitado um destino turístico, o
turista desenvolve, com base na experiência real, uma imagem mais global e realista.
Segundo Baloglu e McCleary (1999), as opiniões e recomendações dos amigos e
familiares são uma importante e eficaz ferramenta na formação da imagem. Uma
experiência favorável poderá, gerar, uma imagem positiva acerca do destino, o que
traduzir-se-á numa posterior recomendação da experiência vivida. Echtner e Ritchie
(1991), conceberam um modelo para de alguma forma ajudar nas futuras investigações
sobre a imagem dos destinos turísticos. Para isso aos autores conceberam três dimensões
básicas da imagem:
O Atributo-holístico que não é apenas a percepção do visitante em relação aos atributos
específicos e diferenciadores do destino, mas também a imagem geral do lugar visitado.
O funcional-psicológico, está relacionado com as impressões mais tangíveis (atrativos,
acomodações, cidades), ou mais abstractas (tranquilidade, reputação, hospitalidade) de um
destino turístico, que se tornam mais difíceis de medir.
O comum-único está diretamente relacionado com os atributos frequentemente
encontrados no destino. Estes atributos podem ser baseados nas características ditas
comuns do destino ou nas características únicas do mesmo.
Gomes destaca que numa perspetiva mais recente Lin e Huang (2009), consideram a
imagem é muito importante para a promoção de um destino, pois é um fator de
competitividade para e por turistas. Para Lee e Lockshin (2011), a imagem não é mais do
que um conjunto de crenças e pensamentos que um indivíduo pode formar sobre um
destino. Assim, a imagem de um destino, bem como os fatores que influenciam a
formação da imagem, são fundamentais para perceber as motivações dos turistas,
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procurando potenciar a visita, a ocupação e o consumo, contribuindo para o
desenvolvimento e consolidação dos destinos enquanto destinos turísticos.
Tal como refere Xavier, por outro lado e de acordo com Stuart Hall (1992), seria
demasiado simplista caracterizar a pós-modernidade como um movimento de
homogeneização das culturas, através da contaminação capitalista das identidades
nacionais. Para este autor, a globalização tem como principal característica a compressão
do espaço-tempo, tornando o mundo mais pequeno e as distâncias mais curtas. Os
acontecimentos num determinado lugar têm impacto imediato em pessoas e lugares muito
distantes. Hall afirma ainda que uma das consequências deste fenómeno foi a resistência
das culturas locais à presença e ameaça de outras culturas. Verifica-se mesmo um recuo
ao absolutismo étnico, que procura recuperar a tradição pura já perdida (HALL, 1992).
Assistimos assim, à turistificação generalizada dos territórios no mundo e
simultaneamente à “singularização” da viagem turística e à redefinição da autenticidade
em turismo. Segundo Jonh Urry (1990), “na atualidade, alguns ou muitos países estão
prestes a ser engolidos pelo processo turístico. Não é um fenómeno destinado a lugares
concretos, mas todos os espaços, atividades (…) podem ser materiais ou simbolicamente,
objeto do olhar turístico”.
Segundo refere Xavier na sua obra, no início dos anos 80 surgem os primeiros sinais de
esgotamento deste modelo. A especialização na praia e montanha para uma oferta
homogeneizada não considerou as segmentações de mercado, concebendo um turista
uniformizado para um destino estândar. A dicotomia entre uma oferta rígida e
homogénea, em confronto com uma procura individualizada e diferenciada, foi um dos
primeiros sintomas da crise do modelo fordista (DONAIRE, 1998). Para Jost Kripenndorf
(1987), no final da década de 1980 as alterações na sociedade indiciavam o aparecimento
de um novo turista, nascido de uma sociedade mais preocupada com o ambiente, com os
“outros”, mais humanizada e menos centrada nos valores do trabalho e da produção de
riqueza. Segundo este autor, a questão não se centrava em novas viagens, mas sim num
novo turista consciente da sua condição de “estranho”, num lugar onde vivem pessoas
com culturas e tradições que devem ser respeitadas.
A conferência de Manila em 1980, promovida pela Organização Mundial de Turismo,
representa uma das primeiras tentativas de reinvenção das práticas turísticas, através da
discussão de um conjunto de pressupostos conceptuais que estão na base da relação entre
o turista e as comunidades locais, que se designou por Turismo Alternativo. Neste
contexto, o Turismo Alternativo identificava-se com o ecoturismo, turismo de natureza e
seria a alternativa ao turismo de massas no litoral dos países tropicais. Por outro lado, este
conceito era integrador, colocando os turistas e as comunidades autóctones no centro da
questão.
Na linha de Xavier “quando analisamos as tendências do turismo pós-moderno numa
perspetiva global, tendo em atenção a diversidade de regiões do planeta, interessa
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interrogarmo-nos sobre a gestão dos produtos turísticos praticada nestes destinos. A
reflexão que se impõe deve direcionar-se para as inter-relações com os fenómenos sociais,
culturais e ambientais que integram este “novo” turismo. Ao contrário do turismo
massificado, predominante nas décadas de 50 a 70, centrado no produto e nos serviços, o
turismo alternativo centra-se no turista, o produto turístico deve responder às expetativas
do turista, das experiências pessoais que mais valoriza, das emoções que procura
(Wearing, 2001). Olhando para a evolução epistemológica do turismo, podemos dizer
que, ao esforço no desenvolvimento do produto no “turismo fordista”, sucedeu a
focalização na qualidade de serviços no turismo pós-fordista. Atualmente, as empresas
pós-modernas concentram-se na construção de experiências, ficando o desenvolvimento
do produto e do serviço englobados num conceito mais abrangente: a experiência do
turista. Neste processo os vendedores de apartamentos em hotéis serão substituídos por
vendedores de experiências; os criadores de pacotes turísticos deverão criar emoções; os
comerciantes tornar-se-ão contadores de histórias e os turistas deixarão de ser espetadores
para se tornarem protagonistas neste novo cenário (LOCKS, 2007)
Xavier destaca que os lugares não são estáticos, estão constantemente a ser reinventados
por quem lá vive ou por quem os visita. Esta dinâmica construtiva depende do olhar de
quem os vê, de quem os vive, das emoções que proporcionam. É nessa medida que a
intensidade da experiência turística vivida é determinante na forma como o turista se
apropria do espaço, recriando-o e concebendo uma nova imagem desse lugar. A
apropriação do espaço pelos turistas resulta da recriação feita por estes, em função das
emoções que as suas experiências no lugar lhes proporcionam. Falamos de um espaço
cultural, simbólico, resultante de uma construção psicossocial eivada do nosso passado e,
simultaneamente, de um espaço mercantilizado, recriado pelo turismo que, para o vender,
o transfigura e simplifica, recriando-o e reconstruindo imaginários coletivos para o
transformar em lugares turísticos e, por isso, em bens consumíveis (SARMENTO, 2004).
Segundo Lefebvre (1991), destacado por Xavier o espaço resulta da interligação entre o
espaço físico (natureza, morfologia, local) o espaço mental (abstração formal sobre o
espaço) e o espaço social (o espaço ocupado por fenómenos sensoriais, incluindo produtos
da imaginação como projetos simbólicos e utopias). Ainda segundo este autor, o espaço
conceptualiza-se em três dimensões: espaço percebido, espaço concebido e espaço vivido.
No fundo trata-se de um espaço tridimensional onde se realizam práticas espaciais
materiais, representações do espaço e espaço de representações. O espaço concebido (as
representações do espaço) tem também lugar para pensamentos e visões utópicas do
descodificador e para a criação pura e criativa de alguns artistas e poetas. O espaço vivido
surge como reflexo da vida social, assumindo-se simultaneamente como espaço vivido
por residentes e utilizadores e espaço que se alonga através das imagens e dos símbolos
que o acompanham. O espaço vivido é o espaço dominado por nós do qual nos
apropriamos e reconstruimos fazendo uso simbólico dos seus objetos e sinais. Este
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conjunto de significados organiza os espaços transformando-os em lugares (TUAN,
1996). Os lugares são assim, o resultado da organização da experiência humana no mundo
(LEW, 2003).
Xavier assinala que os lugares turísticos podem ser entendidos como o conjunto de
espaços que produzem experiências para os turistas que os procuram. Assim, estes lugares
já foram apropriados pela prática social do turismo ou são considerados potencialmente
turísticos (MARUJO e CRAVIDÃO, 2012) e, por isso mesmo, espaço e lugar são
constructos fundamentais nos estudos sobre turismo (MACCABE et al, 2004). Talvez
pela nostalgia que nos provocam, ou pelo seu caráter típico e único, ou ainda pelas gentes
que o constroem e lhe dão alma, os lugares são o objeto e objetivo da viagem turística.
Mas como se constrói a sua identidade? Ou como a podemos medir? Na sociedade em que
vivemos, pós-moderna, a imagem é o veículo principal de comunicação e a publicidade o
seu instrumento, que nos apresenta o que há a visitar numa cidade, que nos transmite a
história ou a fantasia da identidade de um destino turístico (BRANDÃO, 2008). Por outro
lado, a construção dessa identidade está diretamente relacionada com alguns conceitos
como memória coletiva – um lugar é também o produto das vivências que residem na
memória coletiva da comunidade que o habita, não podendo existir um sem a outra
(HALBWACHS, 1950). Segundo este autor, a memória coletiva está ligada ao passado e
aos antepassados; ligada a acontecimentos especiais e a alterações técnico-económicas;
ligada a hábitos culturais e ao espaço. Outro conceito importante no constructo da
identidade de um lugar é o de uso e apropriação do espaço – a adaptação e utilização do
espaço feita pelos diferentes grupos que compõem a comunidade de um lugar. A
apropriação do espaço é um processo contínuo e com transformações sociais, económicas,
culturais, do seu uso, que podem gerar novas identidades, muitas vezes conflituantes com
a apropriação e uso que a comunidade lhe dava anteriormente. A conservação dos espaços
de um lugar e da (s) sua (s) identidade (s) resulta também da intensidade da sua utilização,
um espaço intensamente utilizado é um espaço cuidado e estimado pela comunidade,
enquanto espaços abandonados propiciam o vandalismo o esquecimento e a perda de
identidade do lugar em que se inserem.
A obra de Xavier refere que o “espirito do lugar” encontra-se inscrito em aspetos
especiais e grandiosos do lugar, tais como paisagem humana ou natural,
monumentalidade, simbolismo dos seus elementos, e reforça a identidade do lugar
(SHULZ, 1980). É da conjugação destes fatores que a identidade de um lugar se afirma,
que resgata a seu passado e projeta o seu futuro numa partilha continua entre a
comunidade local e o poder democrático (ALMEIDA, 2012). Cabe ao poder político
democrático reconhecer as necessidades individuais das comunidades, expressa na vida
quotidiana dos lugares onde se afirmam e resgatam o seu passado, apropriando-se e
reapropriando-se do espaço, construindo, com o seu uso, a emancipação da sua cultura, da
sua vida social e do seu espaço vital.
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3 – Metodologia
Gomes refere que tendo como objetivo perceber qual a imagem da cidade de Lisboa pelos
turistas que visitam o património foi definido, aplicamos durante o mês de Agosto de
2011, um inquérito aos turistas que se encontravam junto do património da cidade. A
primeira parte do questionário é relativa à análise sociodemográfica dos inquiridos e
motivações, depois temos uma parte relacionada com os componentes da imagem do
património e da cidade de Lisboa e por ultimo a avaliação da viagem. Procuramos criar
um questionário que fosse objetivo, de fácil leitura e preenchimento. O questionário foi
realizado em três idiomas, Português, Inglês, e Francês. Uma vez que tínhamos
preferência que os dados recolhidos fossem a turistas que estivessem junto dos vários
monumentos da cidade, não era viável obter respostas por via electrónica, sendo que foi
aplicado diretamente no local aos turistas. Foi realizado um pré-teste, a 15 colegas de
mestrado de modo a verificar a sua consistência, fiabilidade e perceptibilidade. Para a
elaboração do nosso questionário tivemos em conta outros estudos empíricos que
utilizaram questionários semelhantes para analisar as variáveis proposta no nosso estudo.
Para medir os atributos em análise foi utlizada a escala de Likert. Segundo Mc Daniel e
Gates (2004), a escala de Likert permite mostrar uma série de atitudes em relação a um
objeto que recebe valores numéricos que vão de desfavorável a favorável. No estudo em
causa foi utilizada a escala de 1 a 7 pontos, em que é pouco importante e 7 muito
importante. Foram considerados válidos um total de 226 inquéritos, que analisámos
através do software de tratamento de dados SPSS versão 18.0.
Xavier refere que a recolha de artigos publicados na imprensa revelou-se muito
importante, principalmente sobre os bairros em estudo Mouraria e Bairro Alto, mas
também sobre o turismo na cidade de Lisboa no geral. Considerou-se como principal
fonte de informação de imprensa o jornal O Público, dado ser o meio de comunicação
escrita com mais notícias publicadas sobre o Bairro Alto e a Mouraria. A pesquisa foi
realizada para um período entre 2001 e 2014 para ambos os bairros. A lista de títulos de
notícias publicadas encontra-se referenciada na bibliografia. A observação direta e
participante constituiu um dos métodos privilegiados deste trabalho, quer na observação
de comportamentos dos residentes e visitantes quer nos impactos da governança
camarária na vida das pessoas e na projeção turística destes espaços. A observação
participante nestes bairros ocorreu na Mouraria nos dias 26, 27 e 28 de Junho e no Bairro
Alto nos dias 22 e 23 de Julho e nos dois bairros durante os primeiros quinze dias de
Agosto de 2014. Neste estudo, optou-se pelas entrevistas semiestruturadas por parecerem
mais adequadas neste contexto e por permitirem maior segurança ao investigador. Estas
foram então conduzidas através de um guião onde se encontravam algumas questões
gerais que foram sendo exploradas mediante as respostas dos entrevistados. Foram
contactados para ser entrevistados: da Câmara Municipal de Lisboa, o assessor do
Presidente da Câmara, a Diretora do Departamento de Comunicação e Marca e a
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Vereadora do Urbanismo e Planeamento; foram ainda contactados os Presidentes das
Juntas de Freguesia da Misericórdia (Bairro Alto) e de Santa Maria Maior (Mouraria); dos
serviços técnicos de reabilitação Urbana foi contactado o Coordenador do GABIP –
Mouraria; dos representantes de moradores, as associações AMBA e Aqui Mora Gente
(Bairro Alto) e Renovar a Mouraria; das associações culturais e desportivas o Grupo
Desportivo da Mouraria e o Lisboa Clube Rio de Janeiro (Bairro Alto); por último foram
ainda contactados o Jornal “O Corvo”, o “Fórum Cidadania Lx” e “Pensar Lisboa”. A
análise de conteúdo qualitativa foi a técnica utilizada para tratar as entrevistas
semiestruturadas e a informação informal recolhida durante as permanências nos bairros
típicos de Lisboa. Segundo Vala (1986) “a análise de conteúdo é uma técnica que pode
incidir sobre material não-estruturado (…) tem a enorme vantagem de permitir trabalhar
sobre a correspondência, entrevistas abertas”.
4 – Resultados
Tal como destaca Gomes para ser possível segmentar a totalidade dos inquiridos, foi
aplicada a técnica de análise de clusters, que permite dividir a nossa amostra em
segmentos com uma grande homogeneidade, de modo a agruparmos os indivíduos de
acordo com as suas preferências. O objetivo desta segmentação, depreende-se com a
possibilidade de agrupar os inquiridos em clusters, para que os grupos sejam distintos uns
dos outros, mas que internamente os elementos de um grupo tenham grandes
semelhanças. Foi usado como critério de agregação o do vizinho mais próximo (furthest
neighbour ou complete linkage) e como medida de distância entre os indivíduos optámos
pela distância euclidiana quadrada.
4.1 Definição de Clusters
Através da aplicação da análise de clusters foi obtido dois grupos, sendo que o cluster 1
representa 161 dos inquiridos, o que corresponde a 71,2% da amostra, sendo desta forma
o cluster com o maior número de casos. O cluster 2, é formado por 65 inquiridos o que
corresponde a 28,8% da amostra.
No que respeita ao género, o cluster 1 apresenta uma maior percentagem de homens
63,4%, em relação ao cluster 2. Em relação às mulheres a situação inverte-se, sendo o
cluster 2 que apresenta uma maior percentagem 47,7%. Contudo, tanto no cluster 1 como
no cluster 2, os homens estão em superioridade numérica em relação às mulheres.
Em relação à estrutura etária, o cluster 2 apresenta uma média de idades inferior à do
cluster 1, havendo uma maior concentração no escalão etário 41-50 anos. No cluster 1
existe uma maior concentração no escalão etário 31-40 anos, sendo que podemos então
afirmar que os indivíduos dos cluster 2 são mais jovens do que os do cluster 1.
Quanto ao estado civil, no cluster 1 a maioria dos indivíduos são casados 65,2, ao
contrário do cluster 2 em que a maioria dos indivíduos são solteiros 44,6%. No que
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respeita às habilitações académicas, o cluster 1 tem uma maior percentagem de indivíduos
com o superior 72,3, já o cluster 2 apesar de a diferença ser reduzida apresenta um maior
número de inquiridos com o ensino secundário 49,2.
Quadro 1 - Perfil Sociodemográfico dos Clusters
Cluster 1
Cluster 2
Total
Teste
F*
161
71,2%
65
28,8% 226
100%
Total Inquiridos
Género
Masculino
Feminino
102
59
63,4%
36,6
34
31
52,3%
47,7%
136
90
60,2%
39,8%
64
30
31
9
9
18
39,7%
18,6%
19,3%
5,6%
5,6%
11,2%
20
21
7
4
3
10
30,7%
32,3%
10,8%
6,2%
4,6%
15,4%
84
51
38
13
12
28
37,2%
22,5%
16,8%
5,8%
5,3%
12,4%
0,930*
11
42
65
21
22
5,0%
43,5%
36,6%
14,3%
0,6%
14
24
11
10
6
6,2
20,0%
43,1%
21,5%
9,2%
25
66
76
31
28
11,1%
29,2%
33,6%
13,7%
12,4%
0,000*
26
105
8
18
4
16,1%
65,2%
5,0%
11,2%
2,5%
29
15
4
11
6
44,6%
23,1%
6,2%
16,9%
9,2%
55
120
12
29
10
24,3%
53,1%
5,3%
12,8%
4,4%
0,005*
5,0%
22,4%
3
32
4,6%
49,2%
11
68
4,8%
30,1%
0,026*
Nacionalidade
Inglesa
Espanhola
Francesa
Italiana
Alemã
Brasileira
Faixa etária
18-30
31-40
41-50
51-60
>60
Estado Civil
Solteiro
Casado
Vive junto
Divorciado
Viúvo
Habilitações Académicas
Ensino Básico
Ensino
Secundário
8
36
93
0,300*
______________________________________________________________
117
72,3%
30
46,2%
Ensino Superior
*. The mean difference is significant at the 0.05 level
147
65,0%
Em forma de conclusão, podemos dizer que o cluster 1 é composto na sua maioria por
homens, tem uma média de idades entre os 41 e os 50 anos, são na sua maioria casados,
com habilitações académicas de nível superior. O cluster 2 é também composto na sua
maioria por homens, com uma média de idades entre os 31 e os 40 anos, são na sua
maioria solteiros e com habilitações académicas de nível secundário.
4.2 Análise de Clusters
Uma vez que as características sociodemográficas dos clusters já foram analisadas, vamos
então tentar perceber como avaliam os indivíduos que compõem os clusters as variáveis
que permitem dar continuidade à nossa investigação. Tal como Almeida (2010), foi
definida como linha de corte o valor 6, numa escala de 1 a 7.
Quadro 2 - Avaliação dos Atributos do Património
Cluster 1
PAT1
5,47
PAT2
4,97
PAT3
3,43
PAT4
4,71
PAT5
5,32
PAT6
5,05
PAT7
6,01
Cluster 2
5,07
5,39
4,28
5,02
5,77
5,72
6,55
Teste F*
0,001
0,000
0,000
0,256
0,116
0,006
0,061
De acordo com o quadro 4.2, podemos verificar que em média, são os indivíduos do
cluster 2 que avaliam de forma mais positiva os atributos do património visitado, com
exceção do PAT1 (preço), em que são os indivíduos do cluster 1 que avaliam mais
positivamente. Através da análise dos clusters que fizemos anteriormente podemos
concluir que uma vez que os indivíduos são mais novos, solteiros e com ensino
secundário maioritariamente, poderão ter uma maior sensibilidade ao preço, quando
comparado com os indivíduos do cluster 2.
No quadro 4.3 verificamos que em média os indivíduos do cluster 1 dão mais importância
às facilidades da cidade de Lisboa, como os meios de alojamento, profissionais
qualificados e serviços de informação, à exceção dos espaços de diversão, em que são os
indivíduos do cluster 2 que lhe dão uma maior importância.
Quadro 3 – Importância das Facilidades da Cidade
Cluster
1
Cluster
2
IGF1
IGF2
IGF3
IGF4
IGF5
IGF6
IGF7
IGF8
IGF9
6,36
6,85
6,13
5,97
5,66
5,89
5,89
5,09
6,35
6,21
6,33
6,65
5,63
5,53
5,67
5,63
5,22
6,25
94
______________________________________________________________
Teste
0,634 0,001 0,048 0,093 0,817 0,764 0,051 0,048 0,131
F*
Os indivíduos do cluster 1 são os que demostram uma maior preocupação com as
condições que a cidade possui para os receber. Poderá isto estar relacionado com o facto
de por ter uma maior experiência de vida, são mais exigentes com os serviços
disponibilizados pelo destino.
Quadro 4 – Importância dos Atributos da Cidade
IGA IGA IGA IGA IGA IGA IGA IGA IGA IGA1
1
2
3
4
5
6
7
8
9
0
Cluste
6,78
5,99
5,63
5,84
5,68
5,91
5,37
5,87
6,01
6,43
r1
Cluste
5,62
5,24
5,38
5,49
5,48
6,26
5,48
5,89
5,49
6,52
r2
0,02
0,04
0,06
0,04
0,24
0,26
0,04
0,17
0,05
Teste
0,011
1
4
1
2
3
6
2
3
8
F*
Tendo como base o quadro 4.4, podemos verificar que em média, são os indivíduos do
cluster 1, dão mais importância aos componentes da imagem geral da cidade, como por
exemplo a diversidade de atrações, tradição, segurança e hospitalidade, exceto na
animação e festividade em que são os indivíduos com cluster 2 que dão uma maior
importância. Podemos concluir que sendo os indivíduos do cluster 1 mais velhos e
casados, estes dão uma maior importância aos atributos relacionados com a atratividade
do destino ao nível de cultura, tradição beleza etc. Já os indivíduos do cluster 2, devido às
suas características sociodemográficas que já vimos anteriormente, são os que dão mais
importância aos espaços de diversão e animação.
Como conclusão podemos verificar que:
Os indivíduos do cluster 1 são mais exigentes com as condições do património da cidade,
pois são os que avaliam de forma mais negativa. Estes dão grande importância às
condições que a cidade possui para os receber, desde o alojamento, qualificação dos
profissionais e serviços de informação. Como imagem da cidade dão prioridade às
diversidades de atrações, segurança e hospitalidade.
Já os indivíduos do cluster 2, são mais sensíveis ao preço praticado e valorizam tudo o
que esteja ligado com animação e festividades na cidade.
De acordo com Xavier o Bairro Alto começou um processo de transformação física e
social logo nesta década, com a migração da imprensa diária por um lado e com a abertura
de vários espaços de animação noturna por outro. A reabilitação urbana que foi
ocorrendo, grande parte pela mão de privados, gerou um processo de gentrificação. Os
condomínios de luxo iam surgindo na parte alta do Bairro Alto a par de um aumento do
comércio especializado e da animação noturna. Até ao final do século XX, esta situação
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foi criando uma projeção turística do Bairro Alto como centro de animação noturna de
Lisboa. Ao fim de 30 anos de alterações neste bairro, os conflitos entre moradores,
comerciantes da noite, lojas de conveniência e hotéis geraram um ambiente de
desconfiança hostil e de atrito constante. A governança deste bairro caracterizou-se por
uma política top-down, estabelecendo uma imagem territorial como principal campo de
referência para a compreensão das relações urbanas. Assim, esta estratégia permissiva
aliada a uma imagem do Bairro Alto como centro de diversão noturna de Lisboa, não
equacionou os diferentes atores urbanos constituintes deste bairro, desvalorizando os
residentes mais antigos e com menor capacidade de comunicação dos seus pontos de
vista. A situação que se vive hoje no Bairro Alto é fruto desta evolução, e embora muito
do que foi feito no bairro tenha contribuído para o enriquecimento dos seus elementos
identitários, como por exemplo, o ser considerado centro de cultura alternativa ou de
indústrias criativas, o conflito atual é insustentável em muitas ruas do bairro. Por outro
lado, há sinais claros da capacidade de carga ser ultrapassada muitas vezes neste bairro.
Os problemas de recolha de resíduos sólidos e de limpeza das ruas são o espelho disso
mesmo. Os visitantes do bairro, turistas ou não, ao beberem e dançarem na rua, por não
terem espaço nos bares, acabam por fazer na rua as suas necessidades fisiológicas. É claro
que os moradores não podem “sobreviver” muito tempo ao ruído, ao cheiro e ao estado de
sujidade que algumas das ruas chegam a ter. Nas conversas com moradores e nas
entrevistas realizadas, percebeu-se que o problema melhorou um pouco (principalmente
na limpeza, recolha de lixo e segurança) mas está longe de ser resolvido.
Na linha de Xavier o Bairro Alto ganhou o estatuto de modernidade, promovendo uma
experiência turística pós-moderna, onde a encenação da autenticidade é subjugada ao
conforto, entretenimento e diversão do visitante, criando um ambiente sempre em festa.
A Mouraria permaneceu incólume depois do 25 de Abril, destacando-se apenas um ou
outro episódio de reabilitação urbana de património monumental. A afluência de
imigrantes de todos os continentes construiu-lhe novos alicerces identitários,
transformando a baixa da Mouraria (Martim Moniz) num centro de comércio
multicultural. Mas a marginalidade e decadência urbana e social do centro nevrálgico da
Mouraria, antiga freguesia do Socorro, permaneciam sem alteração. As políticas de
reabilitação urbana neste bairro foram sempre um fracasso (megaempreitada no inicio do
século XXI interrompida por falta de pagamento ao empreiteiro – as obras ficaram apenas
iniciadas) e o bairro ia assistindo à derrocada de casas ou telhados e á deterioração das
condições de vida dos seus moradores.
Como sublinha Xavier o projeto de reabilitação urbana iniciado em 2011, segundo a
mensagem do Presidente da Câmara António Costa, foi “um projeto das pessoas e para as
pessoas do bairro”11. Pretendia não só reabilitar o espaço físico, como revitalizar o tecido
11
In http://www.aimouraria.cm-lisboa.pt/mensagem-do-presidente.html.
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social e, utilizando o turismo como alavanca de desenvolvimento, “devolver a Mouraria
aos lisboetas”. Na sua mensagem disse ainda:
“Pretende-se tornar a Mouraria um território mais inclusivo, mais atrativo e mais seguro
para todos. A Mouraria vai mesmo mudar para melhor”.12
Ao deslocar para o Intendente o seu executivo, António Costa, pretendeu aproximar o
poder autárquico dos atores envolvidos neste projeto, que já se constituiu como marca
indelével do seu consolado.
Destaca Xavier que segundo João Meneses, coordenador do GABIP – Mouraria, a
governança das políticas de regeneração urbana, como lhes prefere chamar, caracteriza-se
por uma governação bottom – up, integrada, onde os diferentes atores urbanos constituem
a base das relações que se estabelecem. O envolvimento estratégico dos moradores e
comerciantes locais e a atração de novos moradores e investidores foi o fio condutor de
uma reabilitação urbana que pretendia alavancar nas estruturas identitárias e no turismo
cultural e criativo o desenvolvimento da qualidade de vida da população local. Na
Mouraria promoveu-se, assim, um turismo cultural onde a autenticidade objetiva é
valorizada, onde a cultura se sobrepõe à diversão pela diversão. A memória coletiva e
simbólica, a história e tradição, a envolvência com os residentes, são o que se oferece aos
turistas nas visitas guiadas locais ou na Cozinha Popular (cantina do bairro para visitantes
ou moradores). No entanto, chegados ao fim deste trabalho fica-se com a angústia de
duvidar da capacidade de resistência da Mouraria à sedução do capitalismo. A
gentrificação e a turistificação são fenómenos demasiado frequentes nas cidades europeias
para pensar-se que o que foi feito é suficiente para a Mouraria seguir outro rumo. Como
disse João Meneses “o mercado controla-se muito mal” e a especulação imobiliária é
sempre um risco para estes bairros. Apesar de chegados ao fim deste estudo, muito terá
ficado por fazer, e é com espirito autocritico por vezes, e de reflexão sobre o trabalho
realizado por outras, que se propõem linhas de investigação na continuidade deste
trabalho tendo em conta as suas limitações inerentes à sua própria essência:
Lisboa vive atualmente um aumento de procura turística, potenciado pelo crescimento de
voos Low-Cost e de chegadas de cruzeiros ao Tejo. A pressão do aumento da procura tem
gerado, em muitas situações, uma oferta eticamente pouco correta e em busca de um lucro
fácil. Se é verdade que o turismo tem sido para Lisboa uma alavanca de desenvolvimento
e de revitalização da cidade, também é verdade que se notam os primeiros sinais de se
estar perto de atingir o limite da capacidade de carga ou, nalguns casos, de já a ter
ultrapassado. Seria interessante desenvolver trabalhos de investigação sobre a relação do
aumento da procura turística e a preservação das estruturas identitárias dos bairros
reabilitados. A massificação do turismo nos bairros, ecossistemas urbanos muito frágeis,
poderá criar demasiada pressão sobre eles?
12
Idem.
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De acordo com Xavier a utilização de novas variáveis primárias obtidas por inquérito,
quer a moradores quer a turistas, permitiria desenvolver saberes sobre a relação entre a
qualidade de vida dos moradores e a qualidade da experiência turística vivida pelos
turistas. Pelo que foi possível observar não é lícito pensar que a experiência vivida no
Bairro Alto tem menor qualidade, que a experiência vivida na Mouraria. É diferente, mais
encenada no Bairro Alto, mais autêntica e verdadeira na perspetiva da fidedignidade às
origens na Mouraria, mas só recolhendo informação do que os turistas e moradores
sentem e pensam é que poderíamos conhecer o impacto das políticas de reabilitação
urbana na qualidade da experiência turística.
Outra área que ficou em aberto neste estudo é o da relação entre a reabilitação urbana e o
tipo de turismo promovido nos locais reabilitados. Conhecer melhor o perfil dos turistas
que procuram o Bairro Alto noturno, e o dos que vêm à Mouraria permitiria um
conhecimento mais claro sobre esta temática. Ao longo desta investigação foram surgindo
limitações que dificultaram o conhecimento mais abrangente desta problemática. As
dificuldades resultantes da ausência de resposta à solicitação de entrevistas aos atores de
relevo neste estudo, por certo tornaram-no mais pobre. A impossibilidade de utilizar
outras metodologias de recolha de informação por falta de tempo (quando as entrevistas
se tornaram insuficientes, por ausência de resposta de presidentes de junta, de serviços
camarários, etc.), não permitiu cruzar informação que daria mais sustentação às
conclusões aqui referidas. A observação participante foi muito enriquecedora na
compreensão do espírito que se vive nos bairros: no Bairro Alto, durante as visitas em que
se participou, sentia-se que algumas pessoas, moradoras do bairro eram indiferentes à
presença de turistas. Pelo contrário, na Mouraria, os moradores sentem orgulho em
mostrar o seu bairro e facilmente oferecem uma ginjinha aos turistas que interagem com
eles. Das visitas realizadas apenas na Mouraria houve interação espontânea entre turistas e
moradores. Inclusivamente uma moradora cantou fado à janela e acabou a canção com
vivas à Mouraria.
5 - Conclusões
Os destinos turísticos enfrentam o desafio de perspetivar a Experiência Global que
proporcionam como uma mais-valia de atratividade coerente e credível, fazendo sentido
abordar a Imagem como um conceito corporativo, coeso, que resulta de uma Experiência
integrada e diferenciada. A multiplicidade de ofertas e de tipologias de Turistas parecem
ir ao encontro da complexidade de experiências proporcionadas, mesmo quando estas,
conceptualmente, estão posicionadas de forma antagónica, proporcionando, por um lado,
vivências assentes nos sistemas de valores locais, e por outro vivências marcadas pelo
consumismo que pouco refletem a autenticidade e tradições locais. Ganha assim
importância acrescida a discussão em torno da definição da imagem, estrategicamente
organizada correspondendo às necessidades e desejos dos atuais e dos novos turistas,
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tornando-se assim em destinos competitivos e diferenciados, perante um mercado cada
vez mais globalizado e mais exigente.
Regista-se uma diferença estatisticamente significativa entre as características
sociodemográficas dos turistas e a avaliação que fazem do património de Lisboa. Tendo
em conta o seu género, idade, nacionalidade, entre outros aspetos, há indivíduos mais
sensíveis aos preços praticados, outros mais exigentes em relação às condições de
conservação do património, e ainda à higiene e limpeza dos espaços. Tratem-se de
Experiências standardizadas ou diferenciadas, com base no património e nas tradições
locais, importará tomar consciência das opções assumidas para que a promoção e o
Imaginário suscitado, correspondam às vivências propriamente ditas.
Algo que fica em aberto nestas investigações é a questão da relação entre a reabilitação
urbana e os tipos de turismo promovido nos mesmos espaços reabilitados. Aprofundar o
conhecimento do perfil dos turistas que procuram o Bairro Alto enquanto espaço noturno,
e o dos que procuram a Mouraria permitiria uma informação oportuna sobre esta temática.
Será igualmente oportuno perceber a imagem do património da cidade de Lisboa, antes da
visita e após visita, por forma a definir um conjunto de estratégias de comunicação
futuras, tendo como objetivo a melhoria da imagem orgânica, da imagem induzida e da
imagem global da cidade de Lisboa.
Bibliografia
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Professional Service Marketing, Vol. 14, nº 1, pp. 37-60.
ALMEIDA, ASA (2012) – Comunidades turísticas e atores intermediários: A experiência
como contributo para a sustentabilidade. In Teatro e Intervenção Social. Chaves: Edição
Intervenção – Associação para a Promoção e Divulgação Cultural, 97-109
ARMAS, R. D. (2002) Interrelacion entre la Imgen y Comunicación en Destinos
Turísticos. Tesis Doctoral, Universidad de la Laguna.
BALOGLU, S.; McCLEARY, K. (1999) “A Model of Destination Image
Formation”. Annals of Tourism Research, Vol. 26, nº 4, pp. 868-897.
BRANDÃO, P. (2008) – A Identidade dos Lugares e a sua representação coletiva. Lisboa:
Europress;
CAI, L. A. (2002) “Cooperative branding for rural destinations”. Annals of Tourism
Research, Vol. 29, nº 3, pp. 720-742.
CROMPTON, J. (1979) “An Assessment of the Image of Mexico as a Vacation
Destination and the Influence of Geographical Location upon the Image”. Journal of
Travel Research, Vol. 18, nº 4, pp.18–23.
DONAIRE, J. A. (1998) La geografia del turismo después del fordismo: turistas en las
fabricas, turistas en los centros comerciales. Lisboa: Sociedade e Território.28: 55-68;
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ECHTNER, C.; RITCHIE, J. (1991) “The Meaning and Measurement of Destination
Image”. The Journal of Tourism Studies, Vol. 2, nº 2, pp. 2-12.
FAKEYE, P.; CROMPTON, J. (1991) “Image Differences Between Prospective, FirstTime, and Repeat Visitors to the Lower Rio Grande Valley”. Journal of Travel Research,
Vol. 30, nº 2, pp. 10–16.
GARTNER, W. C. (1993) “Image Formation Process”. Journal of Travel & Tourism
Marketing, Vol. 2 nº 2-3, pp. 191-215.
GOMES, D; ALMEIDA P. (2012) - A Avaliação da Imagem do Destino Lisboa pelos
Turistas que Visitam o Património. Mangualde. Edições Pedago. pp 71-81;
HU, Y.; RITCHIE, J. (1993) “Measuring Destination Attractiveness: A Contextual
Approach”. Journal of Travel Research, Vol.32, nº 2, pp. 25-34.
HALBWACHS, M. (1950) – La Mémoire Collective. Paris: PUF
HALL, S. (1992) - A identidade cultural na pós-modernidade. Rio de Janeiro. DP&A
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HU, Y.; RITCHIE, J. (1993) “Measuring Destination Attractiveness: A Contextual
Approach”. Journal of Travel Research, Vol.32, nº 2, pp. 25-34.
JENKINS, O. H. (1999) “Understanding and Measuring Tourist Destination Images”.
International Journal of Tourism Research, Vol. 1, pp. 1-15.
KASTENHOLZ, E. (2002) “The Role and Marketing Implications of Destination Images
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KRIPPENDORF, J. (1987) - The Holiday Makers. London: Heinemann.
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14. Authenticity criteria in conservation of sacred buildings
Iryna Poloz, Ph.D student
Carlos Alho, CIAUD Researcher/Professor
Faculdade de Arquitectura, Universidade Técnica de Lisboa
Abstract
1. Religious buildings are subject to change throughout the life. So we should
know how authenticity affects the conservation of sacred buildings?
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2.
Authors based on case studies of sacred buildings in Ukraine to understand the
best practices for further definition of the authenticity to better maintain the
sacred buildings.
Taking in consideration the different interdisciplinary views of Europe in Conservation
and research materials of sacred buildings in Ukraine, this research aims for a consensus
about the concept of the authenticity criteria and a way to improve the practice into
conservation of sacred building.
3. The results show that "authenticity criteria" are similar to “sustainable
development” and it is different depending on the geographical location and
culture.
Keywords: sacred buildings, conservation, authenticity.
1. Introduction
This study is about a set of authenticity criteria for the conservation of sacred buildings in
Volyn, although the definition of authenticity for conservation today is very controversial
all over the world.
This paper describes the phases that the study went through in order to achieve a
consensus about a set of authenticity criteria for the conservation of sacred buildings and
also to demonstrate its contribution to the management of UNESCO World Heritage.
2. Background
Following the Nara Conference on Authenticity in Japan in 1994, experts from ICOMOS
have published many articles in scientific magazines based on this article but they have
not reached a consensus in the area of sacred buildings.
According to Stovel (1994) the word "authenticity" appears in the preamble to the Venice
Charter (1964) without a definition, because most of those who were involved in the
writing of the Charter shared similar backgrounds and therefore they provided general
assumptions, without going into specific area of the conservation.
3. Aims of the Study
According to the document of the Venice Charter about the Conservation of Monuments
(1964) and the monitoring of a number of case studies, this research has the following:
Scope – Determine the authenticity for the conservation of sacred buildings.
Focus -Development of a set of the authenticity criteria in conservation of sacred
buildings in Volyn.
The purpose of research is to evaluate the set of authenticity criteria for improving the
conservation of sacred buildings in Volyn, Ukraine.
4. Scope
What is Authenticity in the Conservation of sacred buildings?
According to the review of relevant research and theories, presented at the Nara
Conference (1994), authenticity of sacred building is its own life story with its changes
during the life. This includes interventions in different periods of time, and the way how
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these interventions were made. Authenticity can be defined through the artistic, historical
and cultural aspects. Authenticity can define through the artistic, historical and cultural
aspects. There should be included exterior generally, planning system, construction and
technology. The relative significance of each period in the whole should be established
through a historical-critical process, in order to form the basis for treatments.
5. Objective of the research:
The purpose of this research work is to determine the set of the common authenticity
criteria to promote the high quality conservation and restoration of the sacral buildings in
Volyn.
6. Methodology:
This research uses speculative and empiricalmethodology. It combined qualitative nonintervention and interventional research methodologies. There are literature review, direct
observation, field notes, case studies and project. Author used data collection at the
beginning of investigation, further presumed to use case studies of sacred buildings and
created a project to understand the practices for the further definition of the authenticity.
7. Expected contributions:
Taking in consideration the different interdisciplinary views of Europe in conservation
and research materials of sacred buildings in Ukraine, this research aims for a consensus
about the concept of the authenticity criteria and as a way to improve the practice into
conservation of sacred buildings in Ukraine.
8. Pre-conclusions
Currently the author came to the conclusion to the following criteria of authenticity in
sacred buildings in Volyn:
1. Architectural style
2. Material
3. Planning structure
4. Used technologies
5. Workmanship
Bibliografia:
ICOMOS,(1964).International Charter for the Conservation and restoration of Monuments
and Sites
Alho, C., Morais, A., Mendes, J., Galvao,A., (2010) Authenticity Criteria in Conservation
of Historic
Buildings. Proceedings of CIB International Conference, Manchester, U.K
Jokilehto, Jukka (1994) Questions about Authenticity. In: Conference on Authenticity in
Relation to the World Heritage Convention. Preparatory Workshop, K. E. Larsen and N.
Marstein, editors, pp. 9-25. Norway, Riksantikvaren.
Larsen, Knut Einar (1994) Authenticity in the Context of World Heritage: Japan and the
Universal In:Conference on Authenticity in Relation to the World Heritage Convention.
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Preparatory Workshop, K. E. Larsen and N. Marstein, editors, pp. 65-82. Norway,
Riksantikvaren.
15. AUTHENTICITY CRITERIA IN CASTLES OF IVANO-FRANKIVSK
REGION
Olha Tikhonova, Ph.D
Carlos Alho, Professor Auxiliar
Faculdade de Arquitectura da Universidade de Lisboa, Portugal
________________________________________
Abstract:
1- The information about castles can change during the time passing. It is important to
verify what is authentic in the castles that are under research.
2-The author, based on the case studies about castles and after analyzing the best practices
in Europe explores the verification of authenticity and define the fundamental criteria in
conservation.
Base of the found materials about castles in Ivano- Frankivsk region and taking into
consideration the different interdisciplinary views on Conservation create a
systematization of detected objects in Ivano – Frankivsk region by the time of their
occurrence and the architectural and typological characteristics. It can help to define the
authenticity criteria for Conservation of Castles in this area.
3- This criteria can help to define the method of preservation for each castle that was
under this investigation. And set the authenticity criteria for Conservation of Castles in
this region.
________________________________________
Key Words: Castles, Conservation, Authenticity
Introduction:
In Venice Charter (“The Venice Charter: International Charter for the Conservation and
Restoration of Monuments and Sites,” 1964) about Heritage Monuments says, "It is our
duty to hand them on in the full richness of their authenticity. " But what do the criteria of
authenticity include?
The Castle, as a phenomenon, during its existence, reflected the evolution of the forms of
fortifications, which acquired the characteristic traits of each period and region.
Fortifications of the castles, which have come to our time and, as a rule, are in a state of
ruins, have significant historical, cultural and artistic value, primarily as monuments of
architecture. After they ceased to be required from the end of the 18th century, the
fortresses and castles - former defenders of the country and population - became
defenseless before the destructive forces of nature and human indifference. Many castles
were dismantled for the material, in the place of some were created new buildings. When
there are appeared the funds for the conservation at that moment, the question arise which
method of preserving is the best for that castle. To solve this problem we need to know
what is authentic in this object.
The analysis of the bibliographic sources in the topic of study shows that a comprehensive
study of fortifications in Ivano-Frankivsk region is not conducted. Especially the castles
of Ivano- Frankivsk region was not investigated enough before. The literature review
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shows that there were a lot of researchers that was doing their investigations about castles,
but these research were about history of the castles, not about their authentic criteria and
present conditions.
DEFINITION OF MEANING AUTHENTICITY
The criteria are due to them objects can be listed in the World Heritage List
based on outstanding universal value (OUV). Due to the Operational Guidelines for the
implementation of the World Heritage Convention (“Operational Guidelines for the
World Heritage Convention,” 2005) claimed that : “Outstanding universal value means
cultural and /or natural significance which is so exceptional as to transcend national
boundaries and to be of common importance for present and future generations of all
humanity“
OUV means that this object has cultural value that is so important that can to
broke boundaries between countries and become a common Heritage for all world for
present and future generations (UNESCO,2008; para49). But we need to recognize that
the criteria for choosing the object should depend on the region where object is located.
The guidelines for implementation of the World Heritage Convention includes ten
principles that define OUV (table 1).
Table 1. The Criteria for Selection of World Heritage Sites (UNESCO, 2005).
i To represent a masterpiece of human creative genius
ii To exhibit an important interchange of human values, over a span of time or within a
cultural area of the world, on developments in architecture or technology, monumental
arts, town-planning or landscape design
iii To bear a unique or at least exceptional testimony to a cultural tradition or to a
civilization that is living or which has disappeared
iv To be an outstanding example of a type of building, architectural or technological
ensemble or landscape that illustrates (a) significant stage(s) in human history
v To be an outstanding example of a traditional human settlement, land-use, or sea-use
which is representative of a culture (or cultures), or human interaction with the
environment especially when it has become vulnerable under the impact of irreversible
change
vi To be directly or tangibly associated with events or living traditions, with ideas, or
beliefs, with artistic and literary works of outstanding universal significance
vii To contain superlative natural phenomena or areas of exceptional natural beauty and
esthetic importance
viii To be outstanding examples representing major stages of earth’s history, including the
record of life, significant on-going geological processes in the development of landforms,
or significant geomorphic or physiographic features
ix To be outstanding examples representing significant on-going ecological and biological
processes in the evolution and development of terrestrial, fresh water, coastal and marine
ecosystems and communities of plants and animals
x To contain the most important and significant natural habitats for in situ conservation of
biological diversity, including those containing threatened species of outstanding
universal value from the point of view of science or conservation
To become an HWS(Heritage World Sites), the site needs to include at least one
of ten OUV criteria and to have tests of authenticity.
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In the most cases, World Heritage Sites associated with separate objects. But
also it can include urban parts (quarter) or even historical part of the city.
For example, castle isn't a separate object. It is an urban structure with a special
environment and unique landscape. It is like a small town in a big city with buildings,
walls, and enclosed territory. The defense objects more related to urban WHS than to
Architectural Monuments. Also, castles have the same problems as historical cities that
are listed as Heritage Value. Because of the availability of the big territory inside the
walls and unique landscape form. In accordance with these their characteristics, they
attract the attention of owners or patrons. At the same moment, there is a lot of problems
that are connected with the management of these objects. In most cases, it is a conflict
between preservationists and patrons of objects or local authorities that want to extract as
much money as possible from listed sites.
To solve this problem we need to follow the guidelines for conservation. In
most cases, they refer to authenticity criteria of object.
During the last decades UNESCO and ICOMOS trying to set theses criteria for
WHS. They are seeking for the conceptual framework for appropriate methodology for
the preservation of urban sites. To make this they should be „in touch“ with national and
local governments.
Particularly in the dangerous conditions now are objects that are under
municipal villages control. For example, in Ivano-Frankovsk region, in the most critical
position are ruins of Cherneletsya and Rakovets castles, because they are financing by the
rural councils. They are not capable of providing intensive care of monuments, so all
hopes are pinned to attract extra-budgetary funds in the form of the creation of individual
charities and private investors.
A significant part of the problem arises in the management of such urban sites from a lack
of clarify of authenticity criteria due to such objects like castles that are a part of urban
scale.
Nowadays UNESCO is looking for the methodology of working with "historic
urban landscape" (Pendlebury, Michael Short, & Aidan While, 2009) to give the
recommendation and to create the solution to this problem.
The brightest, operational interpretation of the concept of "authenticity" recorded in
"Convention on the Protection of the World Cultural and Natural Heritage" by UNESCO
in 1972. As part of this document has been developed "test of authenticity", accumulating
modern ideas about the value of this category and consists of four fundamental
parameters:
•
“material,”
•
“design,”
•
“workmanship,”
•
“setting.”
In 1994, in Nara Conference on Authenticity in Japan adopted a special international
declaration «Nara Document on Authenticity» («Nara Document on Authenticity"), to fix
the primary position of scientific restoration within the strict limits of authenticity. There
was presented the extended system of "protection" of the monument, consisting of a series
of branched position:
•
“form and design”;
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•
“materials and substance”;
•
“use and function”;
•
“traditions and techniques”;
•
“location and settings”;
•
“spirit and feeling.”
But also in this document says that other criteria are necessary, and they depend on the
nature of the cultural heritage, its cultural context, and its evolution through time. Also, it
depends on “specific artistic, historic, social, and scientific dimensions of the cultural
heritage being examined” (“The Nara Document On Authenticity - event-833-3.pdf,”
n.d.).
At the same moment at Nara Conference was set the "progressive authenticity
concept". This concept means that authenticity value refer to time layer (Gustavo F.
Araoz, 2008). David Lowenthal explained what it meant in the documents of this
Conference, „Authenticity is in practice never absolute, always relative“ (1994). It is
impossible to set the accurate criteria of authenticity because the things that a valuable
today can not be relevant tomorrow.
Due to the Dennis Rodwell (2007) the word authenticity is not precisely define.
The author says that neither while the word was defined in an ICCROM publication
(essentially in European context) as: “materially original or genuine as it was constructed
and it has aged and weathered original or natural as it was built and as it has aged and
weathered in time”, in the same time a lot of fake buildings that looks like authentic
buildings are thrive and issued by the authentic. Some heritage buildings have plastic
windows and doors, or they have new walls after restoration a new roof but they issued
like authentic buildings. In Venice Charter (1964) and earlier Optional Guideline version
(2005) for the World Heritage, the Cultural Heritage was defined as monumental
architecture, nowadays it is more related to cultural and archaeological heritage (B. von
Droste & U. Bertilsson, 1994).
In practice, the authenticity criteria have a significant influence on choosing the
conversation methodology. In our case, we chose seven different objects that are located
in Ivano - Frankivsk region. After the studies of these object that a based on the literature
review such as a systematic and comprehensive approach. It includes methods for the
analysis and synthesis of collecting bibliographic materials, archival iconography
materials (graphics, designs, photographs, and cadasters) about castles and review of
charters, manifests and other documentation and books about authenticity criteria and
methods of conservation of historical monuments, especially castles, we want to define
the criteria of authenticity of castles. It could help to create a methodology of their
preservation.
INVESTIGATION OF CASTLES IN IVANO-FRANKIVSK DISTRICT
The Fortifications of Ivano-Frankivsk region is the most significant group of historical
monuments of the area. The analysis of the bibliographic sources in the topic of study
shows that a comprehensive study of fortifications in Ivano-Frankivsk region is not
conducted. Today in the register of monuments in Ivano-Frankivsk region are 1444
historical monuments (“Monuments of Ivano-Frankivsk region — Wikipedia,” n.d.). 1293
of them are monuments of local importance, and 151 have the status of national historical
monuments. After analysis of bibliographic sources and cartographic materials, on the
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territory of Ivano-Frankivsk region was discovered traces of the existence of 60 castles,
seven of them existing now but they are in bad conditions and don’t have any function
except castle in Perehinske that use as dwelling. Base of the found materials was created a
table of detected objects. There are define such parameters as: the time of castles
occurrence, the location, and the architectural and typological characteristics, degree of
preserving and authenticity criteria for existing castles in Ivano – Frankivsk region in this
table (table 2).
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Table 2. Existing castles in Ivano-Frankivsk region.
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Conclusion:
In some countries, the term "authenticity" often refers only to the authenticity of the
material, probably because, as many think, the criteria for the authenticity of the material
are evident. This is not entirely true, but it is much more important to realize that the
problem of authenticity is much wider.
Taking into consideration the different interdisciplinary views in Conservation and based
on found materials about the castles that are existing now in Ivano – Frankivsk region was
set the authenticity criteria for them, namely: type of castle, original landscape, materials
and substance, location and set, and spirit and feelings. Those criteria can help to define
the method of preservation for each castle that was under this investigation. And establish
the authenticity criteria for Conservation of Castles in the Western part of Ukraine.
References:
B. von Droste, & U. Bertilsson. (1994). “Authenticity and World Heritage,” Nara
Conference on Authenticity.
David Lowenthal. (1994). “Changing Criteria of Authenticity,” Nara Conference on
Authenticity.
Gustavo F. Araoz. (2008). World-Heritage Historic Urban Landscapes: Defining and
Protecting Authenticity.
Operational Guidelines for the World Heritage Convention. (2005).
Pendlebury, J., Michael Short, & Aidan While. (2009). Urban World Heritage Sites and
the problem of authenticity.
The Nara Document On Authenticity - event-833-3.pdf. (n.d.). Retrieved from
http://whc.unesco.org/uploads/events/documents/event-833-3.pdf
The Venice Charter: International Charter for the Conservation and Restoration of
Monuments and Sites. (1964).
Monuments of Ivano – Frankivsk region- Wikipedia. (n.d.) Retrieved January 10, 2015,
from
http://uk.wikipedia.org/wiki/Ivano-Frankivsk.
16. Evanescent Surfaces: the Window as Screen
Maria João Soares (PhD)
CITAD – Universidade Lusíada de Lisboa, Portugal
Clara Germana Gonçalves (PhD)
Susana Santos (PhD)
Abstract: Relationship between cinema and architecture rooted in the very deviations of
the passage from a century in full acceleration to a century already in post-acceleration, in
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which time is a decisive factor. Decisive in the material abstraction in our lives; decisive
in virtuality as a pivotal factor in our lives.
Our argument is centred on the possibility of us understanding two parallel courses and
finding, on these courses, a single path leading to two-fold action: the opening of the
cinematographic screen and the abstraction of the architectural span. As the last century
progressed, both the screen and the window were starched to a limit: the first limit is
abstraction – abstraction of the window and abstraction of the cinema screen, open and
reclined –; the second limit is the consummation of the abstraction.
Key Words: Architecture; Cinema; Gilles Deleuze; Window; Screen
Introduction:
In the 1980s Gilles Deleuze published two books (Cinéma 1: L’Image-mouvement, 1983
and Cinéma 2: L’Image-temps, 1985) that paved the way for new reflection on cinema.
The first of these two works came with a warning: “This study is not a history of the
cinema” (2005, xix), revealing Deleuze’s intent: his study was to be an “open” one.
Relying heavily on Bergsonian13 ideas, he developed his own theses based on concepts
taken from the universe of the cinema, pointing, in our view, to the formation of a path
towards modernity enclosed within the essence of cinema itself.
But what kind of modernity? Modernity in camouflage, as proposed by D. W. Griffith
and, shortly later, developed by Sergei Eisenstein. A “new” step that was to define
concepts, becoming at the same time, an instrumental means for abstraction: the montage
or the editing of the cinematographic image.
It is true that cinema was actively involved in the new society and was a privileged
witness of the birth and growth of the 20th century metropolis. But its most valuable role,
from our point of view, was as an open field for theoretical and philosophical elaboration,
paving the way for the establishment of inter-disciplinary relations that were melded at
the roots.
Thus, we are searching for a relationship between cinema and architecture rooted in the
very deviations of the passage from a century in full acceleration to a century already in
post-acceleration, in which time is a decisive factor. Decisive in the material abstraction
in our lives; decisive in virtuality as a pivotal factor in our lives.
According to Deleuze, in modern cinema the time-image – the result of modernity
associated with cinematographic montage – is “transcendental” (1985, 355); it is neither
metaphysical nor empirical. Deleuze relates this “transcendental” meaning to Kant and
Shakespeare – via Hamlet – “[...] time is out of joint and presents itself in the pure state”
(1985, 355).
This century of ours, the 21st, has slipped out of joint; it has passed to another side, a
reverse side.
Duchamp, time and transparency
The art-fiction (During 2010, 121), is a concept developed by the French philosopher Elie
During that establishes a parallel between science fiction writers and so-called
13
Deleuze, stated that, however, Henri Bergson saw cinema as an untrue ally.
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contemporary artists who develop in their work “scientifically” extraordinary universes
that populate our dreams. These art fictions adapt to questions of science, developing
them further in another environment. An environment of the sensible. (During 2010, 121)
According to During, Marcel Duchamp can be considered a science fiction artist in the
sense that he sought to take from the realm of fiction forms of experiencing the sensible.
In During’s opinion, he is one of the most unique creators of art-fiction of the last century.
Despite Duchamp’s acknowledged taste for “amusing science” (During 2010, 123), his
relationship with the world of science was clear and rigid, even revealing his fascination
for it. That fascination developed through geometry. Although he was not a geometrician,
nor even a mathematician (and it appears he didn’t want to be either), he produced
something geometric in his work, which, in a way, became a very important legacy for the
neo-vanguards of the latter half of the 20th century.
It was above all in La marriée mise à nu par ses célibataires, même (The bride stripped
bare by her bachelors, even), also known as Le grand verre or The grand verre (19151923), a work that cannot be understood as a painting – “[…] it’s an accumulation of
ideas” (Marcadé 2007, 101) – that his mathematical knowledge was developed through
his own invention capacities. For many years this work was a kind of battlefield, a
laboratory for his intellectual experiments and quests. And there is in Duchamp this
feeling of a “laboratory man” with a pipe in his mouth and not wearing a lab coat
reclining on a sofa. This image took Duchamp to a plane of concentration and creative
activity that gradually crystallized in the formation of Le grand verre. As if the time
devoted to it was itself, as a duration, a source of the contents of the work.
[…] Le grand verre, if one follows the author, should be approached as a threedimensional projection, itself reporting to two dimensions on a double glass panel, of a
scene invisible to four dimensions. But the essential is not there. (During 2010, 124)
It is as if Duchamp has taken time off its hinges, leaving a path to our sensibility, to our
visual and tactile imagination.
With his Nu descendant un escalier (Nude descending a staircase) (1912), Duchamp
stated that what he was searching for was the organization of space and time through the
abstract expression of movement. Thus, in Le grand verre, what he sought was to
understand how to organize and articulate the different dimensions with one another,
elevating the third and fourth dimensions. (During 2010, 125)
If one follows Duchamp’s intuition to the end, the limit can be formulated as follows:
instead of entering the fourth dimension via the edges, that is to say, via the thin profiles it
presents in three dimensions, we rather try to install ourselves in it in one fell swoop, with
a kind of leap of mind. This leap, the entire device of Le grand verre, with its multiple
programmes and diagrams, is charged with establishing the possibility and even the
necessity. (During 2010, 126)
Materiality plays an extremely important role here, for in Le grand verre Duchamp
replaces the opaque canvas with transparent glass. Like a photographic negative or
cinema film stock or even like an x-ray (remember Man Ray’s “rayographs”). The interrelationship between Duchamp’s work and the observer references the capture of the
image and the “beyond…”: the observer is invited to establish “capture points” through
successive positions which, as François Albera points out (2009b, 62), update possible
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points of view. In a way, Duchamp was proposing a chronographic device. But not just
that.
On Le grand verre José Gil writes:
The photographic plate not only gives the reverse of the form, the colour and the mass,
but also the reverse of the movement (in three dimensions); and that reverse is the
photographic instant that produces it – it is the static mould, absolutely at rest, of a
movement that generates a space that is non-measurable, non-objective (three
dimensions), not referenceable by the dimensions of high, low, left, right, front, back – in
other words it generates a four-dimensional space. (2011, 33)
These analogies between the glass and the photographic or cinematographic film gain in
depth when During argues that the surface of Le grand verre can be seen as an evanescent
film. Close to virtuality, according to During, it is in the arts and literature that we find the
“clothing” or the “consistency” of virtuality. It is in these areas that we should operate to
offer objectivity to virtuality (During 2010, 121), so that the virtual is not reduced to a
decorative mode and can be understood as a regime of reality. (During 2010, 122)
The reality is thus the depot, the residue (rather than the projection) of four-dimensional
forms that a superior mind could unfold in an additional dimension. And virtuality is
precisely the evanescent film, the 'inframince' [our italic], that separates us from that other
dimension. (During 2010, 127)
Is Le grand verre the announcement of proto-cinema in which we, the users, are the
aggregating element? At any rate, transparency emerges in this context as a pivotal
element.
Irrespective of this work, which Duchamp began in 1915, transparency was already the air
du temps at the turn of the 20th century: photographic film, cinematographic celluloid, the
x-ray, the use of glass in architecture. The early decades of the century were driving force
for the passage from the functional aspect of transparency to the conceptual values. And
with the latter, the attention to the fourth dimension began to impose itself.
Cinema is a vehicle for the valuation of transparency as a concept: it asserts itself in the
“collage” (montage), by reflecting its moment in history – a universe in superimposition
and depth updated in diverse contrasting, discordant and concurrent points of view that
are made in fluidity, referencing duration. The Deleuzian movement-images and timeimages.
Which brings us back to Duchamp, when he, as During points out (2010, 126), sought to
capture a truly “plastic” duration. This duration leads to a time in space or a time-space
that is not limited to the chronographic illusion associated with multiple perspectives. Nu
descendant un escalier is on the cusp of that new feeling – a “plastic” duration.
During argues that in order to give form to new propositions related to desire – the
intuition and the sensible associated with virtuality – and to speed, the fourth dimension
becomes a fundamental factor, indicating the dimension of an intermediation that is yet to
be invented, to be composed. (2010, 126) That is the task left to this century, to us.
Glass houses and screens
Let us imagine, for a few moments, the small plates of dark, x-rayed glass that
transparently revealed the internal circuits of life – like a mirror image in profundity – that
occupied (and preoccupied) doctors and patients in the large medical centres of the early
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20th century. Circulation of flows in space and in time suspended in the obscured and
glassy transparency.
Beatriz Colomina uses these images, or these transparencies, to explain a specific theory
on what we call the glass houses. From the crude, rudimentary x-ray of the early 20th
century we went to the mass screening of the North American population by the middle of
the century. As Colomina argues, the intimate space of the body came to belong to the
public domain. (2006: 146) Exposed. And, in this sense, the “invasion of the domestic
space”, exposed concurrently in time, was carried out through the proliferation of the
glass house.
The glass house acted as a symbol not only of the new form of surveillance and health but
also of terror.
The development of the x-ray and that of the modern house coincide. Just as the x-ray
exposes the inside of the body to the public eye, the modern house exposes its interior.
(Colomina 2006, 146)
The ample, immodest modern window spans, like amoral cinema screens, recall cinema
theatres and cinema itself.
We know that the cinematographic and architectural experiments of the early 20th century
were mutually important for the development of both fields (Vidler 2000, 119) – as they
were important for the establishment of modernity as argued by Deleuze. But is it possible
that cinematographic developments – such as the emergence of Cinemascope in 1953,
which opened the screen, in its rectangular proportions, to the spectator in a previously
inconceivable way – were reflected in the way the span or window in architecture was
gradually abstracted in relation to our body? Or is precisely the opposite the case? At any
rate, that would take us beyond Colomina’s theory.
The timeline would appear to be an interesting point: while it is true that the first glass
houses, which were still rather crude in the way they offered their insides to the exterior,
are conceptually linked to the early years of the 20th century14, and not to the its mid, one
can see a relationship between the capacity for conceptual abstraction achieved in Philip
Johnson’s Glass House of 1949 and Mies van der Rohe’s Farnsworth House of 1951 and,
for example, Pierre Chareau’s Maison de Verre of 1931.
This conceptual abstraction takes the idea of something that shows the naked body
further; or, going further still, through the transparent skin and the flesh in dissolution
(space and time), it shows the bones and organs. However, it is true that the crude images
obtained through the magnificent original skin15 of Chareau’s house seem to be close to
the obscure x-ray images obtained in the early decades of the 20th century16. Which
14
From Bruno Taut’s experiments, to Le Corbusier designs for the Glass Skyscraper, 1925 and Walter
Gropius’s Bauhaus, 1925-26, and to George Keck’s Crystal House for the Chicago World’s Fair,
1933-34, and many other examples.
15
Originally, the glass bricks used in the façades of the Maison de Verre were denser and thicker. This
denseness was ‘affected’ by the artisanal content of the bricks, leading them to refract the light “less
clearly”, meaning that the translucency was more diffuse. In the renovation work carried out in the
1960s most of these original bricks were replaced.
16
Jean Dalsace, who, with Annie Dalsace, was one half of the couple who owned the Maison de Verre,
was a gynaecologist. Edith Farnsworth was also a doctor, nephrologist.
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means that the Johnson and Mies examples come closer to the open screen of the cinema.
It is the screen that opens up, it is the screen that exposes and leaves naked.
Large glass surfaces can also be seen as a means of abstraction, of acceleration, leading to
the dissolution and the consequent rarefaction of the material – a path towards the
virtualities of the material at the same time as the actuality is offered to the eye. We are,
basically, elaborating on the abstraction of the material and the strange paradox of time –
inherent in the passage from the 20th century to the 21st century – which leaks while it
condenses. We are even in a condition to elaborate on the possibility of this abstraction
being a manifestation, intentional or otherwise, of the new screen or the new abstract
spans being Duchampian surfaces, like a Grand verre in action.
From this assumption on, we are beyond the x-ray image of Colomina – even if Edith
Farnsworth compared her unloved Miesian house of glass to the invasion of intimacy
through the x-ray – body in transparency. (Barry 2006, 153)
Naked. Bone and organ. Despite her chosen profession, medicine, Edith Farnsworth was
not prepared, not so much for the naked body of the house – that revealed her own body –
but for the transparency of the skin and the visibility of the “bone” and the organ, even if
such visibility is not a dissection.
The intimacy of the modern American house of the post-war period absorbed the question
of the window as screen, i.e. the dilution of the window to the abstract span – “showcase
of domesticity” as Colomina puts (2006, 168). Just like the new cinema screen format, the
wide screen, which “embraced” the public in its two-dimensional vertigo, placed the
viewer in another world “perspective”.
However, the supposed “horror” of the glass houses can be offset by the way in which the
skeleton holds its skin, in other words, the strategic choice in the relationship between an
open house and the place. And there, that which (en)closes is the place. The place as
boundary. But boundary in thickness: the place becomes the flesh of the Glass House and
the Farnsworth House.
The boundary planes, are no longer windows but double-faced screens. These screens
break down into multiple perspectives – from inside out, with Johnson (as resident) or
Farnsworth (or later, Peter Palumbo), from the interior to the exterior or vice-versa, or
also from the exterior to the exterior as interiority, or vice-versa… Photograms mounted
in successive, alternating, fluid planes – movement in time. We are in the post-war
cinema. The square dismantled to form the wide screen in the cinema and in architecture.
But are we not, conceptually, further than that? Are we not entering the surface of the
Grand verre – a three-dimensional projection, marked in two dimensions by the doublefaced glass, of an action invisible in four dimensions?
Evanescent – four dimensional – surfaces which the higher spirit, as During argues, can
unfold; and between the “interior” and the “exterior” the inframince surfaces where
virtuality resides – the evanescent film.
Sou Fujimoto states:
I have a feeling that if we depart from our conventional view of windows and see them as
devices for producing spatial relationships, we will find it possible to create a sense of
thickness between the interior and exterior, or sense of distance, or unexpected sense of
adjacency. Looking back at recent projects of mine, it strikes me that I am working from
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the perspective that contemporary architecture is itself a kind of spatialized window.
(Tsukamoto, Fujimoto 2009, 8)
Eisenstein and the glass house
Glass House is also an unrealized project by Sergei Eisenstein.
In March 1926, Eisenstein developed a project for a film that was to be called Glass house
(Albera 2009a, 7)17. The project was inspired by a visit to Berlin; glass and its use in the
architectural context, as well as the association of glass architecture with a set of social
utopias, emerged as a discovery for the cineaste.
In Eisenstein’s project the glass house was defined as a skyscraper totally made of glass,
the quest for total transparency. This “house of glass” was to be the site of a series of
paradoxical, satirical situations, to be used to dismantle the logic of the capitalist world,
from the viewpoint of the Soviet film-maker.
Transparency emerges as a “path” for the film-maker to explore narratives and
dramaturgical ideas, at the same time as elaborating on questions pertaining to the formal
potential of the cinematographic scenario: “[…] all the information on the organization of
space in cinema, largely homothetic to that of the habitat (as Griffith’s short films of
brilliantly systematized it: frame/door, inside/outside, up/down) […]” (Albera 2009a, 78), always in transparency, where “real man” can get lost.
However, the Glass House project was too ambitious for early 20th century Soviet cinema
(where experimentation had reached its highest point with Dziga Vertov and Man with a
movie camera in 1929).
Glass house became a film of impossibilities, a project destined to be virtual. A film that
succumbed to the virtualities of the material, the same material that was meant to sustain
it.18
In François Albera’s view, the Glass house project was a fantastic laboratory of
experimentation and reflection. Experimentation and reflection on representation in the
cinema – but also in other art forms such as painting, sculpture and architecture –
proceeding from the notion of transparency. (2009b, 82)
While Glass house remains a strange and obscure project today, it contains within itself
the potential for pure theoretical speculation. We are dealing with a “practical” concrete
project for a film that becomes a cinema project – in the sense of its possibilities – to end
up being a utopia.
But Eisenstein’s search interests us. We are interested in the search for transparency
without limits, where the bodies are suspended in a floating universe, where the cinema or
the cinematographic form is, as Albera argues, beyond representation, searching for the
non-figurative – “suprematism”. “[…] Eisenstein wrote precisely: ‘suprematist
composition’”. (2009b, 89)
In Eisenstein’s project, the screen was to be a suprematist surface; but suprematist in the
sense of abstraction of transparency itself.
17
Curiously enough, the project name appears occasionally as Glashaus, but never in Russian. (Albera
2009, 7)
18
Paradoxically, there were efforts to realize the project in Hollywood. At Paramount a team of
scriptwriters was even set up to work with Eisenstein. But although it had the support of figures such
as Charlie Chaplin, Eisenstein’s project also did not go ahead in the US.
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For glass, thanks to its intrinsic transparency, can be understood in its physical aspect as a
solid surface and a surface of passage, screen and lens – the screen as a place of projection
and the lens as an aid to the eye. “So there is ambiguity between the glass as an
intermediary, which serves to produce the motif on the canvas, and the ultimate glass
surface as the canvas itself.” (Albera 2009b, 91) We are, once again in Duchampian
territory: ambiguity between “real” – or “actual”, to use the Deleuze terms – transparency,
and “virtual” transparency.
By exposing the “fragilities” of glass architecture and the virtualities of transparency, like
a time crystal (Gaston Bachelard/ Gilles Delleuze) – just like Duchamp’s “transparent
painting” –, Eisenstein detonated the cinematographic representation system. Not in the
sense of producing a multiplicity of screens, but more in the sense of seepage beyond the
screen.
The timelessness of this project asserts itself in the diaphaneity, the volume dreamt by
Eisenstein. Let us speculate: screen; and then on the canvas, transparent screen, behind a
transparent screen – bodies in suspension, acting in the space, bodies on bodies, in the
space; could time come out of its joints by means of such a spectacle? Definition of
boundaries, voyeurism: problems that are inherent in our contemporaneity announced in a
past and carried into the future.
[…] in his notes on Das Kapital, Eisenstein wrote on April 8, 1928 that in order to
reformulate on another basis the concept of kadr’ (Bildausschnitt, frame) it was necessary
to conduct an experiment that includes the Glass House as a prerequisite. The abolition of
the boundaries of the frame of the image, which are more or less analogous to those of a
building (windows, doors, walls, habitation cells: this analogy leads, in the films of the
early 20th century, that leaving the frame is the equivalent of leaving a room), the
simultaneity of actions being at different levels thanks to the transparent floors, the
elimination of distinctions between interior and exterior, up and down, near and far, the
adoption of absolutely new views, induce a disruption of the plan, of the image, causing it
to explode, the ‘dissolution of form’, as he wrote in his essay on Piranesi. (Albera 2009b,
88-9)
The Duchampian Glass House. The nature of the material can give rise to a “lapse into a
dream” and into its virtualities.
Framing and abstraction
Our argument is centred on the possibility of us understanding two parallel courses and
finding, on these courses, a single path leading to two-fold action: the opening of the
cinematographic screen and the abstraction of the architectural span.
However, the parallelism of the two courses cannot be considered “perfect”. In other
words, there are deviations along the courses and points of contacts are established
through these deviations – divergences and convergences in parallelism.
These “parallel” paths relating to cinema and architecture are made up of layers of
possibilities. But conceptually, we can find in the depth of their structures a common
nucleus – at the bottom of the walls of the chasm a common nucleus emanates
possibilities that cross, and warp, possible paths of communication between the vertical
abyssal surfaces.
The small rectangular screen of the early cinema opens up space, within its own
boundaries, to a new conceptual universe. A universe that also reflects on the position of
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the spectator in relation to the screen, who is also framed by it, forming a new world of
“exchanges”.
The screen as a window to new worlds and the spectator who observes these new worlds
through the screen.
However, as the last century progressed, both the screen and the window were stretched to
a limit: the first limit is abstraction – abstraction of the window and abstraction of the
cinema screen, open and reclined; the second limit is the consummation of the abstraction.
And where are we now?
Conceptually speaking, cinema, regardless of its support format (film or digital), by
means of the movement-images and the time-images, should be open to what is beyond
itself. The spectator should be led, not without effort, to virtually integrate the Whole that
is going on “around him”. In other words, a film made in coalescence or a time crystal; is
David Lynch’s Mulholland drive not heading towards that universe?
Mulholland drive is an enormous crystal. It is the indiscernibility of the actual and the
virtual. But it is also the indiscernibility of the path itself. It dismantles boundaries and
reconstructs them at the same time.
Mulholland drive is within the crystal and is itself the crystal – like a Grand verre. It is an
example of what contemporary cinema can be: in the way that it absorbs – film as thing –
the screen, placing us, conceptually, inside it. Interactivity.
Interactivity as a virtual world, without succumbing to the false question of a technology
that still brings so little: poor 3D in the cinema theatres – the direct heir of the
experiments in the mid 20th century – which today is disseminated on a level of “total
entertainment” or even the “theme park”, to use the expressions of Patrice Maniglier.
(2010, 58)
The screen of a new cinema can be that which Patricia Pisters refers to as the neuro-image
(2012: 3), but this type of image should be associated with the difficulty of the artistic
context: “This struggle, according to Deleuze, is fundamental to cinema’s very survival as
a ‘will to art’”. (Pisters 2012, 3)
“Will to art”. Cineastes and architects as the new creators of art-fiction. A field - artfiction – where screens and windows are a contraction of the Deleuzian time crystal and
the Duchampian evanescent surface. Screens and windows can be inside our body; they
can also contain our body.
In architecture the body has lost, though not yet completely, the parapet of the window
span as an ally. But there is space for the window – more abstract, more diluted – to gain,
conceptually, depth in its relationship with the interior and the exterior. An illusory or real
inframince relationship.
Sou Fujimoto states:
I personally have offered the perspective that such development will be forthcoming from
‘place.’ This is an aspect related to what you call ‘performance,’ I think, but it means not
just the window itself but rather the totality of the architectural place around it. The reason
I use the word ‘place’ instead of ‘space’ is in order to imply people’s actions of living.
When we consider this kind of place-like window, shall we say, or window-like place,
what we call a window expands into something much richer, I think. (Tsukamoto &
Fujimoto 2009, 9)
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In opening the matter, architecture opens the space and, in turn, can reveal time:
movement-images? Time-images?
We do not know whether or not in the future the “flesh” of architecture will be denser or
more diluted. Just as we do not know where the cinema screen will end up. But the time
crystal is cracked and time is out of joint.
UID/AUR/04026/2013.
Conclusion:
Duchamp never finished his Grand verre. Is that relevant?
For his Glass house project, Eisenstein imagined a specific scene: in his glass box, part of
the monumental crystalline edifice, a man tries to commit suicide by hanging. Around
him is a crowd. Despite the transparency and the exposure of his action, he is alone.
Edith Farnsworth sold her glass house to Lord Peter Palumbo in 1972. She spent the rest
of the life in Bagno a Ripoli outside Florence, surrounded by memories, history and
matter.
Lord Peter Palumbo refurnished the Farnsworth House with original Mies van der Rohe
furniture, “exposing” it clearly to transparency.
Philip Johnson died in bed in his Glass House, with no crowd, in transparency; but he was
not alone.
The film director Abel Ferrara said in an interview that David Lynch probably won’t be
making any more cinema films. His last film, Inland empire, was shot in digital video.
Lynch has now entered virtuality. He is in cinema forever; he has gone into the screen.
“Deleuze has famously argued with regard to the ongoing development of cinema that
‘the brain is the screen’” (Pisters 2012, 3).19
References:
Albera, François. Introduction à Glass House. In S. M. Eisenstein, Glass House: Du
project de film au film comme project (pp.7-15). Bruxelles: Les Presses du Réel, 2009a.
Albera, François. Destruction de la forme et transparence. In S. M.Eisenstein, Glass
House: Du project de film au film comme project (pp.81-98). Bruxelles: Les Presses du
Réel, 2009b.
Colomina, Beatriz. Domesticity at war. Barcelona: Actar, 2006.
Deleuze, Gilles. Cinéma 2: L’image-temps. Paris: Les Éditions de Minuit, 1985.
Deleuze, Gilles. Cinema 1: The movement-image (H. Tomlinson, B. Habberjam, Trans.).
London: Continuum, 2005.
19
“The brain is unity. The brain is the screen. I don’t believe that linguistics and psychoanalysis offer
a great deal to the cinema. On the contrary, the biology of the brain – molecular biology – does.
Thought is molecular. Molecular speeds make up the slow beings that we are. As Michaux said,
‘Man is a slow being, who is only made possible thanks to fantastic speeds.’ The circuits and
linkages of the brain don’t pre-exist the stimuli, corpuscles, and particles [grains] that trace them.
Cinema isn´t theatre; rather, it makes bodies out of grains.” (Deleuze 2000, 366)
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During, Elie. Faux raccords: La coexistence des images. Nice: Actes Sud/Villa Arson,
2010.
Gil, José. Duchamp antes de Duchamp. In J. Gil & A. Godinho, O humor e a lógica dos
objectos de Duchamp (pp.9-57). Lisboa: Relógio D’Água, 2011.
Maniglier, Patrice. La perspective du diable: Figurations de l’espace et philosophie de la
Renaissance à Rosemary’s Baby. Nice: Actes Sud/Villa Arson, 2010.
Marcadé, Bernard. (2007). Marcel Duchamp: La vie à crédit. Paris: Flammarion.
Pisters, Patricia. The neuro-image: A Deleuzian film-philosophy of digital screen culture.
Palo Alto: Stanford University Press, 2012.
Tsukamoto, Yoshiharu and Fujimoto, Sou. Dialogue: Window, interior, exterior: On the
question of what should decide window character. The Japan Architect, 74, 8-12, 2009.
Vidler, Anthony. Warped space: Art, architecture, and anxiety in modern culture.
Cambridge: MIT Press, 2000.
17. INTERVENTION IN THE POMBALINE LIVING SPACE THROUGH
SUSTAINABLE ATTITUDE
Daniela Graça, (Interior Design, MFA)
IADE-U Instituto de Arte, Design e Empresa - Universitário, Portugal
Abstract:
During the last decades, Lisbon’s downtown population has decreased considerably. Its
current residents are mostly older people, whose economic and social situations are brittle.
Although they are the ones who allow traditions and cultural values to persevere, it is
necessary to avoid the process of museification and to encourage the newer generations to
inhabit this area. These new residents are characterised by a new life style, where working
and leisure are beginning to merge. This makes it necessary to adapt the old living space
to a new living and social reality. These buildings are a result of the XVIII century urban
and architectural plan where every floor consisted of several small rooms with small
dimensions, no longer necessary for today’s needs. The pombaline cage, originally built
to be simply a structural system, can now serve new purposes. By inserting key elements
from the pombaline period in the contemporary living space, the present becomes a
stratum from multiple generations. Since Lisbon was rebuilt on large wooden stakes
during this century, all the buildings’ structural systems had to be made of lightweight
wood. Therefore, when selecting new materials for these buildings, it is important to
consider the structure’s weight limitation without neglecting environmental impact.
Furthermore, the current habitants’ lifestyle must not be disregarded when planning for
the needs of the new residents. Through a social and economic sustainable attitude, a new
business model is generated. This solves both housing needs and contributes to the
enhancement of local employment.
Key Words: Interior design; Historic centre; Sustainability; Pombaline cage;
Contemporary lifestyle
Introduction:
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The house itself is an anonymous and silent space¸ where its identity is formed when it
is inhabited. It is the residents "who see “character” in its empty rooms and transform an
existing house into their home” (Lane, 2006). The definition of housing has changed over
the years, since new solutions emerged from the residents’ new needs (Daab, 2006). The
diversity of solutions that can be found in some rooms of the house made them
polyvalent, which enables them to adjust to several needs. With a constantly changing
lifestyle, work has been becoming more important on the citizens’s lives (Roberts, 2006)
and having to deal with choices on work and family, individuals begin to merge them
(Rapoport and Rapoport, 1965). With a society constantly changing as well as the space
that inhabits, it is intended to create the appropriation of a leisure space that is able to
respond to various uses.
Contextualization:
The current situation of Lisbon’s downtown is characterised by loss of residents,
residents aging, and predominance of tenants occupants (Machado, 2001). This
demographic dynamic “reflects an internal organization on the distribution of the resident
population” (Esteves, Hortas and Caldeira, 1997). In 2001 approximately 3269 people
were living in Baixa Chiado - way under the average comparatively to the rest of the city.
These numbers reveal that the historic center of Lisbon has public, economic and
mercantile potential, but not residential (Mateus et al., 2005). To avoid the tendency of
desertification it is necessary to perform quality urbanism in order to “improve their
urbanity - that is, their ability to be supportive of social relationships and exchanges
without saturating or congesting their functional or social use” (Guerra, 1999). However,
there has been an increased interest on the revaluation of historic centers. The new
habitants begin to constitute a “standard-profile”: young people up to 35 years old, with
high academic degrees and yields, and belonging to small families (Pereira, 2011). Given
the discrepancy between old and new inhabitants, it is beneficial to design with different
purposes. Older citizens, whose economic and social situations are unstable and
precarious, can be included in the production stage of the product. This might improve the
housing and social situations, which can counter the demographic and social trends in
Baixa Pombalina.
Lisbon’s reconstruction on the XVIII century still has repercussions on the imaginary of
today’s inhabitants, where affective and emotional values are “depositors of the history of
the community” (Salgueiro, 2004). For intervention projects in spaces with these values
and characteristics, the dichotomy between physical and immaterial heritage is relevant. It
is relevant to physically adapt the space to new users and their new lifestyles. However, it
is important to preserve the physical and immaterial values of the building. Thus, some
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construction techniques from the pombaline era can be selected and adapted in order to
improve the contemporary living space.
The intervention in buildings and their adaptation to the society’s new uses and demands
can help to improve the values from the past, avoiding their museification. Intervening in
buildings can even trigger the touristic potential (Moura, Pinto and Guerra, 2008). As they
are areas with strong historic roots they hold a great potential for tourism as they refer to
past eras with a great historical value. The history which seeks to preserve the past and
indicate the future is related to memory. The collective memory transmits a feeling of
belongingness and sharing to the individuals allowing them to integrate into the society
and it can also be a crucial element to the history (Goff, 1990). To preserve a space it is
necessary to keep present some elements that recall past events in order to avoid the
oblivion (Pereira, 2011).
With the urbanistic rules applied after the 1755 earthquake, the type of construction used
became a representative element of the pombaline period. The pombaline architecture is
characterised by buildings of up to three floors, the structural wood system (known as the
“pombaline cage”) in which masonry walls bind, and usage of wooden partitions to inner
partition that does not cause weight overload (Cabrita, Aguiar and Appleton, 1992).
The pombaline cage can be characterised as “a wooden structure that because of
its elasticity adapts to the movement of the soil shaken by an earthquake resisting upright
and detachment of the masonry that can (or not) fall, without the entire building to
collapse” (França, 1989).
Since Lisbon’s downtown was rebuilt on large wooden stakes, it was necessary
to find a lightweight yet resistant constructive solution. The use of the wood on the
pombaline cage made it thin, lightweight, elastic, easy to assemble, and offered a good
resistance to the soil movements (Segurado, n.d.). Just like what happened with the
pombaline cage, the weight limit was a restriction to this project. As such, the wood and
cardboard allowed a lightweight and functional construction. Through common and
economically viable materials, a new possible solution to adapt the pombaline living
space to new living realities emerges.
Even though the inner partitions of pombaline buildings no longer fit the new
user’s needs, they are an inherent characteristic and must be taken into consideration. It is
therefore suggested a communication between rooms using the pombaline cage as a
connecting element. If the walls can be perceived as space and communication barriers,
the pombaline cage for its characteristics can break this notion of enclosure. Through the
revelation of the cage structure, the spaces which were limited and confined, now become
interrelated. By including in the contemporary living space a key element from another
era which is able to solve some problems of the new inhabitants, the present time becomes
a stratum from several generations.
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Sustainability (environmental, social and economic):
As the concept of “sustainability” is normally used to refer to the capacity of a
generation to solve their needs without compromising the future generations (Lewis et al.,
2001), it is necessary to act upon different areas. For this purpose, low impact and
economically viable materials were chosen, which allowed the involvement of local
citizens in the production process.
To assure the environmental sustainability, the selection of materials can be
crucial. To make a project more efficient it is preferable to choose a small number of
materials in large quantities, over a large number of materials in small quantities (Lewis et
al., 2001). For this project only two materials were selected – cardboard and wood. If at
the pombaline era the use of wood was due to the need of an economic and functional
construction, there are currently more implications. Today, there is greater concern to
balance the environmental impact with functional requirements. However, the goal is still
the same: it is necessary meet the user’s needs. Thus it can be said that the techniques and
resources used reflect the society’s requirements and concerns.
In this project it was decided not to use wooden species used in the pombaline
architecture, since nowadays their expression in Portugal is reduced. The cluster pine was
the species selected as it is abundant in Portugal and whose properties make it possible to
adapt to environments where humidity levels are always high. From the different types of
cardboard, the honeycomb cardboard was chosen because it has high resistance to
crushing and has high flexural strength (Barboutis and Vassiliou, 2004). The physical
characteristics of honeycomb cardboard made it possible to design modules aiming to
interact with the user. Since the weight is a limit on the pombaline constructions, the
cardboard can be characterised by a suitable ratio between its weight and resistance to
external forces. This material can also be characterised for an abundant availability and
low cost, which make it economically accessible to a larger group of users.
The term social sustainability refers to a condition of improvement of life on the
communities but also the process that is necessary so that the communities can achieve
that condition (McKenzie, 2004). Since citiziens’ qualifications are the basis of the
development of society, it was incited to hand labour to local carpentries. Given the
economic recession in Portugal, small carpentries tend to close. Since these workers' age
and educational levels can make it difficult to find new jobs their social and economic
situations become unstable. In order to improve and boost the economic and social local
situation, the wooden structure was designed so it could be produced in local carpentries.
Local labour is therefore dignified and it is made possible to reintegrate the workers in the
society.
Economic sustainability can be defined as the implementation of already existing
strategies in order to achieve a long-term balance. It is necessary to manage the resources
and costs efficiently and improve the economic models, especially through the creation of
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an economic and labour structure located and distributed locally (Vezzoli et al., 2004).
The economic and social sustainability are correlated, and as for the creation of a local
initiative it is beneficial to assign positions to local citizens since they have the knowledge
of techniques and/or situations.
The wooden structure was designed to make the production process easier and
therefore can be produced by a larger group of local workers. Since this project aims to be
produced locally and by a larger group of workers, it is necessary for it to adapt to the
tools available. To this end, some components of the wooden structure were designed
accordingly to the available tools and technology. This decision was considered in order
to ensure that carpentries and workshops do not need to buy certain tools to produce the
structure. As to the cardboard module, it can be cut by cutter or blade. Both options allow
drilling the patterns regardless of its depths. Using local and industrial production
simultaneously, this project intends to demonstrate that it is possible that both
complement and benefit each other. With the local production, the project acquires a
handmade and authentic character since it is produced with local citizens. The module,
because of cardboard’s physical characteristics, has to be produced at factories with more
specific tools. This way, two very different types of production represent the combination
of techniques from the past with technologies from the present. In a time where there is a
tendency to globalise products in order to adapt to a larger group of users, is necessary to
value and give priority to the local systems. By creating a system that uses low impact
materials and local labour, the project intends to respect the diversity and cultural values,
while it is economically viable and environmentally sustainable.
Analysis:
The research for conceptual referents focused on four different areas whose
characteristics influenced the final result: origami, pombaline tiles, special repercussions
and pombaline carpentry. With the analysis of referents it is possible to combine several
and different projective attitudes, particularly adapting traditional values to a new context.
As cardboard is one of the main materials of the project, several projects
influenced by the origami technique were analysed. Characterised by a construction
through plans, this referent joins shape and movement. This characteristic influenced the
project to adapt an attitude of interaction with the user. Thus, the project adapts and
adjusts to the user’s requirements instead of being the user to adapt to the project. Given
the user’s needs and requirements, these characteristics resulted in a project that allows
the user to control the visibility and perception of space.
Tiles are used with identical purposes regardless of the field of application: it is
intended to cover areas. In order to enrich the tradition with new approaches, a way to
transform the pattern’s two-dimensionality into the module’s three-dimensionality was
looking into. Since the goal of the project is to create a multigenerational living space, an
element that refers to the pombaline era was created. This project opted for a language
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that combines the contemporary users’ trends and needs with the characteristics of tiles.
Thus, even though the tile art is not directly used, it is possible to enhance its values.
Since leisure and working space are beginning to merge, it is necessary to consider
the new ways of work. A relevant concept for the analysis of special repercussions is the
“citizen office”, which is based on the creation of products that do not interfere with the
space’s structure but are able to change its environment. This way “the workers decide
autonomously which rhythm and which form is right for their respective activity at which
location” (Vinnitskaya, 2011). Since information is available anywhere and anytime, it is
no longer possible to clearly distinguish the working and non-working hours. This has
repercussions on worker’s lives, since work is no longer limited to a specific location and
time. As such communication can be done from any location including home (Vitra, n.d.).
While the citizen office allows visual and sound privacy through fixed structures arranged
accordingly on the space, this project was designed in a more flexible way. This project
was conceived to be able to adapt to the user and surrounding space. So the user has the
capacity to define areas with different levels of visibility and privacy, without changing
the building’s structure.
To enhance the values of the pombaline living space, some techniques of
pombaline carpentry were selected. This conceptual referent made it possible to reduce
the production’s difficulty level of the wooden structure. Since it is not a product that
required detailed and fine work, it is possible to employ a large number of workers. Due
to technological advancements, carpentry techniques and shops are no longer required.
Using old techniques, it is intended that these may be transmitted to future generations
and so remain. Although these techniques had been used in the XVIII century, they are
still valid and able to solve current problems. This attitude intends to combine values from
the past and present in order to solve future problems. To make the assembly of the
structure and modules easier, it was necessary to analyse wood paneled doors. These
types of doors are characterised by different divisions which related to the structure
because it had to be designed with individual partitions for the modules. Since doors mean
the partition of different spaces, this project sought for a new interpretation.
Application:
As a case study, a building with a typically pombaline typology was chosen – two
habitations per floor with stairs in the middle – still preserves its original structure.
Because the intervention was still in an initial phase, it was possible to observe that the
front walls had no materials covering it. Although the walls are solid elements, when
withdrawing the masonry that was covering the wooden cage it enabled new ways of
perceiving the space. Since none of the structural elements were removed, the exiguous
partition remains - however some rooms are now interconnecting. By leaving the
pombaline cage bare, this project assumed a non-invasive attitude towards pombaline
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architecture. Instead of removing the front walls to achieve bigger rooms, the wooden
skeleton was considered as a mean to achieve a closer connection between spaces.
The pattern used for the module resulted from a process where the goal was the
adaptation and application of pombaline tiles patterns in cardboard. For the creation of the
pattern several pombaline tiles were selected whose patterns could be beneficial for this
project. During the designing stage we tried to combine interactive features with the
physical limits of the cardboard while the tile patterns remained. The shape of the module
was designed considering the material limits but also the technology available, whether it
is cutter or blade. This option made it possible to expand the group of factories or
workshops able to participate in the production of the module.
During the analysis of doors and windows it is concluded that regardless of the
material in question, there are structural and non-structural elements. The systems
analysed show structural elements required for a proper function and support, whilst other
elements were used to border the space and define the shape. As the systems presented,
the wooden structure of this project consists of structural and non-structural elements. The
sidelines and top and bottom rails play a structural role, as they give the structure a bigger
cohesion and stability. All the other elements, such as the horizontal and vertical muntins,
are meant to support and organise the modules.
To simplify the production process of the structure and for it to be possible to be
produced by a larger group of local workers, the mortise and tenon joint was selected.
Adding to its technical simplicity, this joint offers good physical resistance to the forces to
which the structure may be subjected. Two options of production were created for each of
the elements of the structure - using cutting disc or cnc milling machine. To minimise the
difficulty of creating a mortise with precise corners, the possibility of drilling holes in
these corners was provided. This way the production process is simplified while it exalts
little of the structure.
Since the pombaline cage’s dimensions can change, it was necessary to find a
fastening system capable to adapt to this feature. From the existent solutions analysed, the
rope proved to be an element capable of adapting to the structural and projective needs.
As it happened during the designing stage of the structure, the fastening system was
considered for an easy assembly and intuitive interaction. It was mandatory throughout
the project to use only wood and cardboard, using only metal screws to secure the
fastening system to the masonry wall. This decision was considered because it was
intended to enhance common and economically viable materials. By using only wood, this
project encourages the use and adaptation of pombaline carpentry techniques to new
contexts.
Conclusion:
Lisbon has already been recognised as an important European centre in the past
and for it to still be a historic centre of reference, today’s problems weaken its position
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and the suburbs are in constant development which contribute to a weaker capital city. In
a scenario where the causes are also effects, problems in the buildings can be observed.
Because they result from the urbanistic plan established after the 1755 earthquake, they
are no longer adapted to contemporary society. However that fact does not invalidate that
they cannot be adapted. This project tried to enhance the capacities and values of
pombaline buildings with the aim to adapt it to new lifestyles. By highlighting the features
and possibilities of old buildings, the project is expected to attract new residents and mark
a new stage of development. The introduction of local labour in the production process
contributes economically and socially to the city. This factor allows the improvement of
the worker’s social situations as well as the local economic situation. On a side more
related to historic values, this project tried to give a bigger appreciation of carpentry
techniques and its adaptation to new projects. Thus there could be new ways to adapt
these techniques avoiding its oblivion.
References:
Barboutis, I., Vassiliou, V. Strength Properties of Lightweight Paper Honeycomb Panels
For The Furniture. Thessaloniki: Faculty of Forestry and Natural Environment, n.d.
Cabrita, A.R., Aguiar, J.; Appleton, J. Manual de Apoio à Reabilitação de Edifícios do
Bairro Alto. Lisbon: Câmara Municipal de Lisboa, 1993
Daab, R. House Design. Cologne: Daab, 2006
Esteves, A., Hortas, M. J., Caldeira, M. J. Transformações Recentes na Rede Urbana
Portuguesa. Oporto: Edições Colibri, 1997
França, J.A. A Reconstrução de Lisboa e a Arquitectura Pombalina. Lisboa: Instituto de
Cultura e Língua Portuguesa, 1989
Goff, J. L. História e Memória. Campinas: SP Editora, 1990
Guerra, I. A Baixa Pombalina – Diagnóstico, Prospectiva e Estratégia de Actores. Oeiras:
Celta Editora, 1999
Lane, B. M. Housing and Dwelling – Perspectives on Modern Domestic Architecture.
Abingson: Routledge, 2006
Lewis, H. et al. Design + Environment: A Global Guide to Designing Greener Goods.
Sheffield: Greenleaf Publishing, 2001
Machado, P. A Emergência do “Velho” na Cidade – Reconfigurações Sociais e
Transformações Demográficas nas Cidades Portuguesas. Oporto: Congresso Português de
Sociologia, 2001
Mateus, J. M. et al. Baixa Pombalina: Bases Para Uma Intervenção de Salvaguarda.
Lisbon: Câmara Municipal de Lisboa, 2005
McKenzie, S. Social Sustainability: Towards Some Definitions. Magill: Hawke Research
Institute, 2004
Moura, D., Pinto, T. C., Guerra, I. Dinâmicas de Mudança na Baixa Pombalina Lisboeta:
Actores, Conflitos e Concensos. Lisbon: Celta Editora, 2008
Pereira, M. Aumento da Atractividade e Reforço da Centralidade da Baixa Pombalina e
Bairros Históricos. Lisboa: Faculdade de Arquitectura da Universidade Técnica de
Lisbon, 2011
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Rapoport, R., R. Rapoport. Work and Family in Contemporary Society. United States of
America: American Sociological Association, 1965
Roberts, K. Leisure in Contemporary Society. United Kingdom: Biddles, 2006
Salgueiro, T. B. Da Baixa aos Centros Comerciais: A Recomposição do Centro de Lisboa.
Lisbon: Monumentos – Revista Semestral de Edifícios e Monumentos, 2004
Segurado, J. E. Trabalhos de Carpintaria Civil. Lisbon: Bertrand, n.d.
Vezzoli, C. et al. Product-Service System Design for Sustainability. London: Greenleaf
Publisher, 2014
Vinnitskaya, I. The Citizen Office Concept by Vitra. Available from:
http://www.archdaily.com/182117/the-citizen-office-concept-by-vitra/,
Accessed
29
November 2014
Vitra. Citizen Office. Available from: http://www.vitra.com/en-us/office/indexconcepts/citizenoffice, Accessed 29 November 2014
18. PROMETHEUS IN THE COMPANY OF TEACHERS, STUDENTS AND
OWL
Eva Spackova, PhD.
VŠB - Technical University of Ostrava, Czech Republic
Abstract:
The paper deals with the connection between sculptures and architecture in the second
half of the 20th century. The research focuses on artistic works in public space of the VŠB
– Technical University campus in Ostrava. In the socialist era, during which the campus
was established in Ostrava – Poruba, the funds for artwork were allocated directly in
capital budgets for each structure. Presently, the purchase and installation of fine artefacts
is left to random decision. An example illustrating hereby the connection between the
sculpture and architecture is the history of a relief by the sculptor Vladislav Gajda from
the years 1968-1974 located above the VŠB-TUO main building entrance.
Key Words:The 20th century architecture, sculpture in public space, university campus,
art collection.
Introduction:
Since the life of VŠB campus, the construction of which began fifty years ago (in 1964),
the sculptures located within create a collection whose value is not just artistic and
historical, but also financial. The research objective is to put together a gradual
assessment of the current condition of art, knowledge of the history as well as
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documenting the genesis of artefacts by use of archival material. The purpose is to show
the necessity to protect and maintain the existing works of art and the opportunity to
conceptually complement the modern art collection established by VŠB - Technical
University of Ostrava.
Main Text:
SOCIALIST CITY – NEW OSTRAVA
Approximately ten kilometres northwest of Ostrava, where the original farming village
Poruba was located, preparation for the construction of a housing development for miners
began after the end of World War II. Beginning in 1952 the plans to build the New
Ostrava in this location were being realized. The new socialist city was supposed to
replace the historic centre of Ostrava, which was to be destroyed and sacrificed for coal
mining. The Communist Party failed to fully implement the intention (Strakoš, 2010) and
so the great plans for the New Ostrava were completed only partially resulting in the
historic city centre still being located in its place.20
The Communist plans for New Ostrava instead turned into this area becoming one of the
Ostrava City districts – today’s Poruba. The central part is located along the Hlavní
(formerly Lenin) třída (Main Avenue), built in the style of Socialist Realism. Other urban
Poruba complexes built after 1955 bear the signs of modernist architecture, even though
the districts maintain the predominant axis of the urban composition along Hlavní třída.
The plan, drawn up by Stavoprojekt Ostrava in the 1960’s, shows the assumed
construction of the University Hospital and VŠB – Technical University (Fig. 1).
FOUNDATION OF THE CAMPUS AT VŠB - TECHNICAL UNIVERSITY
The management of VŠB - Technical University in the 1960’s intensively tried to solve
the unsatisfactory situation of the growing campus located in different areas of Ostrava.
This situation has continued since the university’s move from Příbram to Ostrava in 1945.
The idea of placing the new university campus in New Ostrava was already considered in
the early 1950’s. Having decided on the location of the new campus in Poruba, the
construction process was divided into three construction phases. The first construction
phase ceremonially began on 22 April 1964 and the construction commenced with two
buildings of new student dormitories and a cafeteria for two thousand students. The
university had at that time a total of approximately 4,000 students.
The initial project for the construction of the university section was approved in 1966.
The project originated in Ostrava Stavoprojekt in Studio 6, which was led by the architect
20
The centre of Ostrava is again under threat – a new "shopping mall" located in
a former coking plant Karolina drained vitality from the historic city centre,
which again must prove its historic resistance.
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Zdeněk Strnadel. The team responsible for design of the university buildings consisted of
architects Zdeněk Kupka, Vladimír Svoboda, Zdeněk Šťastný and Milena Vitoulová.
Project costs for the construction of the university itself were 279 million
Czechoslovakian crowns. The teaching section involved the department buildings, lecture
halls and small laboratories, large indoor workshops as well as the Rectorate building,
which was supposed to create a central landmark of the university district. This phase of
the construction was completed in 1973 and most of the departments of the then three
faculties (Faculty of Mining, Faculty of Metallurgy and Faculty of Mechanical
Engineering) were moved to Poruba. The construction also gradually continued in the
1970’s and 1980’s, when another three buildings of student dormitories, a vehicle fleet
building, a new cafeteria, a geological pavilion and Central Library were built. The
campus of the Technical University until now is continuously complemented by new
buildings, whose spatial location fills vacancies on the premises in only a utilitarian way
without emphasis on the context and quality of public space, with architecture that does
not exceed the local average (Fig. 2).
The architectural design of the campus from the turn of the 1960’s and 1970’s is reflected
in publications presenting the architecture of socialist Czechoslovakia (Vebr, 1980), but
thanks to its extent and importance the VŠB - Technical University campus is also
recorded in the current literature devoted to the history of architecture of the 2 nd half of
the 20th century. Martin Strakoš classifies the campus as one of the examples of "late
international style" (Strakoš, 2009) and Ševčík with Beneš (2009) compare the Poruba
campus in its extent similar to that of the Slovak Agricultural University in Nitra by
Vladimír Dedeček and Rudolf Miňovsky. However, the Slovak University campus was
designed and built almost a decade earlier, in the period of 1959-1965.
ARCHITECTURE AND FINE ARTS ON THE CAMPUS OF VŠB - TECHNICAL
UNIVERSITY
The works of art in architecture after 1948 were intended to ideologically impact the
working class and the environmental aesthetics (hence the term "art decor", which
became part of the socialist vocabulary and is used in contemporary texts). Production of
artwork was precisely laid out by artistic master plans and coordinated by the public
agencies regulating artwork contracts (Šťastná, 2008). Dílo, the Czech Fund for Fine Arts,
provided organization and coordination of the procurement of artwork contracts. Given
that Dílo distributed a great number of artwork contracts, it also held a relatively large
number of art competitions, in which the artefact was selected by an expert committee
(jury) from more proposals. A common method included competitions by invitation,
where specific artists were approached and following the submission of competition
proposals the "sketch allowances" were divided amongst all of them, to help refund the
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non-winners for basic costs.21 "The conceptual plan" was both part of the competition
contracts and copyright messages, and the correspondence was commonly ended with a
friendly greeting "Art for Peace". During the more liberal era in the late 1960’s,
ideological, propaganda aspects of art were somewhat weakened and a greater emphasis
was placed on formal consistency between the architecture and work of art. During the
normalization era pressure on the proper ideological tone of works of art in public space
again increased (Karous, 2013).
At the time of seeking an architectural solution to the VŠB-Technical University campus,
the artwork was almost an obligatory part of the architecture of public buildings. The
construction budgets included the funds for "art decor" representing 1-4% of investment
costs (Title V of the Building Act). 22 Architects factored in artwork integrated into
buildings and participated in the decision-making process together with expert committees
that evaluated the proposals resulting from art competitions.
Marie Šťastná notes in the publication entitled Sculpture in the City (2008) "fitting all the
VŠB-TUO premises in Poruba with sculptures is a textbook example of the planning of art
production and central decision-making process regarding its form."23 There are still
several works of art from that period (1968-1982) in the VŠB-TUO premises (in both the
teaching section and the campus) illustrating the era in which they originated and were
installed to complement the architecture. Archive materials and literature illustrate the
method of assignment and creation of works of art and the level of care that was paid to
both, the need for harmony of the artwork with architecture and the need to maintain
proper ideological tone. The most significant of the collection is a relief of the sculptor
Vladislav Gajda located on the facade of the Rectorate.
BIRTH OF PROMETHEUS
As of June 1 1968 Dílo, the Czech Fund of Fine Arts, announced "an art competition to
provide work of art for the first construction of VŠB-Technical University in Ostrava Poruba." The competition task was to "acquire an artistically valuable relief design, or
another work of art, which would be located in a designated place of a new building
21
“Sketch allowances” commonly ranged by several thousand crowns.
If the estimated costs of construction of the University premises accounted for
279 million Czech crowns, then 1% of this amount set for the fine arts
complementing the architecture represented 2.79 million Czech crowns, if we
only count one per cent.
22
23
The statement relates to construction of the VŠB -Technical University
campus in 1960‘s – 1970‘s. Presently, we can no longer talk about the planning
process of the acquisition of the works of art for the area.
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façade at departments of VŠB-Technical University in Ostrava - Poruba. The theme of
this artwork is not determined in advance, however, it must comply with the social
importance of the given task and mission of the University."
The following registered artists were invited to the competition with a letter of
recommendation: Jiří Babíček, Vladislav Gajda, Čestmír Kafka, Eduard Ovčáček, Zdeněk
Palcr and Rudolf Svoboda. In addition to the invited artists, other artists were allowed to
participate in the competition. However, it was with no right for compensation for the
proposal submission.24 The deadline to submit a proposal was determined to be December
16, 1968 and the proposal needed to be presented with a model, with a montage
photograph of the model in the building facade plan and an accompanying report with a
limited budget of 700,000 Czech crowns. The jury was appointed as follows, by the
Union of Czechoslovak fine artists: Jiří Bradáček, Vladimír Janoušek, Milan Obrátil,
Karel Nepraš, Jiří Myszak, Petr Holý, Jaromír Zemina; by the Association of
Czechoslovakian Architects: Radim Dejmal and Evžen Tošenovský; by investor Josef
Widner; by Main Designer Zdeněk Strnadel. The alternates were Rudolf Chorý and
Valerian Karoušek. Academic sculptors (6x), architects (4x), visual theorists (2x) and an
academic artist (1) were represented in the jury. The proposed implementation deadline
for the winning proposal was January 31 1970. On the reverse side of the envelope, in
which competitive conditions were delivered to V. Gajda the sketch proposal appears,
which he later submitted in the competition (Fig. 3).
The expert jury was in session on January 8, 1969. Six members of the jury were absent
from the evaluation and another juror was added, architect Radim Ulmann. All the invited
authors submitted the proposal except Jiří Babíček. Some artists issued more than one
proposal. After evaluating the proposals, the jury decided to announce the second phase of
the competition for invited authors (Kafka, Palcr, Gajda), in whose proposals "it evaluates
efforts for an autonomous expression of artwork and a certain respect for the given
architecture" (Fig. 4). The second-phase of the competition deadline was set for 4 April
1969.
Vladislav Gajda entered the competition with two proposals. One proposal was
represented by "a relief sculpture", which was supposed to become the artistic dominant
of the entire building. The author presented a proposal as "relief wings growing out of the
vertical druse of a central section, which extends from ground level - interconnects with
the Earth." The second proposal was a free-standing sculpture placed isolated, outside the
building. The genesis of the proposals is documented by a number of sketches that have
been preserved in the archive of the artist. On one of the sketches includes the author’s
note "Prometheus" as one of potential inspiration (Fig. 5).
24
The so-called "sketch allowances" for submission of the proposal amounted to
CZK 7,000.
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The jury was again in session to evaluate the second phase of the competition on April 17,
1969. Three jurors were absent, one of who was also the main designer, Zdeněk Strnadel
and an investor proxy. V. Gajda and Z. Palcr submitted their proposals for the second
phase of the competition. The report from the jury’s meeting indicated that jurors voted to
come to the conclusion that V. Gajda should be entrusted with implementation, because
his proposal "addressed a more consistent connection with the architecture." However,
before the end of the meeting, the jury found that one of the proposals by Z. Palcr was
overlooked and after having re-examined the proposal decided by a 6:1 vote that
recommended the implementation of the "significantly better" Palcr’s proposal.
The next report from the jury’s meeting is dated September 23, 1970. According to
available documents, the date for this meeting was changed several times for the jury’s
inability to make a quorum. An extraordinary meeting of the jury was announced because
the main designer and the representative of the investor failed to participate in the
previous meeting, which decided to award the first prize. The architects Bláha (on behalf
of the investor) and Strnadel (the designer) expressed their disagreement with the
conclusion of the jury. Other jurors insisted on their original decision. In the report the
jury emphasizes the "far-objective steps in further stages of negotiations, as it is of
primary cultural significance." Satisfaction of the dispute should be achieved by further
negotiations between the investor and the Czechoslovakian Dílo, the enterprise of the
Czech Fund for Fine Arts.
The documentation does not make it clear how the further decision-making process of the
author of the artwork progressed. Another in a series of documents available from the
archive of Vladislav Gajda is the contract for work from December 1, 1970 where the
subject is a relief above the entrance to the premises of VŠB-Technical University
departments for which he was commissioned. Another contract from April 27, 1971 adds
to the relief an artistic design of the lobby wall. From the artist's sketches that have been
preserved it is evident that the author considered the penetration of exterior relief to the
interior of the building, and even considered a connection of both parts of the artwork
through its indication in the floor (Fig. 6). In an undated author’s note, Gajda describes
this penetration of the sculpture above the entrance into the interior of the lobby.
According to available records (March 15, 1972), the author himself had expanded the
scope of the task with the interior stone relief, while respecting the original financial sum.
The author describes the theme of the artwork as follows: "The sculpture reflects the
expansion of technology, science, civilization - its wings penetrate the mass of the cube,
by which creates a common dominant of the entire glass block. The general idea of the
entrance sculpture is expanded and specified in the relief of an interior wall based on the
structural components of the composition of metals and minerals, and is transformed into
an art form that matches the content and function of the building. The overall effects
involve reflections of plastic elements in a polished pavement, reinforced with artistically
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selected lighting, both indoors and outdoors." In this paper, concrete casting is listed as
the material of the exterior, and the interior wall with the relief should be constructed
from structurally processed slate (corresponding to columns facing the building).
In the following period (spring 1971) there was a partial change in the shape and material
of the exterior relief, which was ultimately designed from copper sheeting. Interior relief
was supposed to be created from Hořice sandstone. The works from summer 1971 were
accompanied by issues associated with the extent and coordination of the construction
work and implementation of art works. The author complained about the lack of funds
and in the report from April 18, 1972 emphasized that the costs of copper relief were
increased from 356 thousand Czechoslovak crowns (CSK) 25 to 623 thousand CSK26 by
the Arts and Crafts and because of this the author is forced to deliver the stone relief
worth 150 thousand CSK free of charge (emotionally underlined). Even in the socialist
economic system it was the author of a work of art who served as a guarantor of its
implementation and compliance with the expected price, including e.g. construction
works associated with the installation of the artwork into the building. The extent of the
design (including statics) and construction works were among the reasons for the increase
in planned costs.
Another issue was coordination of the construction work and building readiness for
installation of artwork. The building was not supposed to be ready until the second half of
1972, when the artwork was to be installed. The relief sandstone wall in the interior was
approved by a building inspection with no comments on September 19, 1972. Then on
March 6, 1973 the exterior part of the relief was approved (Fig. 7). The report from the
meetings of the Commission for Cooperation of artists with architects indicated that the
user (VŠB-Technical University) raised comments "regarding the degree and approach
of ideological commitment of the artwork", which needed to be clarified by the author in a
personal meeting with representatives of the University, leading to "a removal of doubts
on the ideological problematic nature."
The biggest issues came when putting finishing touches on the interior part of the copper
relief. The author lacked the funds, the proposal continued to be modified and the supplier
was changed; the Brno based Arts and Crafts was in the implementation stage replaced
with a more inexpensive group, the Ostrava based Dyhor. By the end of 1973 the artwork
still had not been completed, and the author was facing a penalty for failure to meet the
25
The relief was constructed at the headquarters of Arts and Crafts in Brno. A
1:10 copper model is now located in the artist's studio in Třebovice.
26
The relief was constructed at the headquarters of Arts and Crafts in Brno. A
1:10 copper model is now located in the artist's studio in Třebovice.
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deadline and assumed price.27 Arbitration proceedings lasted from August to November
1973. The deadline delivery of all parts was set for January 31, 1974. The art commission
approved the work of art on this date with reservations.28
PRESENT – PROMETHEUS IN THE COMPANY OF TEACHERS, STUDENTS AND
OWL
Forty years after its approval the artwork is still in place. The exterior part of the relief is
in its original form. The glass facade of the building was replaced with a new facing,
which lacks the fine vertical-horizontal structuring of the original facade (the original
state in Fig. 7 and the current state in Fig. 8) resulting in the architecture of the facade
having had lost its fine plasticity. The space around the relief (under the bracket
protruding from the façade volume) was used to install ATMs and has also served as a
covered exterior smoking area. To assist smokers a number of large trash bins used as
ashtrays spaced at regular intervals were installed. Likely in order to ensure the safety of
people walking around the area a number of concrete troughs decorated with neglected
plants were installed by the edge of the elevated platform in front of the façade.
The area outside the main entrance to the building was paved in 2002 and was completed
by the sculpture by Olbram Zoubek that VŠB-Technical University received as a gift. A
group of seven figures is in the book Socha ve městě [Sculpture in the City] [5] presented
under the name People. In the records of the Technical University (University Department
of Administration and Operations), the sculptural group is entitled Teachers and Students.
Across from the entrance to the building, in the middle of this area, there is a small
drinking fountain with a granite body in the shape of an owl, which is currently nonfunctional (no water).
There is still a sandstone relief by V. Gajda located in the wall facing the entrance to the
main building lobby, which M. Šťastná lists under the name Coal and Iron. The author of
the relief describes it as a geological section of the Upper Silesian Basin, which captures
the evolution of the earth's crust. Gajda’s sketches include a great number of study
drawings, in which the artist verified the appearance of plants, whose bodies formed black
coal. At present, the bust of Georgius Agricola has been placed in front of the relief (dated
27
The penalty amount was calculated based on the cost of the whole artwork,
and in case of failure to meet the deadline would reach 11,130 CSK. In the event
of exceeding the contract price of the artwork the penalty would be 130,000
CSK. The penalty would be charged under the contract with the author.
28
The penalty amount was calculated based on the cost of the whole artwork,
and in case of failure to meet the deadline would reach 11,130 CSK. In the event
of exceeding the contract price of the artwork the penalty would be 130,000
CSK. The penalty would be charged under the contract with the author.
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1999, author not stated), accompanied by a symmetrical composition of four plants in
pots, two of which are made of plastic and two are live (Fig. 9). The whole arrangement is
accompanied with a glass-door display case, where there is one tall vase in the centre and
another smaller in the corner, with no description. This artefact probably corresponds to
the list of artwork kept by VŠB, as "Bory glass vase" item, dated 1986. Gajda’s relief,
subtly conveying the history of coal, is in other sections surrounded by advertising
banners (Fig. 10). This example of preservation of works of art and its presentation does
not indicate any sophistication and awareness of the value of environment that we care
for.
Conclusion:
For those who may have a better understanding of numerical values, it can be said that
works of art have financial value which, provided that the art collection is well-preserved
and the attention is paid to its reproduction, can increase over time. The fine art collection
owned by VŠB-TUO up to now certainly has a value that could be cultivated in the future.
If we realize in time that the things we walk past every day are in fact art. Michal Třeštík
in the book entitled Umění sbírat umění [Art of Art Collection] (2013) characterizes the
role of artwork we buy in three aspects - decor, representation and pleasure. A necessary
condition of the collection is that it is under control. This is represented not only by the
ownership of collected objects but also by an intellectual control, represented by
intentional replenishment of art objects and their preservation. Building a collection is a
conscious activity, following some concept and intent. Unfortunately, the contemporary
state of acquisition of art objects in the possession of VŠB-TUO does not follow this
approach. The artwork that the University has collected since 1989 is marked as gifts. As
for donated items, the recipient of the gift does not usually get to decide on the quality of
new works of art, and so those works, which VŠB-Technical University received after the
Velvet Revolution are of a very diverse quality. Any such work can be located somewhere
in the campus, with no regard whether it is a work of the famous artist or an amateur
project. At the same time universities around the world often invest in a valuable art
collection to demonstrate for example, a particular aspect of their activities and also to
enhance their prestige.
The conclusions can be summarized in several points, the fulfilment of which can help
restore the place of art in the life of the University:
 Works of art in the VŠB-Technical University campus need consistent record
keeping; they should be traced, marked and summarized.
 Information on the individual works of art, illustrating their creation and
proposal, including the characteristics of the author and historical context, can
be traced.
 Existing works of art can be financially assessed (and price quantified).
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 Each work of art in the possession of the VŠB-TUO should be assessed in terms
of its technical condition, and suitable repair and maintenance should be
designed as needed.
 The fine art on the Technical University campus needs future vision; the
architectural concept of a desirable form of both the VŠB-TUO campus and the
spaces between them should be established. This concept then can be
complemented with works of art that would not only be perceived as décor, but
as a systematically built collection, whose theme can be linked to the focus of a
modern technical university.
 When assigning the projects in both the architectural and art field the University
can use a method of open proposal competition. The competition can be used to
obtain alternative proposals, from which the expert jury may choose the best
solution.
 An interesting aspect is the art viewed as a marketing strategy of the University
– a principal wings motif on the relief above the entrance was used by its
author, the sculptor Gajda, in his design of commemorative VŠB medals (Fig.
11a and 11b). It is unfortunate that these elements are not utilized and
developed for visual representation of the university.
We surely do not want to go back to times when there was a central planning of the
production of art, and whereby works of art in public space were assigned a role of an
ideological and propagandized nature. The story of one piece of the sculpture mosaic
complementing the architecture of the university campus has attempted to prove the value
of fine art from any period, provided that the author was looking for interpretation of an
idea that can address the perceptive observer in a more universal way, rather than a purely
descriptive ideology. Whether we see Prometheus repeatedly suffering for the fact he
gave mankind fire, or the wings opening for him to take off. If a work of art gives open
possibilities for interpretation, we can look at them every day anew.
Even a technically oriented university can accommodate in its environment quality
artwork that stimulates imagination and creativity. Art education is not a subject in the
curriculum of most branches taught at VŠB-Technical University, however it is the
architecture of environment and artwork that can help rationally based academic workers
and students escape subjectivity. It is sometimes just enough to look closely.
References:
Material from private archives of the sculptor Vladislav Gajda was used for compilation
of the paper. The paper documentation as well as sketches and models are archived in his
studio in Ostrava - Třebovice. I would like to thank you to the son of the sculptor, Jakub
Gajda for facilitating my studies of the materials and their reproductions.
Strakoš, Martin, 2010. Nová ostrava a její satelity. Kapitoly z dějin architektury 30.-50.
let 20. století. Ostrava: Národní památkový ústav, 2010.
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Vebr, Jaroslav, 1980. Soudobá architektura ČSSR. Praha: Panorama, 1980, p. 72-73.
Strakoš, Martin, 2009. Průvodce architekturou Ostravy. Ostrava: Národní památkový
ústav, 2009, p. 244-245.
Ševčík, Oldřich and Beneš, Ondřej, 2009. Architektura 60. let. Praha: Grada, 2009, p. 76
and 349.
Šťastná, Marie, 2008. Socha ve městě. Ostrava: Universum, 2008.
Karous, Pavel et al., 2013. Vetřelci a volavky. Praha: Arbor vitae, 2013.
Třeštík, Michael, 2013. Umění sbírat umění. Praha: Gasset, 2013.
19. Trindade Station an iconic building
Diana A. Chumbo de Almeida MA,
Jorge M. F. de Albuquerque Amaral Phd
Universidade Lusíada do Porto, Faculdade de Arquitetura e Artes, Portugal
Abstract:
Deployment of the city, how does it work? By the station of Trindade, an iconic building,
in the Oporto City.
This article aims to explain the importance of the Void in the architecture, and the
relationship between the territory, the building and the Man. We present our analysis and
conclusions, to answer our question.
We started from existing data, with the concepts, of filled and emptiness, we made several
researches, and acquired new data and elements, that were crossed (compared), to support
our theory.
Throughout the research, we found that the station is considered an iconic building. Has
filled gaps in the urban design, “Empty space”. Once a place without function, and
forgotten in the territory, a current problem of the cities.
The city "lives" in constantly changing, and through the concepts, of Solidness and Void,
we aim to prove that, they contribute to restructure the city.
We started the research, with a two-dimensional and three-dimensional analysis, we made
photographic records (in the place). At the same time, we reference our research, on the
works of Chillida and in the theory of "Terrains Vague" (Solà-Morales). When we were
crossing the results, we found that the building filled the Void in the Oporto city, and gave
it a new use (function and design). So we deduce that, the city and the building “live" as a
whole. Deduction, that goes to the meeting of Koolhaas theory, “Generic City" which we
add, the metamorphosis process, called by us, has deployment.
Key Words: Trindade Station, City, Solid, Void, Deployment
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Introduction:
“Space is nothing, yet we have a kind of vague Faith in it”.
(cited by Ahmed e Jameson, 2011, by Robert Smith)
The Trindade station acquires the solidness form on the surface and in the underground
gives primacy to emptiness (Void). It is through our theorizing that we aim to prove our
hypothesis that the station and the underground make city. We give priority to the
basement, through the subtraction process. Our research, aims to encourage new theories
and issues, influencing, the theoretical, the technical professionals, the institutions and the
society, for the value of emptiness by the process of the deployment. Once that the
fullness and the mass of the territory, was a necessity in our view, the reverse process is a
response to the current problem of the cities.
Building empty in the underground, is the answer to our question, and by the Trindade
station, we intend to validate our research.
Construction Works in the Metropolitan Station of Trindade
Photography 01., By Almeida, Diana, Oporto 2001/02.
We started the analysis, building a map mind to understand the city and the concept of the
Void.
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Void
Rebuild the city
Unbuild process
Deployment
Building the
Void - new
territory
Undergroun
Reapropriation
of the
Forgotten
Space - New
spaces
I conic building of the Oporto City - Trindade
Station ( By Subway)
Picture 01 and 02, By Almeida, Diana, 2015
Through the two images below, we can
understand that the Void started with the appropriation of the empty space with no use, or
function. Instead of being a forgotten place (theory of Solà-Morales) we intend to
generate the generic city, the theory of Koolhaas, and implement the Void in the
underground, through the territory and make a new analyze. With the Trindade Station, an
iconic building, for us in Oporto city, we intend to prove that the city lives with the
deployment of it. Through this theory, the Void is for us, a new strategy for architecture.
Iconic building is organized in several layers, in the surface and in the underground, and
extends throughout the territory "silently" without "hurting" the surrounding city and the
historical center. It develops quietly in the leftover space, reappropriates tracing lines, (of
the rail) and readjusts them, for the current human and mechanical needs. The station
unfolds his form at different levels, extends their axes and "tentacles" which circulates at
several levels to the underground. Sends the citizens to his interior and recreates
environments and movements (upward and downward), configuring the Void (inside and
outside the station).
Through the stratification of spaces (public, private and half-private / half-public), the
limits are redefined in the building and in the territory. These limits are characterized by
the materialization of the building. New spaces and forms of the station, are recreated
such as the city we know in the surface. And in the underground (with the concept of the
deploment), a new city is born with the metropolitan, this is the theory, that we show with
the station research.
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Why the Trindade station?
With this research, we started to compare the evolution of Oporto city, by comparing
several plans of Oporto evolution. The first strategy was analyzing the surface, the
massification of the territory, with the actual reorganization. The location of Trindade
Station Train, in the center of the city, was a strategic place, for it’s the evolution,
including the population growth, specially because, the territory was essecially a
commercial center, at the time. So the Station with the train, was an infrastructure that
connects the several centers of the country and leaves in Oporto connections and
functions, that contributes to it’s growth. But along the time, this place was forgotten and
left in the urban design, like an unknown place, only the history was present, and the
future of the forgotten place, was ment to reborn.
Along the mental process, of the territorial and cartographic analysis, we understand the
transformation of the city over time. We found that the city, along the times has been
being reconfigured. Several centralities emerged and others moved along Oporto territory,
because of the several activities (economics, social, culture religious and others) that
defines the city. We are talking about, the Avenida of Aliados, about the Ribeira, the
Boavista (and others), which are connected. At the same time, they have their own
identity (economic, social, commercial, cultural, political and religious, among others)
that identifies them, through the several life experiences, uses and functions that define
the Oporto city.
"... The true architecture, built idea, remains forever." (Baeza, 2011. 31).
Translated by ALMEIDA, Diana.
This same theory / thought, was transported by us to the station. How Come?
The building does not "survive" by itself, isolated from the metropolis, it needs the
various urban infrastructures, that complements himself. We talk of the surrounding
space, and the subway.
The strategic location of the Trindade station in the downtown, allows the recreation and
reorganization of the urban design. The center was shredded in the 90’s years. With the
implementation of the "iconic Solidness" in the city, the Trindade station recreates a "new
center" in the metropolitan map. The new center diverges and converges several
directions, with the subway, that intersects and unfold across the city borders (limits). The
station is an element that bakes the urban tissue (road, rail and pedestrian), by shaping its
profile in the existing city (at the various levels). They can be detected on the hedge
(cover of the station) and by the zero level (ground), where we can identify the square of
the Trindade Station and on the negative level (by the subway pier). The various subway
lines concentrate themselves at the station (main) and define the empty space, that unfolds
across the several platforms, that delivers the citizen to the surface or to the underground.
We designate the full and emptiness, the matter and the non-matter, that "shapes" the
spatial design, and the volume scale. It reconfigures itself, the environments and spaces,
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along the various levels, with different identities. It is a process that leads us to the theory
of Comino (2006), by the process of digging and subtraction.
Through the hierarchy, of the various station areas, the design of the volume it is
expressed by his use and function, that is decoded by society. The apprehension of the
place, through the optical and semi-optical as a mental process, we can’t deprive, in
architecture and in the city. We have to mention, the impact of the building today, and in
the daily life of the citizens. The ratio of time / space in the city of Oporto was redesigned,
the issue of traffic and mobility was filled by metropolitan network, and several stations
designs, which covers the current Human needs. On the other hand, the materialization of
various levels at the station, refers to a process of subtraction where solidness and the
non-solidness assumes a huge impact in the city, by the volume, that “lives” underground,
designed by the architect Eduardo Souto de Moura.
Through the visual relationships, and sensorial apprehension of the places, we intend to
reinforce the game of light and shadow. While solid can be touched, the void can’t, but
through architecture all of this is manageable. So the Void, in our view takes precedence
over solidness, in space design. The issue of mass and hollow, while logical process of
materialization or dematerialization in the volume, it’s not just an answer. We talk of
immateriality, through the dialogue, between light and shadow, between transparency and
opaque. Also we talk about the variation between, the materialization in the building
(glass and concrete), which can be controlled by us, as architects, in the process of
dematerialization the solidness (as volume).
Section - Metropolitan Station of Trindade
Picture 03. Section of Trindade Station by Architect Eduardo Souto de Moura. Picture
adaptated by Almeida, Diana.


o
Horizontal an diagonal circulation, for citizens.
Solidness (walls and underground).
Void (interior space of the station, surface and underground space).
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With the Trindade station, we prove that the movement (the fourth dimension) is a
sensory and empirical process. For so, if we want to understand the space, we must scroll
through it, feel it, and decode it. Then we expose the feelings that we learned (in the
present city at the surface), and unfold them to the station. The concept of limits that gives
form to the building, expresses the "inside" of it, and at the same time, it extends for the
remaining area outdoors. So we can see that the station dialogs with the city, not only in
the inside but also outside. Where the man can move between the limits, such as, in
Oporto.
The solidness of the station embraces the environment through the square near the road,
and invites the citizens to the inside. Through the cover (solid) that extends, from the
highest level, the city can decode the door of the station, for the underground. The cover
garden recreates a natural environment, and the stairs, in the public space, it’s an icon to
access the square. This dialogue recreates a boundary between the pedestrian public space
and the semi-public space station.
Empirically, the design goes on decoding. Already inside (the relationship between public
and private space) is delimited by different plans (glass, that reflects the Void, through it’s
transparency or solid by the massiveness of the building). When we move to the
basement, through the elevators, or the stairs, the circulation area, like in the city, are the
tools to went to the underground, to the pier and achieve the subway.
Squares are reproduced in the volume, the squares get users that cross through it, and the
space (void) is filled by people and movement. We can see the dialogue between the
various platforms, similar to the city, at the upper level. The Trindade station designed by
Eduardo Souto de Moura, it is for us, a building that multiplies the urban territory, and
gives it identity (deduction made by us throughout the study and the analysis).
Metropolitan Station of Trindade
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Photography 02., By Almeida, Diana, Oporto 2015.
Conclusion:
Once a forgotten place, with no function in the territory, this volume (solid) appears in the
empty space, as a forgotten spot, that only had borders, a space without scale, relationship
and absent of livings in Oporto.
The station has rejuvenating the place. The empty now filled, recovers the urban layouts,
reorganized its surroundings by the reconfiguration of spaces. Several functions
characterize the building, while equipment that absorbs various activities (cultural,
services, commercial), giving them, new places, limits and livings in its spot
(implantation).
We consider the station an iconic building, because of the impact it gave to the city, by
the deployment process, the non-built land now has form, function and configuration,
because of the station, that develops through the different layers, in the underground, like
the current city at the surface. The volume of the station was deployed through the
excavation of the underground and its unfolding. And this conclusion can be the answer
for the fullness of the territory, where the building can be made underground also.
References:
Ahmed, Miraj, and Jameson, Martin. The Void. Architectural Association School of
Architecture. AA Inter 13: Inter 13, 2011.
Available in: <https://www.aaschool.ac.uk/downloads/briefs2011/int13_Brief2011-12.pdf
LAO Tzu and TAO Te Ching
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Available in: <http://projectivecities.aaschool.ac.uk/portfolio/yuqi-huang-the-centre-asvoid/>
Comino, M. Arquitecturas Excavadas – El proyecto frente a la construcción de espacio.
Fundación Caja de Arquitectos. Barcelona. ISBN: 84-934688-2-7. 2006
Koolhaas, Rem. “La ciudad genérica.” Barcelona: Editorial Gustavo Gili. ISBN:
9788425220524. 2006.
Koolhaas, Rem and MAU, B. . S, M, L, XL. Italy: Jennifer Sigler. ISBN: 1885254865.
1998.
Solà-Morales, I.. Territorios. Editorial Gustavo Gili, SA. Barcelona. ISBN: 8425218640.
2002.
Pictures:
Picture 03 - Available in: Metro do Porto.
20. Renewable Energy Solutions for Tourism
Arif KARABUĞA, MSc. Stud.
Energy Systems Engineering, Faculty of Technology,
Süleyman Demirel University, Isparta/TURKEY
Melik Ziya YAKUT, PhD.
Research and Application Centre for Renewable Energy Resources,
Gamze YAKUT, PhD. Stud.
Mechanical Engineering, Faculty of Engineering
Reşat SELBAŞ, Assoc. Prof. Dr.
Energy Systems Engineering, Faculty of Technology,
İbrahim ÜÇGÜL, Assoc. Prof. Dr.
Research and Application Centre for Renewable Energy Resources,
Abstract
This study aimed to investigate the importance of renewable energy sources
usage in tourism which has a significant market power in world economy. Tourism has a
big contribution to regional development and also some cons on environmental issues. To
reduce the negative aspects on environment and increase the financial savings of tourism
industry, renewable energy has a vital priority. Renewable energy will align the hotel
areas with concept of green tourism. Financial savings through this energy also has been
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provided in that study. This paper also suggests an analysis for suitable sources of
renewable energy usage in hotels with a sample practice.
Key Words: Renewable Energy Sources, Tourism, Environment
Introduction
Because of limitless needs of human, increasing production and consumption
actions environment problems has arisen. Perceiving environmental resources as limitless
and technology developed during industrial revolution has increased the environmental
pollution. World has become aware of these problems by reason of global disasters.
These inevitable accidents and disasters have changed the balance of nature for
the worse. It is a reality that today sensibility to the environmental issues has increased
more and more. People are conscious of these problems are affecting not only a particular
area or region but also the whole world. One of the sectors that should have this
sensibility is tourism. Tourism and environment is tied up with each other. For
environmental issues tourism is treating the problems not just economically but in an
environmentally-conscious manner.
Environmental Impacts of Tourism
Environment is physical, biological, social, economic and cultural surroundings
in which human and other living beings maintain their lives in mutual interaction. In other
words, environment is a part of mankind.
Beginning of the industrial revolution started in England; flue gases, war
chemicals and other waste caused serious problems. Human’s passionate and uncontrolled
desire for production has made the world less viable place under threats like production
and consumption waste materials. Tourism managers should realize that they cannot
maintain their business without having sensibility to environmental issues. Because in
each marketplace being environmentally-conscious creates competitive advantage for
managers.
Tourism’s contribution to regional development that it can be
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
Growing health services,

Educational investments

Selling insurance

Advertising domestic products

Infrastructure development

Increasing level of employment

Balancing income and expenditure
and more subjects are influenced from its. For this reason tourism industry has to take a
good position for more effective.
Tourism managements should take green tourism into consideration to sustain
touristic growth. Tourism has a %10.3 market share of global income and %8.2 of total
employment. So for an economy of that scale, the environment is quite important. For this
reason, tourism should make investments for sustainability. We can list the goals of
sustainable tourism as follows;

Increase the awareness for tourism’s contribution to economy and
environment

Support the equality in development (government support for regions)

Sustain the quality of life of the host country

Provide a service of good quality for visitors

Raise and sustain the quality of environment
Tourism’s Effects on Energy Consumption
World Tourism Organization (UNWTO) predicts the number of international
tourists as 1.6 billion in 2020. Especially European countries are a major tourism
destination, with 5 countries in the top ten most visited destinations in the world
according to the UNWTO. It offers about 35% of total hotel capacity in the world and
tourism is an activity that provides income, employment and economic growth as well as
development aid in disadvantaged areas.
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According to the researches %90 of energy consumption occurs during going
and coming to destinations (%43 airway, %42 land transport, %15 sea and railways). The
airway transportation is the fastest growing cause of carbon dioxide emission. Tourism
sector has a %5 of worldwide carbon dioxide emission. In this regard, the EU has tagged
renewable energy as a strategic alternative to help achieve proposed energy goals. These
challenges can be summarized in two main ideas:

Reduction of energy dependence of Europe (currently at about 54%).

Evolution towards a more sustainable, cleaner energy, thus reducing
emissions of greenhouse gases (GHG).
Directive 2009/28/EC establishes a common framework for the promotion of
energy from renewable sources. Directive 2012/27/EU further states that member states
will submit national action plans for energy efficiency. The Action Plan for Energy in the
EU identifies the tertiary sector, which would include the tourism sector, as having the
potential to achieve 30% savings in energy consumption by 2020.
Tourism managements consume the sources for customers extensively. Heating
and cooling the rooms, chemical cleaning supplies, watering the golf courses, filling the
swimming pools, heating the pools and energy used for cooking. According to United
Nations’ report, single tourist produces 1 kg solid waste per a day.
Renewable Energies for the Tourism Sector
Renewable energy resources are the most suitable energy forms for clean
environment concept that don’t pollute during the production and renew it. They use for
producing energy from the hotel wastes including organic substances and they are
reducing the expenses of energy needs. The renewable energy resources are references of
modern life.
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To use renewable energy in a tourism company, we have to take into account
where the facility is located, in order to know what resources are available. We can use
these resources as noted below for the hotels:

Solar Energy

Biomass Energy

Heat Pump

Wind Power

Geothermal Energy
If the facility is a rural hotel, there is probably biomass that can be used and
possibly enough wind to harness wind energy. If the hotel is in a city, the possibility of
harnessing solar energy can be analyzed. There are other issues related to the energy
production that is available, such as the size of the hotel or the number of services that are
offered. These issues will determine the energy consumption of the facility.
Solar thermal energy has the potential to produce hot-cold water and hot-cold
air. According to the UNWTO, savings of up to 80% in hot water can be achieved, which
absorbs the initial investment in a period of between two and ten years. Generating
electricity from sunlight using photovoltaic cells and wind tribune. Geothermal energy
heat pump is a type of technology that uses the earth as an energy source during cold
weather and a heat sink in the summer.
Renewable energy resources applications used in tourism companies;

At a hotel (50-bed capacity) in İzmir city at Turkey, %30 of thermal energy
need for a year is provided with solar heating and absorption cooling
systems.

IBIS hotels group, provide an energy saving of 178 days for hot-water
usage through solar energy systems.

With recycling centers, Novotel and IBIS hotels make a profit of 46.000
Euro.

A hotel in Turkey produce 177867 KWh electric power using 2000 m2 PV
system in attic of the building.
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
Port Royal Sun Gate Hotel in Antalya (3500-bed capacity) saves electricity
expense with an amount of 55.034 $ through an application of heat pump
from water to water.
As the operation of a hotel requires an enormous amount of energy, investment
in more efficient energy sources with the contribution of renewable energy can lead to
significant reductions in energy consumption, operation costs and energy bills.
Analyses of Wind Power and Solar Energy (PV) for a Random Area
Wind Power:
Energy produced in a year by 10 wind turbines that has specifications; instantspeed of the wind is 8 m/s and reference height is 10m, constant of friction of air is 0.1,
height of wind turbine is 90m, quotient of rotor power is 0.5 and each turbine’s diameter
(R) is 40m,
ℎ𝑇 𝛼
𝑉𝑇 = 𝑉𝑅 ( )
ℎ𝑅
𝑉𝑇 : 𝑇ℎ𝑒𝑜𝑟𝑖𝑐 𝑠𝑝𝑒𝑒𝑑
𝑉𝑅 : 𝐼𝑛𝑠𝑡𝑎𝑛𝑡 − 𝑠𝑝𝑒𝑒𝑑 𝑜𝑓 𝑤𝑖𝑛𝑑
ℎ𝑅 : 𝑅𝑒𝑓𝑒𝑟𝑒𝑛𝑐𝑒 ℎ𝑒𝑖𝑔ℎ𝑡
ℎ 𝑇 : 𝐻𝑒𝑖𝑔ℎ𝑡 𝑜𝑓 𝑤𝑖𝑛𝑑 𝑡𝑢𝑟𝑏𝑖𝑛𝑒
𝛼: 𝐶𝑜𝑛𝑠𝑡𝑎𝑛𝑡 𝑜𝑓 𝑓𝑟𝑖𝑐𝑡𝑖𝑜𝑛 𝑜𝑓 𝑎𝑖𝑟
𝑉𝑇 = 9.96 𝑚/𝑠
1
∗ 𝐶 ∗ 𝜌 ∗ 𝐴 ∗ 𝑉3
2 𝑝
𝑃𝑜𝑟𝑡 : 𝑃𝑜𝑤𝑒𝑟 𝑜𝑓 𝑤𝑖𝑛𝑑 𝑡𝑢𝑟𝑏𝑖𝑛𝑒
𝐶𝑝 : Constant of rotor power
𝜌: Density of air
𝐴: 𝐴𝑟𝑒𝑎 𝑜𝑓 𝑤𝑖𝑛𝑑 𝑡𝑢𝑟𝑏𝑖𝑛𝑒 𝑏𝑙𝑎𝑑𝑒𝑠
𝑉: 𝑊𝑖𝑛𝑑 𝑠𝑝𝑒𝑒𝑑
𝑃𝑜𝑟𝑡 = 380243,27
𝑊
𝑃𝑜𝑟𝑡 =
Energy produced in year;
𝑊 =𝑃∗𝑡
𝑊 = 𝐸𝑛𝑒𝑟𝑔𝑦 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑖𝑛 𝑦𝑒𝑎𝑟
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𝑃 = 𝑃𝑜𝑤𝑒𝑟 𝑜𝑓 𝑤𝑖𝑛𝑑 𝑡𝑢𝑟𝑏𝑖𝑛𝑒
𝑡 = 𝑇𝑖𝑚𝑒
𝑊 = 33288
𝑀𝑊
Solar energy for PV Systems:
In summer days, we assumed the area that has got:

Daily solar energy average is nearly 5kWh/m2,

Insolation time: 10 hours/day,

Energy need 300 kWh/month

Daily energy need for summer 16 hours/day

Efficiency of solar cells %10
Energy for 1 m2 we can calculate that;
𝐸 =𝐼∗𝜂
𝐸 = 𝐸𝑛𝑒𝑟𝑔𝑦 𝑓𝑜𝑟 𝑚2 /𝑑𝑎𝑦
𝐼 = 𝑆𝑜𝑙𝑎𝑟 𝑟𝑎𝑑𝑖𝑎𝑡𝑖𝑜𝑛
𝜂 = 𝑃𝑉 𝑒𝑓𝑓𝑖𝑐𝑒𝑛𝑐𝑦
𝐸 = 0.5
kWh/m2 /day
Panel power per unit;
PU = E/h
PU = Panel power per unit
h = Insolation time
PU = 0.05
kWh/m2
Daily energy need for 16 hours;
Ed = Em /PU
Ed = Daily energy need for 16 hours
Em = Energy need for a month
Ed = 10
kWh/day
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Panel space for desired energy;
A = Ed /E
A = Panel space for desired energy
A = 20
m2
PV Panel power;
𝑃𝑃𝑉 = 𝑃𝑈 ∗ 𝐴
𝑃𝑃𝑉 = 𝑃𝑉 𝑝𝑎𝑛𝑒𝑙 𝑝𝑜𝑤𝑒𝑟
𝑃𝑃𝑉 = 1
𝑘𝑊
For specifications; daily energy need 16 hours, insolation time is 10 hours
Necessary battery capacity is
𝑊 =𝑃∗𝑡
𝑊 = 𝐸𝑑
𝑡 = 𝑇𝑖𝑚𝑒
𝑃 = 𝑃𝑜𝑤𝑒𝑟
𝑃 = 0.625
𝑘𝑊
𝑃 =𝑉∗𝐼
𝑃 = 𝑉𝑜𝑙𝑡
𝐼 = 𝐶𝑢𝑟𝑟𝑒𝑛𝑡
𝐼 = 2.84
𝐴
For 6 hours;
2.84 ∗ 6
𝐴ℎ
Conclusion:
In this study, environment and tourism relation was studied in different
parameters. Use of the renewable energy systems in tourism sector are strongly
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recommended because of the sensibility to environmental issues. In terms of operational
costs renewable energy usage has an undeniable importance. In conclusion, renewable
energy should be thought as an integral part of tourism. In respect thereof critical state,
need to determine which to usage renewable energy resources. Because of each renewable
energy resources has positive and negative side. For example, wind power so far at
settlement because both noisy and so space.
The main importance of government politics for the installation of renewable
energy resources because of the need to decrease of setup cost.
References:
Atalay, Dilek. Konaklama Işletmelerinde Yeşil Pazarlama Uygulamaları: IBIS Otel
Örneği, 2013.
Aykan, Sevim. Konaklama Işletmelerinde Çevre Yönetimi Uygulamaları ve Algılanan
Kurumsal İtibar Üzerindeki Etkisi; Kayseri ve Nevşehir Otelleri Üzerinde Bir Araştırma,
2013.
Doğan. Isı Geri Kazanım ve Deniz Suyundan-Suya Isı Pompası Uygulaması, 2005.
Doğan. Turizm ve Çevre Ilişkisi Bağlamında Ekoturizmin Çevre Üzerine Etkileri, 2012.
Kent, Kaptan. İzmir ilindeki Elli Yataklı Bir Otel İçin Güneş Enerjisi Destekli Isıtma ve
Absorbsiyonlu Soğutma Sisteminin Teorik İncelenmesi,1999.
TÜSİAD. Sürdürülebilir Turizm, 2012.
Şahin, Gökçen, Arsan. Bina Enerji Performansı Simülasyonlarının Geçerliliği: BESTEST
(Building Energy Simulation Test) Prosedürü, 2013.
http://www.csb.gov.tr (26.12.2014)
European Commission, Tourism Business Portal: Which renewable energy sources are the
most appropriate for the tourism sector?,
http://ec.europa.eu/enterprise/sectors/tourism/tourism-businessportal/documents/toolstutorials/efficiency/renewable_energies.pdf (26.12.2014)
21. REUSE OF HUGE INDUSTRIAL AREAS
MARTINA PERINKOVA, (doc. Ing. Ph.D.)
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LENKA KOLARCIKOVA, (Ing. arch.)
MARKETA TWRDA, (Ing. arch..)
Department of Architecture, Faculty of Civil Engineering, VŠB – Technical university of
Ostrava, Ludvika Podeste 1875/17, 708 33 Ostrava – Poruba, Czech republic
Abstract: The post-industrial city of Ostrava has many brownfield blackfields and
industrial areas. Gradually, these buildings and campuses governed and resolved to re-use
and involvement in the function of the city. Regeneration and return them to the urban
organism is very expensive and time consuming. There is a big question how to treat the
polluted and debased city districts. As a successful example there is an area of National
Historic Landmark called Lower Vitkovice, which has undergone over the past few years
to rebirth and industrial workers were relieved visitors culture, history, sports and others.
As a unique example of finding balance there is an use of technical monuments and the
introduction of new life into the historic grounds of looking at the history of the complex
and technical condition before reconstruction. Using qualitative analysis to evaluate the
progress of our selected objects. Using principles similar objects in other post-industrial
cities and their historical buildings.
Key Words: (reconstruction, conversion, historical and industrial buildings,)
Introduction:
The City of Ostrava is the third largest city in the Czech Republic in the northeastern
part of the country. The area is known as the former center of heavy industry focused on
coal and iron. Lower Vítkovice is located within the Vítkovice Ironworks, it is about 200
years old industrial area, near the historic center of Ostrava. The place occupies an area of
253 ha, here are the best buildings of the industrial era. Two centuries old environmental
burdens in urban organism is now a new search pride of Ostrava region, whose gate
passes half million visitors a year. They are now the headquarters of the largest cultural
and educational events in the area.
Historical Background
In 1763 there was discovered coal in Ostrava-pan, which fostered economic
development. Founding Vitkovice Ironworks in 1828 by Archbishop Rudolf von
Habsburg, who established the ironworks facility using hydropower river Ostravice and
local sources of coal, stimulated the development of the city. The first major contract to
build the ironworks was Ferdinand Northern Railway in 1847. The construction of the
railway communication with Ostrava at the forefront of industrial powers in AustriaHungary. Vitkovice Ironworks arise with the industrial revolution and the development of
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hardware stores is closely connected with the development of rail transport. Already in
1836 and 1838 were built two blast furnaces and coke were obtained coal and iron mines.
Vitkovice Ironworks became the main supplier for railway construction. Due to the need
for iron grow and so was built one of the most modern hardware enterprises in Europe at
that time. By this became from a small village with few inhabitants gradually a
municipality. In 1972, the furnace no. 4 became one of the most modern in the country,
because it was equipped with a control computer. The same year, there was finally
stopped Žofín smelter. Last repairs of the blast furnace took place in the eighties on the
furnace no. 4 and 6. Mining activity was significantly suppressed after 1989 as a result of
industrial restructuring, which was completed two hundred years by business with coal in
Ostrava. In the nineties, there was a reduce of the need for iron due to the transition to a
market economy. Coal mining was completed in 1991. In 1998, after 162 years, the
operation of the furnaces completely stopped. This caused the termination of production
of iron lay in preference to improve the environment in the region. According to the
regulation Ostrava city council had to reduce gaseous and liquid emissions. Last tapping
pig iron took place 27. 9. 1998, at furnace number 1. This day were also canceled up to
1,200 jobs. Vitkovice began to focus on engineering and steel production was
concentrated in the new smelter, ArcelorMittal Ostrava as now.
The Lower area of Vítkovice
It has been long considered as an industrial area with this load. Even the operation,
when involved the production of pig iron, the disputes on the future of these industrial
buildings. The intentions of the City of Ostrava and heritage preservation authorities was
to build on this site a technical museum. Vítkovice had clearly emphasized that they do
not contribute to the open-air museum, because it was recommended to implement a
recovery program for industrial and technical monuments in the Programme preservation
of an architectural heritage. Unfortunately, this programm could not be implemented due
to the lack of funds. Then became a breakthrough year 2000 and 2003. In 2000 was
Vitkovice and Hlubina part of the urban area and Ministry of Culture declared them as a
cultural monument, and two years later a national monument. In 2003 it entered the
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discussion with the new majority owner of Vitkovice Ing. Jan Světlík and the national
cultural monument as a whole has become a part of the privatized company Vítkovice
joint-stock company. During this period he began to realize the vision of the Lower
Vítkovice. Finding appropriate solutions brought a number of proposals. In August 2005,
the Vitkovice, Inc. project financing Comprehensive renovation and restoration of
national cultural monuments Lower Vítkovice application has been rejected. Vitkovice,
Inc. continue to disagree with the method of "last day" that leaned Heritage Institute. This
method seeks to preserve an authentic working environment including novelties
documenting daily life, such as dirty boots, etc.
Fig.1
The
Lower area of Vitkovice (foto: L. Kolarcikova)
In 2008 came at the request of the Minister of Culture Vitkovice. He became
acquainted with a project that will make use of a new national cultural monuments
Vitkovice and ruled in favor of its adoption. At the same time Vitkovice presented the
award of the European cultural heritage project for New Vítkovice. Presenting the award
there was said that he considers Ostrava Capital industrial herritage in the Czech Republic
and explained why the Ministry has decided to support the proposal Vitkovice, as: "In the
past we saw as a monument only castles and historic sites. Unlike Europe, we have
neglected industrial heritage. Therefore, we decided that the most important European
monuments were just old Vitkovice. "[1]
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In 2008 the Council also approved the inclusion of Moravian Disclosure Project and
reuse of national cultural heritage Vitkovice on the list of projects of the Ministry of
Culture, which resulted in the conclusion of contracts with the city of Ostrava and the
Moravian-Silesian Region. The preparatory phase transformation Lower Vítkovice was
completed in October 13, 2009, when the grant allocation of 500 million crowns as an
Accessibility Project. Was also crucial involvement of Josef Pleskot. Josef Pleskot office
made a study for the revitalization of Lower solving the disclosure of blast furnace
number one, the conversion of the gas tank on a multifunctional hall of the sixth and
energy exchanges on the world of technology and many more worth an estimated € 2.2
billion.
The implementation of the projects were divided into several stages. The
preparatory stage covers the period from the initial idea to a study in 2009, following the
first stage during 2010 up to March 2012, included the reconstruction of the blast furnace
number one holder and sixth energy exchanges, office buildings 520, construction of a
new energy center and obtain a permit for premature use of roads, construction of a
central park.
The second stage in the period of 2012 to 2014 included the construction of a large
world of technology, Trojhalí Carolina, Deep Mine and the extension of the Russian street
to provide transportation between the lower area and the center of Ostrava via Nová
Karolina. In the third phase includes space Landek Park, the location of the county library
in the building and construction coking university campus, the Faculty of Economics VSB
- Technical University of Ostrava and the Faculty of Arts, University of Ostrava. [4]
Industrial areas are unlike other historical monuments specific characteristics that
complicate maintenance. The large surface areas made high need of funds for any activity
and interconnection architecture with technical equipment. The Heritage Preservation
resolves two issues - the preservation of the material substance of monuments and a
method of use of a particular monument. The most commonly used way of social use of
these sites is making them available for inspection. There are several ways disclosure.
Technical monuments can become sightseeing objects showing the production run. This
type of disclosure are the best suited objects that are after decommissioning in a compact
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form. The realization of this form is very expensive. Buildings that have been preserved
only in a part and are capable of making, are made available as sightseeing objects at rest.
The third option is to make these places so-called self-accessible area. This is a
presentation of technical monuments which have been preserved buildings or their
remains, such as fragments of blast furnaces or historic brickworks. For these objects,
there are special panels installed with basic information about the history, function and
significance of the building, accompanied by satisfaced reconstruction. An important
prerequisite for making public monuments it is a security and appropriate operator.
Conversion of scrap in the historic industrial monument
After the end of production in 2000 there was a part of the premises Lower Vítkovice
with Down Deep declared as a cultural monument, two years later a national monument
and in 2008 the area became the first Czech monument part of European cultural heritage.
The newly formed National Historic Landmark, the Government defined as
approximately 14 ha large area of the mine, blast furnaces, coke ovens and other movable
and immovable objects together with technical equipment including land. The proposal
for entry into the UNESCO World Heritage List was discussed.
This industrial monument is a symbol of Ostrava and the entire Moravian-Silesian
region. The uniqueness lies in the ironworks long continuity and connection technology from coal mining to the production of iron and steel, without overcoming long distances,
more efficient production. Panorama of blast furnaces, coke ovens coal tower,
technological bridges and chimneys became a symbol of the city. Production functioned
continuously since the 20s of the 19th century until the late 20th century. Since 2007,
there are regular tours of the area. To carry out inspections invited the company Vítkovice
Holding, as. Outside the tourist season, the whole area from stopping production
inaccessible to the public. Tours are held every weekend and last for approximately 1
hour. This activity meet with a great public attention. During the period from 24. 8. 2007
to 31. 10. 2007 the area was visited by 4,652 people, including 152 foreigners and even
had another season of visitors distress. [2]
Vitkovice Machinery Group whose chairman and managing director is ing. Jan
Světlík began to implement the project New Vitkovice, which lies in the revitalization of
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Lower Vítkovice, allowing access to the whole complex of public and use this space for
leisure activities and education. The aim is to preserve industrial monuments define a new
use of buildings and access to revitalized area. They are linking the past and present. The
uniqueness of the project lies in the fact that it combines the old with the new.
A study was conducted bringing a new use for the NKP Vitkovice possibility of
drawing funds from the Integrated Operational Programme of the Ministry of Culture and
also because in 2007 founded a nonprofit organization called the Association of Legal
Entities Lower Vítkovice. In 2008 Vítkovice decided to ask the Minister of Culture for the
reduction of the territory known as a national cultural monument only on technological
objects demonstrating the technological flow, thereby Vitkovice emerged from the
influence of the Heritage Institute. Culture Minister agreed and decided to adopt the
proposed project and submit to implement. Subsequent grant award of € 18 million for
Accessibility Project was in October 2009 completed by the preparatory stage and the
planned reconstruction by the aforementioned project started with the conversion of blast
furnace number one sixth of energy exchanges and the gasholder. Interest association
plays an important role in the transformation of the Lower Vítkovice. The association
received for the development of technical monuments Czech Tourism Director Award.
In March 2009 were an architectural and urban studies made by Josef Pleskot. The
study was addressed to the disclosure of blast furnace number one, the conversion of the
gas tank into a multifunctional assembly hall, converting energy exchanges at the sixth
World technology solutions between the Lower with Down Deep, Deep Mine utilization
and exploitation of the headquarters building. The architect is involved not only in the
transformation of individual objects, but the whole city planning area. He wants to create
the Lower territory, which the city and its center creates whole. It seeks to restore the
masterplan, which had Vitkovice 150 years ago.
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Blast furnace no. 1
The blast furnace number one is a symbol of Vítkovice. Oldest lady or steel temple.
Conversion to a sightseeing tower by architect Pleskot took place between 2011 and 2012.
The surplus parts have been removed, was mounted safety gates and two new elevators.
The original construction of the bridge was installed four-ton skip hoist with authentic
propulsion engine. The car is in the top glass clear glass and the bottom glass black and is
able to take up to sixteen persons. The tower is sixty meters high, allows a unique view of
the Lower Vítkovice, and the panorama of Ostrava. Now there is a superstructure of the
blast furnace fifty feet, where it will be placed in a unique cafe, club and a rooftop terrace.
The superstructure will offer an extraordinary view of the entire area.
Fig.2 model of superstructure (foto: L. Kolarcikova)
The blast furnace became part of the tour route, which follows the journey of a
former technological flow, which explains the entire process of production of pig iron.
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The route begins at the crane, where once was transporting scrap metal for recycling. Here
Pleskot suggested starting point with a steel roof in the shape of wings outstretched
Phoenix hanging on the ropes. Now there is a certain symbolism in Phoenix, as well as
blast furnace rose from the ashes.
Gasometer - multifunctional auditorium Gong
Gasholder has become a convention center which seats up to 1500 seats, gallery,
restaurant, lounge and locker rooms. In order to achieve this final form, it was necessary
to use special construction technology. After the production of the gas tank is empty, the
bell remained at a height of one and a half meters inside the entrance featured a hole
burned in the mantle of size two times three meters. Pleskot left to lift the bell gasholder
for almost fifteen meters and a newly formed internal space divided into two floors, first
find the foyer, gallery, dressing room and conference halls, the top floor is a largecapacity hall. Retained the original steel structure and interior materials were used, such
as exposed concrete or structural steel. The final form continues the industrial character of
the building. Steel casing was left in its original form with authentic riveting, was blasted
and painted metallic black paint. By building was cut out of the window to obtain natural
lighting. The auditorium is artificially ventilated underground collector preheated or
cooled air. Gasholder was first opened on May 1st, 2012, when it came to see more than
forty thousand visitors.
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Fig. 3,4 Gasometer (foto: L. Kolarcikova)
The Sixth energy PBX - Small World Technology
Energy panel is used to manufacture compressed air using two piston blowers
weighing together nine hundred tons, which even today are made interesting internal
spaces of the building energy exchange. These "lungs smelter" were built in 1938 and in
2012 was converted into a museum called Small World techniques attracting visitors on
an interactive tour of the history of technology. Children as well as adults, here can try
what it is to land a plane or drive a car, pedaling on a stationary bike can warm up the
radio and to experience firsthand the production of electricity, they can look at the actual
models of production facilities and there waits for them many other activities. The first
floor was built viewing terrace from which you can see the entire exhibition together with
blowers from above. The tour then continues after technical stairs to the catacombs, where
they are installed technical attraction with water and steam. The ground floor of the
building can be found, inter alia, refreshments, changing rooms, classrooms and a hall for
educational lectures for students and teachers who are here to gain experience of new
forms of teaching work undertaken through games, animations and so on. For conversion
of energy exchanges stands architectural Studio Z - Helena and Václav Zemánek and
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architect Zdenek Franek, who participated in the final revised project.
Energy centre
Electrical power supply to the first blast furnace gas holder, both small and large
world of technology and the future and the fourth and sixth furnace ensures
energocentrum. Located between the former gas tank and a small world techniques where
once stood a petrol station. Its modern technology, visitors can explore the Lower and get
an overview of the entire system energy flow. [3] How it works, it will also show the
interactive screen. This modern energocentrum provides good energy management and
uses of them all.
Big World of Technology
The three-storey new building is located in the southeastern part of the area. The
building is 125 m long and 12.5 meters high mirror the main facade. Science Centre offers
visitors a cinema with 3D projection, classrooms for teaching, seminar rooms and
laboratories, as well as a lecture theater.
On an area of 14,000 m² are four different continuous exposure and a world designed
for temporary exhibitions. "Building the World of Technology is in its expression dispute
minimalist, but offers a maximalist experience. The industrial complex Lower Vítkovice
form a sort of corner into which will be in the form of educational exposures embedded
knowledge of human knowledge that form the foundation of our civilization, "said author
Pleskot to this building. The architect was for linking industrial and modern architecture
awarded as an architect of the year 2014.
Conclusion:
With the revitalization of the whole area there was a reuse of derelict industrial
buildings and thus created new possibilities for the area and the city in terms of cultural
and social life and the belief that the Vitkovice Ironworks not scrap. The architect has
found new functions and thereby extend life relic of the European character.
Revitalization is a classic example of access to historical industrial monument. The
unique combination of historically prized territory and architectural solutions in
conjunction with the active promotion of cultural events are expected great public
attention. One of the most famous cultural events held in the complex multi-genre
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international music festival Colours of Ostrava, which is held every year in Ostrava.
Lower Vítkovice inherently belongs to Ostrava. It is a symbol of the city, but also the
whole of the Region. Recalls the history of the industrial city. The area holding cultural
and educational events come alive. The industrial complex creates by its nature an
original atmosphere especially for cultural events. Along with the construction and
transport links to the city center, which simplifies access to the premises. The method of
the use of this brownfield brings a new perspective to these industrial buildings and
prevent their deterioration. It shows that industrial sites can be utilized for the benefits of
the public and the city as a space for culture, education and leisure. Use this space to the
development of culture and education has proved benefits in many ways. "Converting the
historical buildings is the rule combination of methods to work with space and structures.
The intention mainly requires historical research clarifying historically valuable structures
and read objects and then works with the study by filling the space with new features."[4]
Fig. 5 map of The Lower area of Vitkovice (DOLNÍ VÍTKOVICE. Copyright © 2010
164
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DOLNÍ OBLAST VÍTKOVICE. [online]. 19.1.2015 [cit. 2015-01-19]. aviable:
http://www.dolnioblastvitkovice.cz/default/file/download/id/17786/inline/1)
References:
[1] Pavliňák, Petr. Dolní Vítkovice dnes. Ostrava: Výtvarné centrum Chagall, 2012, pp.
35.
[2] Pavliňák, Petr. Dolní Vítkovice dnes. Ostrava: Výtvarné centrum Chagall, 2012, pp.
35.
[3] Polášek, Miloš; Polášek, Radim; Marchotková, Jana. Vítkovice Industria : Ostrava :
Vítkovické vysoké pece 1836–2007
[4] M. Peřinková akol. Současné formy užívání industriálních historických objektů.
Praha:
Gasset, 2012, pp. 133
22. As Quintas Senhoriais Agrícolas no Concelho de Torres
Vedras
Inês Pires Fernandes, (PhD student)
Centro de Investigação em Arquitectura, Urbanismo e Design
Faculdade de Arquitectura da Universidade de Lisboa, Portugal
Resumo:
O património arquitectónico residencial em áreas rurais – erudito ou simplesmente com
propósito agrícola – corresponde a uma porção significativa do património construído em
Portugal. No passado considerados centros económicos para a região, dado o seu
potencial agrícola, as quintas senhoriais agrícolas e quintas de recreio, dada a sua
excentricidade relativa aos actuais pólos urbanos e turísticos da cidade, encontram-se
hoje, em muitos casos, abandonadas e ignorados no que diz respeito à disseminação
cultural e académica e exploração turística. O objectivo deste artigo é apresentar os
valores arquitectónicos e o potencial (turístico, histórico, cultural, agrícola), destas
propriedades. A densidade destas quintas ao longo da região Sudeste do concelho de
Torres Vedras prova a sua outrora importância a nível económica, agrícola e histórica
para a região. A estrutura destas propriedades marca, ainda hoje, as vilas, aldeias de
Torres Vedras e segmenta os seus terrenos. As suas estruturas agrícolas, residenciais,
hidráulicas e de recreio difundem-se pelo território e tornam-se parte da paisagem
característica desta região. Apesar da sua importância para a economia, empregabilidade e
165
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para o desenvolvimento rural, o seu actual abandono, a falta de informação e de
programas de salvaguarda condiciona o conhecimento desta parte da história. Deste
modo, é proposta a sua reabilitação e a criação de uma rota turística de reconhecimento e
divulgação desta tipologia arquitectónica.
Palavras-chave: Quinta Senhorial, Quinta Agrícola, Quinta de Recreio, Torres Vedras,
Património Arquitectónico Residencial Rural.
0. Introdução
A história de determinados concelhos – no caso concreto de Portugal – não está
meramente subjacente à sua sede de município. Em zonas do interior do território
nacional ou limítrofes às grandes áreas metropolitanas predominam, ou predominaram até
ao século passado, actividades ligadas à agricultura, à pecuária e à exploração dos
recursos naturais. Nestas situações, a história da região está intimamente relacionada com
a história rural e das infra-estruturas que possibilitam a exploração dos recursos. São os
casos das grandes propriedades agrícolas, outrora centros económicos e núcleos
populacionais no meio rural. No concelho de Torres Vedras, a vida e actividade rural
destas propriedades foi estruturante para a economia e sustentabilidade da região e das
suas populações ao longo de séculos. Este facto é comprovado pela quantidade e
densidade de quintas agrícolas ou de, em muitos casos, ruínas e vestígios, ainda
existentes. Porém, das propriedades reminiscentes, nem todas mantêm as suas funções
iniciais e, muitas delas, estão totalmente degradadas e ao abandono.
1. Enquadramento da região
O concelho de Torres Vedras delimita a Norte a Área Metropolitana de Lisboa e contacta
a poente com o oceano Atlântico. A região é conotada por encostas suaves e solarengas,
onde as suas cotas só esporadicamente ultrapassam os 200m. Actualmente, estas estão
ainda segmentadas por muros de delimitação das antigas propriedades e pautadas pelas
linhas paralelas das vinhas, marcando identitariamente esta região de forte cariz vinícola.
166
______________________________________________________________
Apesar de não dispor de cursos de água principais29, o rio Sizandro e a Ribeira de
Pedrulhos, a Sul; e o Alcabrichel, a Norte; servem eficientemente a rede hídrica para
abastecimento e irrigação dos campos agrícolas através de sistemas hidráulicos. O seu
caudal irregular pode provocar cheias nas várzeas, maximizando o seu potencial agrícola.
Além das bacias hidrográficas destes cursos, existe água em abundância no subsolo30,
garantindo a fertilidade dos terrenos. Estas condições geomorfológicas justificam uma
remota ocupação humana da zona, a par com a proximidade do oceano.
Originalmente, os terrenos seriam ocupados por floresta com vegetação espontânea. Com
a humanização do território e para construção das propriedades e exploração agrícola,
uma parte dessa massa vegetal foi englobada nas quintas enquanto matas para caça e
recreio.
Os principais pólos urbanos são conectados por um sistema viário, concentrado nos vales,
junto ao qual se desenvolvem e dispersam estruturas arquitectónicas rurais. Estas vias são
acompanhadas por muros de delimitação e pontuadas por portões de acesso às
propriedades.
fig.1 – Muro de acesso aos campos
agrícolas de Quinta, Turcifal
fig.2 – Paisagem dominada pela dinâmica
das vinhas, Dois Portos
29
Tal como o Tejo
VARANDA, Fernando - Terra e Casas no Oeste – O espaço natural e construído em
Peniche, Lourinhã, Torres Vedras, Lisboa: Argumentum, 2009, p.11.
30
167
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2. As Quintas Senhoriais Agrícolas e sua distribuição
Multiplicam-se por este território as evidências de ocupação humana, desde os castros às
villas romanas que, posteriormente, seriam tomadas para a construção das grandes quintas
agrícolas31. Ao longo da conquista do território nacional, a Casa Real fora acumulando
terras (Reguengos) ou distribuindo-as pelo Clero32 (Coutos) e pela Nobreza (Honras)33,
para que fossem exploradas e constituídas comunidades.
A identificação das quintas do concelho de Torres Vedras, constantes na tab.1 foi feita
com base no levantamento efectuado através das Cartas Militares, bem como através das
obras “Chorographia Moderna do Reino de Portugal”34, de 1876, “Torres Vedras –
Passado e Presente”35. Foram igualmente consultados os inventários online da DirecçãoGeral do Património Cultural (DGPC)36 e do Sistema de Informação para o Património
Arquitectónico (SIPA)37. Através destes é possível identificar uma densidade expressiva
destas propriedades na zona Sudeste do concelho de Torres Vedras, nomeadamente em 4
das freguesias actuais, que tomaremos como território de estudo:
tab.1 – Distribuição das quintas pelas 4 freguesias em estudo. A negrito encontram-se
identificadas as quintas referidas tanto no inventário de 1846, como no de 1996.
Sendo que, nas restantes freguesias, as quintas inventariadas (no levantamento “Torres
Vedras – Passado e Presente) são 28, perfazendo um total de 110 em todo o concelho, a
zona Sudeste de Torres Vedras engloba cerca de 75% das quintas agrícolas senhoriais da
região.
31
VARANDA, Fernando - Op.cit., p.12.
Frequentemente associados a cercas de mosteiros ou conventos
33
RODRIGUES, Cecília Travanca - Torres Vedras – Passado e Presente, vol. I, Torres
Vedras: Câmara Municipal de Torres Vedras, 1996, p.69.
34
BAPTISTA, João Maria - Chorographia Moderna do Reino de Portugal, vol. IV,
Lisboa: Typographia da Academia Real das Sciencias, 1876.
35
RODRIGUES, Cecília Travanca - Op.cit.
36
http://www.patrimoniocultural.pt/pt/
37
www.monumentos.pt
32
168
______________________________________________________________
À dos Cunhados e Maceira
Silveira
São Pedro da Cadeira
Ponte do Rol
Maxial e Monte Redondo
187
6
2
0
2
199
6
6
0
1
4
1
5
3
Ventosa
Freiria
Campelos e Outeiro da
Cabeça
Ramalhal
total
187
6
0
1
0
199
6
8
1
3
13
4
28
tab.2 – Distribuição das quintas pelas restantes freguesias.
fig.3 – Distribuição das Quintas Senhoriais Agrícolas pelas freguesias a
Sudeste do Concelho de Torres Vedras
169
0
______________________________________________________________
Freguesia
Torres
Vedras
Matacães
Carvoeira
Carmões
Dois
Portos
“Chorographia
Moderna do Reino de
Portugal”, 1846
Prior, Rozeiras,
Marinha,
Monteiro, Paul,
Colégio
do
Barro, Costa,
Desembargador, 17
Calvel,
São
Gião, Alfaiata,
Gaga e outras 5
sem
nome
específico
Juncal,
Portucheira,
5
Boavista, Nova,
Lapas
Luz,
Glória,
Filha
Boa,
Rainunes,
Zibreira,
8
Panasqueira,
Pendencias, da
Rainha
Barreiros,
Serra e outras 2
4
sem
nome
específico
Conceição,
Hespanhol,
Pinhal,
Codorno,
Calhorda,
Torre,
13
Carrasca,
Almoinha,
Rocio,
Pedrarias,
Galharda,
“Torres Vedras – Passado e
Presente”, 1996
Alfaiata,
Calvel,
Fontainhas, Gaga, São
Gião, Bella Vista, Certã,
Colégio
do
Barro,
Covas, Fonte Grada,
Fontes, Hilarião, José
Accursio, Maria José,
Marinha, Matta, Prior,
Rigueiras, Sampaio de
Cima, Sant’Anna, Valle
de Lino, Vigario
22
Juncal, Macheia, Nova,
Portucheira, Lapas
5
Charneca, da Rainha,
Glória,
Luz,
Paço,
Penasqueira
6
Barreiro, Belo Jardim,
Carmões,
Ribeira
Formosa
4
A de Guerra, Além,
Almoinha,
Arrotea,
Barreiro,
Calhorda,
Carrasca,
Charneca,
Cidadoura,
Codorno,
Conceição, Curvanceira,
Feliteira,
Ferraria,
Galharda, Nova do
Hespanhol,
Pisão,
Portella, S. Pedro, Serra,
Torre,
Velha
do
22
170
______________________________________________________________
Runa
Turfical
total
Romeiro, Serra
Gandra, Ponte,
Retiro,
Princeza,
Penedo
Almeirinhas,
Chapuceira,
Estrella, Fez,
Infesto,
Farropeira,
Majapão,
Pombal,
Póvoa, Ribeira,
Portelinha
Hespanhol
5
Alcobaça,
Pederneiras,
Ponte, Retiro
Granja,
Pinheiro,
11
Alfaiate, Arco, Arieiro,
Arneiros,
Chapuceira,
Estrella, Farroupeira,
Fez, Infesto, Maias,
Manjapão,
Pombal,
Póvoa, Ribeira, Sala,
Valle d’Ouro, Valle de
Corvo, Viscondessa
63
6
18
83
De facto, a densidade de quintas no Sudeste do concelho de Torres Vedras, alastra-se
igualmente para os concelhos vizinhos de Alenquer (a nascente) e de Mafra (a sul), ao
longo das vias de acesso principais, através dos vales.
As grandes propriedades rurais que surgem nesta zona específica do Oeste surgem pela
necessidade de produção agrícola como meio de subsistência das populações e de
enriquecimento dos seus proprietários. Começam a erguer-se desde a Idade Média, sobre
as ruínas das villas romanas38 (como é o caso da Quinta de São Gião 39), justificando a
traça erudita de alguns edifícios. Outros, porém, surgem como meros complexos agrícolas
que vão ganhando notoriedade ao longo das gerações, crescendo em extensão, riqueza e
erudição das suas sucessivas ampliações.
As propriedades agrícolas em questão diferem dos chamados casais – unidade mínima e
familiar de exploração agrícola – pela sua maior extensão e pela variedade de produções
agrícolas. Apesar da diferença entre estas e as Quintas de Recreio no torno de Lisboa, pela
residência de modo permanente do seu proprietário, ao invés do propósito de recreio
pontual; têm em comum a erudição do desenho da sua casa principal e de algumas
estruturas exteriores de recreio. Algumas das estruturas da Quinta de Recreio,
nomeadamente o Jardim formal, podem não estar representados na totalidade destas
38
39
RODRIGUES, Cecília Travanca - Op.cit., p.50.
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______________________________________________________________
propriedades agrícolas. Porém, a vontade de erudição no edifício principal, bem como na
envolvente exterior próxima, apesar do tradicionalismo e vernacularidade da região, são
equiparáveis à da Quinta de Recreio.
fig.4 – Quinta do Juncal, Matacães
fig.5 – Casal do Capelão, Torres Vedras
O principal objectivo destas propriedades seria, porém, a rentabilização dos seus solos
através da agricultura de vinha, olival e cereais. Deste modo, elas cresceram
proporcionalmente à sua rentabilização e poder económico, ampliando o seu estatuto e
dos seus proprietários perante a sua envolvente. Além da sua dimensão e extensão
indicarem o poder económico, fruto da rentabilização dos solos, a erudição dos seus
edifícios e estruturas envolventes demonstrariam a ostentação, a riqueza e o nível cultural
e social do seu proprietário. À extensão das propriedades e das vinhas, alia-se a
monumentalidade dos edifícios, a sua decoração, ao gosto contemporâneo, e as estruturas
para lazer e recreio. Assim, estas propriedades seriam “ilhas” relativamente à sua
envolvente, concentrando em si a riqueza, o poder económico, a empregabilidade e o
sustento da região e das populações.
As quintas senhoriais agrícolas evoluem até ao século XIX, através da rentabilização do
solo. Porém, no século XX, com o descrédito do território e da actividade agrícola, a sua
produção e próprios edifícios e estruturas entram em decadência.40 Muitos exemplares
40
VARANDA, Fernando. Op.cit., p.50.
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______________________________________________________________
foram mesmo destruídos para dar origem a novas urbanizações com a mesma
denominação.
3. Estrutura e Composição
O projecto da quinta agrícola senhorial do Oeste tem o seu ponto fulcral no momento de
implantação. Este é estruturante para a organização da propriedade, tirando o máximo
partido de todos os recursos naturais existentes (solo, água, paisagem, etc.). A constante e
suave orografia da região sugere uma implantação numa posição sobranceira (Quinta da
Charneca, Runa); na encosta (Quinta da Luz, Carvoeira); ou mais funcional, relacionada
com o vale, a linha de água e os acessos viários (Quinta das Pedrarias, Dois Portos).
“A escolha de afloramentos rochosos, no cume ou encosta das colinas
para a implantação de um estabelecimento, pode corresponder a razões de
alicerçamento dos edifícios, ou de prevenção contra alagamentos, ou ao
aproveitamento de tudo o que é possível de terrenos férteis para a
agricultura, ou, simplesmente, à colocação em situações visualmente
dominantes. (…) A localização em vales, por seu lado, explica-se
primariamente, pela proximidade de cursos de água e de culturas em
terrenos aluviais tal como de vias de comunicação necessárias ao apoio e
escoamento da produção.” 41
A quinta senhorial agrícola apresenta 3 modos de implantação no território:
- Rural – a propriedade encontra-se fora de um núcleo urbano consolidado (fig.6).
Normalmente não são identificáveis muros ou estruturas de delimitação do terreno, graças
à sua extensão. Estendem-se, de modo geral, até às vias de acesso principal, que
segmentam e separam propriedades distintas. A casa principal localiza-se, geralmente, em
posição central no terreno, sendo acedida por um caminho ou alameda.
41
Idem., p.48.
173
______________________________________________________________
- Semi-urbana – a propriedade na periferia próxima de uma localidade possuindo, no
entanto, independência desta (fig.7). São perceptíveis muros de delimitação da
propriedade e portões de acesso à mesma ao longo da via de acesso à localidade.
- Urbana – a casa principal e capela encontram-se dentro de um núcleo urbano, fazendo
parte deste (fig.8). Localizam-se de modo adjacente ao acesso viário, dando uma ou mais
fachadas directamente para a via. No entanto, a entrada principal é normalmente, feita
através de um pátio de entrada. A propriedade estende-se para tardoz da casa, já fora de
qualquer contexto urbano, facto que difere a quinta senhorial agrícola do palacete urbano.
fig.6 – Quinta do Paço,
Carvoeira
fig.7 – Quinta de Além e a
povoação de Dois Portos
fig.8 – Quinta da Rainha e
a povoação de À-daRainha
Aquando da concentração de algumas quintas ao longo de uma via de acesso forma-se, no
decorrer do tempo, pequenos núcleos urbanos no seu entorno. É o caso das povoações de
Dois Portos ou Turcifal, onde existem uma convergência de quintas ao longo via
principal, formando um aglomerado urbano que é estruturado por estes objectos.
Além da casa principal, a quinta senhorial agrícola na região de Torres Vedras contempla
diferentes especificidades de modo a garantir o suporte económico e, simultaneamente, o
bem-estar, conforto e recreio dos seus proprietários. É composta, deste modo, por vastos
campos agrícolas, dedicados a vários tipos de cultivos, uma estrutura edificada
segmentada consoante as diversas funções e uma zona exterior de recreio do seu
proprietário (tab.3).
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vertente
Estruturas construídas
Espaços exteriores
Agrícola
Adegas, lagares, celeiros, fornos,
cavalariças, cocheiras, armazéns,
outras dependências agrícolas,
casas de habitação para os
trabalhadores, etc.
Horta(s), vinha, olivais, campos
de cereais, pomares, eiras, etc.
Residencial
Casa do proprietário, capela
De recreio
Pérgulas, caramanchões, grutas,
casas de fresco, pavilhões, etc.
Pátio de entrada, pátio(s) de
serviço, adro, etc.
Jardim(ns) formal(is), pomares,
matas, percursos, etc.
tab.3 - Vertentes da quinta e suas estruturas construídas e exteriores.
3.1. A Casa Principal
A casa principal, que contempla a função de residência da família nobre, é o edifício que
apresenta um carácter mais erudito, com elementos arquitectónicos e decorativos ao estilo
contemporâneo. A modernidade destes elementos transmitia a elite cultural e artística dos
seus proprietários, bem como o poder social, político e/ou económico da família. A sua
implantação, apesar de variações funcionais, evidencia sempre o carácter e a importância
do edifício, quer pela sua proeminência no terreno (fig.9), pela sua escala perante o
arruamento que lhe é contíguo (fig.10) ou perante o pátio que a antecede (fig.11).
fig.9 - Quinta Nova, Matacães
fig.10 - Quinta da Rainha, Carvoeira
175
______________________________________________________________
Nos casos urbanos ou semi-urbanos, o acesso à casa faz-se, normalmente, por um pátio,
de formas regulares nos casos mais eruditos, acedido por um portão que marca
verticalmente o início da propriedade. A casa pode ocupar uma posição frontal ao pátio,
com a sua fachada principal a eixo com o portão (fig.12); ou uma posição lateral, com
uma fachada lateral adjacente ao arruamento (fig.13).
fig.12 - Quinta das Lapas, Monte
Redondo
fig.13 - Quinta do Além, Dois Portos
Nos casos rurais, fora de qualquer contexto urbano, o pátio de acesso não confronta com a
via, ocupando este e o núcleo construído, uma posição central no terreno (figs.14,15). De
qualquer modo, pode apresentar um portão que delimita a parte agrícola da parte mais
privada – a casa principal.
fig.14 - Quinta do Paço,
Carvoeira
fig.15 - Quinta da Granja,
Dois Portos
176
______________________________________________________________
Quando a casa ocupa uma posição mais centralizada no terreno e longe do eixo viário, o
acesso é efectuado por uma alameda que liga o portão de entrada ao edifício principal
(figs.15,16). São raros os casos em que a fachada principal está directamente orientada
para o arruamento de acesso (fig.17), como acontece nos palacetes urbanos.
fig.16 - Quinta da Granja, Runa
fig.17 - Quinta Nova, Matacães
O Pátio de entrada é delimitado por um muro em confrontação com eixo viário. Este pode
apresentar vãos com conversadeiras, possibilitando a contacto visual com o exterior,
apesar da garantia de privacidade (fig.19). Por vezes este muro encerra não apenas o pátio
de entrada mas uma zona mais alargada e privativa envolvente à casa principal.
fig.20 – Quinta, Dois Portos
fig.19 - Quinta de Sta. Teresa, Turcifal
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______________________________________________________________
A casa tem, por norma, dois pisos. O piso térreo é dedicado a zonas de serviço, cozinhas,
tanques, lagares e armazenamento de alfaias agrícolas. É acedido, regra geral, por um
pátio de serviço, ou lateralmente à fachada principal. O piso superior, cujos vãos são
maiores e apresentam uma cantaria e serralharia com desenho mais trabalhado e erudito, é
dedicado à zona nobre da casa, concentrado os salões, as salas e os quartos. A fachada
principal, através da qual se acede à casa, é pautada pela escada de acesso ao piso
superior. Esta pode apresentar diversas configurações, porém, é comum a de dois lances,
simétricos e adjacentes à fachada da casa (fig.21); ou a de apenas um lance e de alpendre
com colunelos (fig.22).
fig.21 - Quinta do Hespanhol,
Dois Portos
fig.22 - Quinta de Além,
Dois Portos
O telhado, geralmente de múltiplas águas por razões estruturais (Quinta da Porticheira,
Matacães), é edificado segundo as técnicas tradicionais, com barrotes e telha cerâmica.
Em casos mais eruditos, o beirado é duplo (Quinta do Arco, Turcifal) e/ou com cimalha
(Quinta de N. Sra. Do Carmo, Dois Portos) ou com remate em balaustradas (fig.23);
enquanto que em casos mais modestos e nos edifícios de apoio agrícola, os beirados são
simples.
O ritmo dos vãos é regular, deixando prever a compartimentação interna. Esta é simples,
com compartimentos contínuos, sem uso do corredor até ao século XIX, e com uma
hierarquia relativa à sua privacidade. É notória a diferença de quantidade e escala dos
vãos do piso nobre para o térreo (Quinta de Santo António, Dois Portos). Os vãos do piso
superior, em maior quantidade e muitas vezes rematados por elementos decorativos, são
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estrategicamente orientados para a paisagem, para a zona de produção ou para os jardins,
sendo estes a extensão da casa, promovendo o contacto com o exterior. Em certos casos,
são utilizadas as loggias orientadas para o pátio ou para os jardins (fig.24). Esta situação,
com origem nas villas renascentistas italianas, foi adaptada ao contexto nacional e local,
criando objectos com grande harmonia a erudição, apesar da sua rústica localização.
fig.23 – Remate do telhado com cimalha Quinta de S. João Baptista, Turcifal
fig.24 – Loggia – Quinta do Hespanhol,
Dois Portos
Adjacente (fig.25) ou próximo à casa principal (figs.26,27) encontra-se, na maioria dos
casos, a capela. Esta servia para uso dos proprietários, dos trabalhadores da quinta e para
as populações próximas. A zona dedicada aos proprietários é, porém, segmentada daquela
que é utilizada pelos demais. A casa principal e a capela, aquando de uma posição
próxima da via de acesso, criam um pólo de desenvolvimento da povoação em seu torno.
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figs.25a,25b - Capela da
Quinta do Juncal, na
fachada principal
figs.26a,26b - Capela da
Quinta da Rainha, próxima
da mesma
figs.27a,27b - Templete da
Quinta das Lapas, anterior
ao portão principal
3.2. Jardins
A zona exterior à casa principal funciona igualmente como um espaço de estar, associado
ao aproveitamento e contacto com a natureza. Deste modo, existem elementos vegetais
nas imediações da casa para um usufruto mais privado, como o jardim formal. Estes estão
geralmente associados a uma fachada lateral (fig.28) ou tardoz.
Podem ser delimitados por muros azulejados com alegretes ou caramanchões. São
compostos por estruturas em buxo, espécies aromáticas e podem englobar árvores de fruto
ou pequenos pomares. O sistema hidráulico da quinta é visível através de fontes e tanques,
normalmente a eixo com a fachada ou com algum elemento notável. Em torno dos
tanques existem por vezes estruturas eruditas, nomeadamente painéis de azulejos com
nichos e até mesmo grutas artificiais e casas de fresco (Quinta das Lapas, Monte
Redondo). Porém, se na quinta de recreio é um elemento quase obrigatório e identificador,
na quinta senhorial agrícola, este é muitas vezes inexistente. A harmonia, desenho e
ornamentação do jardim formal é, muitas vezes, substituída por pomares (fig.29). As
árvores de fruto podem apresentar uma distribuição planeada, com um desenho próprio,
ou de modo espontâneo pelo espaço. De qualquer modo, promovem igualmente um jogo
de aromas frescura, graças às caleiras, tanques, fontes que se distribuem e irrigam o
pomar. Estas estruturas hidráulicas criam igualmente a sonância do correr da água pelo
espaço.
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fig.28 – Jardim Formal na fachada lateral à casa Quinta do Juncal, Matacães
fig.29 – Pátio de chegada
ocupado por pomar –
Quinta, Dois Portos
Em alguns casos são igualmente observáveis percursos de passeio pelo terreno a partir de
uma zona próxima à casa – pomar ou jardim formal. Estes caminhos são cobertos e
sombreados por latadas (fig.30) ou pérgulas (fig.31). Os percursos podem ser mais ou
menos extensos, consoante a dimensão da propriedade e podem mesmo alargar-se às
zonas de produção.
Numa zona mais distante e, geralmente, a cotas mais altas, onde a produção agrícola é
mais árdua, permanecem ainda os maciços vegetais originais, nomeadamente eucaliptais.
Estas zonas, denominadas por matas ou bosques, possibilitam o contacto com a natureza
em estado puro e espontâneo e proporcionam passeios a cavalo e mesmo a caça.
fig.30 – Latada - Quinta do Hespanhol, Dois
Portos
fig.31 – Pérgula adjacente ao muro de
delimitação do jardim, Quinta de Além, Dois
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Portos
3.3. Zona Agrícola
Em zonas menos nobres e mais afastadas da casa principal, concentram-se as habitações
dos trabalhadores (assalariados ou arrendatários42), bem como dependências agrícolas
(lagares, fornos, celeiros, adegas, armazéns, etc.), associadas aos diversos tipos de
produção. Estas estruturas encontram-se geralmente agregadas em torno de pátios de
serviço ou aos caminhos viários para escoamento da produção. Inerentes à exploração
agrícola podem ainda existir moinhos, azenhas, eiras ou outras estruturas pontuais no
terreno.
As zonas para produção centram-se nos vales ou nas encostas suaves. Vulgarmente, estas
últimas são modeladas em socalcos para a maior rentabilização do solo agrícola. A
plantação mais expressiva é, sem dúvida, a vinha, organizada de modo linear e paralela,
identificando a paisagem desta zona Sudeste do concelho.
fig.32 – Vinhas na encosta - Quinta de
Além, Dois Portos
fig.33 – Paisagem segmentada pelas linhas
paralelas das vinhas – Quinta do Paço,
Carvoeira
3.4. Sistema Hidráulico
42
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Toda a extensão agrícola era eficientemente irrigada por um sistema hidráulico.
Funcionava pela acção da gravidade, muitas vezes sem auxílio de meios mecânicos. Estes,
quando necessários, concentram-se essencialmente no momento da captação, através das
noras. O primeiro momento – a captação – é preferencialmente efectuada num ponto de
maior cota, para que, através da gravidade e de um sistema de caleiras e aquedutos, a água
seja conduzida pela encosta ou pelos socalcos – distribuição –, até chegar às cotas
inferiores, onde é armazenada.
captação
Ribeiros, nascentes, minas de água, poços, noras
distribuição
Aquedutos, caleiras intramuros ou ao nível do chão
armazenamento
Tanques, lagos artificiais, represas
estruturas
recreio
de
Fontes, piscinas, espelhos de água, casas de fresco, grutas,
lagos, etc.
tab.4. Etapas do sistema hidráulico
A água, além do propósito de alimentação dos campos agrícolas, era também um
elemento de luxo, ao serviço do lazer dos proprietários e dos seus convidados. Era
moldada em lagos artificiais, tanques (fig.34), piscinas, casas de fresco, fontanários
(fig.35), etc, promovendo a frescura e a aprazibilidade do espaço exterior, nomeadamente
dos jardins formais e dos pomares, zonas de passeio e estar mais junto à casa principal.
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fig.34 – Tanque - Quinta das Lapas,
Monte Redondo
fig.35 – Fonte - Quinta do Hespanhol,
Dois Portos
A quinta senhorial agrícola, em particular da região de Torres Vedras é um organismo
complexo e funcional que, desde o momento da sua implantação pretende responder a
diferentes vertentes a valências. Com o propósito original de exploração dos recursos –
principalmente agrícolas – para benefício dos seus nobres proprietários, logo ganhou
outras valências tanto para esses, como para as comunidades. Para responder às
necessidades de emancipação e representação social dos seus proprietários, a casa
principal e as estruturas de entrada – portão, pátio, muros, ganharam um carácter erudito e
monumental, ao nível do gosto arquitectónico e do poder económico, social e político da
família. Além da monumentalidade do edifício e dos seus elementos decorativos –
cantarias dos vãos, cunhais, embasamentos, frontões, cimalhas, escadas, etc. -; a
complexidade dos espaços exteriores reflectia igualmente o luxo e a grandiosidade de uma
propriedade. Jardins de buxo, matas e pomares tornaram-se igualmente espaços de estar,
recreio e convívio e contacto directo com a natureza que o local proporciona. Deste modo,
surgem as estruturas de recreio associadas ao exterior, seja de sombreamento – pérgulas,
caramanchões, pavilhões; de estadia – alegretes, conversadeiras, bancos, muros, mirantes;
e de passeio – latadas, percursos pedestres, passadiços. Aproveitando as potencialidades
do sistema hidráulico vital à irrigação das zonas agrícolas, surgem fontes, tanques,
piscinas, espelhos de água, casas de fresco, e até lagos e grutas artificiais. A quinta
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agrícola de Torres Vedras conjuga, deste modo, a vertente prática da rentabilização
agrícola e a de recreio e de ócio para os seus proprietários.
Porém, apesar do aparente egocentrismo da classe nobre proprietária, estas quintas
tornaram-se fulcrais para o desenvolvimento urbano e económico de Torres Vedras e da
sua envolvente rural. Constituíam pólos de empregabilidade, de agregação de outras
actividades e de fixação das populações em seu redor, dando origem a aldeias e vilas.
Estas propriedades são a base da história da economia e da ruralidade do concelho.
4. Conclusão
A quinta senhorial agrícola do sudoeste do concelho de Torres Vedras é uma unidade vital
para a história do desenvolvimento rural e económico da região. Nela se concentrava o
desenvolvimento agrícola, a subsistência e empregabilidade das populações e a
prosperidade das grandes famílias. Testemunham igualmente a evolução dos sistemas
agrícolas, a par com a erudição expressa nos edifícios principais e nas estruturas
exteriores. Porém, o potencial de outrora, apesar de vital para a região, está hoje
subvalorizado. Denota-se, uma carência de literatura a respeito, bem como de sinalizações
turísticas e/ou culturais, pelo que se torna inexequível a localização exacta e a visita de
todos os objectos.
Além disso, como é possível constatar pela tab.1, o número e as denominações das
quintas variam nos levantamentos de 1876 e de 1996 e o mesmo em relação às cartas
militares, o que dificulta a apreensão de todo o universo em estudo. O facto de o
inventário de 1876 conter menos quintas, pode-se dever ao facto de algumas das
constantes no inventário do século XX, serem de construção posterior a 1876. O contrário
pode dever-se à destruição de quintas num momento anterior ao inventário de 1996. A
discrepância pode dever-se igualmente a denominações múltiplas ou à mudança dos
nomes através dos tempos. Porém estas hipóteses não justificam todas as disparidades,
havendo actualmente quintas (ou vestígios) que não constam no levantamento mais
recente, ou sequer nas cartas militares.
Actualmente, grande parte dos objectos constantes nos inventários e nas cartas militares
foram destruídos (ou o seu terreno severamente amputado) para o alargamento da cidade
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de Torres Vedras (Quinta de Sant’Ana) ou para a construção de loteamentos (Quinta da
Ribeira, Turcifal). São variadas as quintas devolutas e em risco devido à especulação
imobiliária.
O documento Programa Territorial de Desenvolvimento do Oeste (Estratégia 2020 –
Plano de Acção 2008-2013), elaborado no ano de 2008, cujas orientações visavam a
concretização dos objectivos anteriores do FEADER (Fundo Europeu Agrícola de
Desenvolvimento Rural) e do PRODER (instrumento estratégico e financeiro de apoio ao
desenvolvimento rural do continente co-financiado pelo FEADER); tinha como um dos
objectivos potencializar e «revitalizar económica e socialmente as zonas rurais»43. É
salvaguardada a “criação de rotas e percursos turísticos”44 pelo território rural,
nomeadamente com a “aquisição, recuperação e adaptação de algum património para
infra-estruturas de apoio” como por exemplo, as quintas agrícolas e outras estruturas
como azenhas ou moinhos.
É proposto o desenvolvimento de “produtos turísticos construídos com complexidade
[articulando vertentes diversificadas como o património histórico e arquitectónico, a
qualidade imobiliária, (…) a paisagem, o “verde”, as serras e as grutas, as quintas e a
vivência rural(…)]”45.
Assim, este programa ambiciona o Oeste como um espaço onde o rural de afirma, renova
e ganha destaque em termos turísticos, culturais e patrimoniais, revelando uma parte
importante da história desta região de modo inovador e sustentável.
Efectivamente, as quintas agrícolas possuem potencial para o aproveitamento turístico,
nomeadamente para a criação de um roteiro temático como é, aliás, realizado em Portugal
com outras tipologias ou características – a rota do vinho, a rota do gótico,etc. -; ou em
Itália com as suas villas suburbanas. Efectivamente, alguns destes objectos encontram-se
em funcionamento como casas de turismo rural ou pequenos estabelecimentos hoteleiros
(Quinta de Além, Dois Portos); outros como pólos de produção e degustação vinícola; e
43
Programa Territorial de Desenvolvimento do Oeste (Estratégia 2020 – Plano de
Acção 2008-2013), Oeste: 2008, p.37.
44
Idem, p.82.
45
Ibidem, p.27.
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outros ainda como quintas para dinamização de eventos (Quinta do Hespanhol, Dois
Portos). Existem ainda outras, que albergam outras funções, conciliáveis com a
dinamização turística e cultural.
A criação de um roteiro relativo a esta tipologia revelaria a importância histórica, cultural
e económica destes edifícios, a sua harmonia com o território e com a paisagem e a sua
excepcional estruturação arquitectónica, projectando o concelho de Torres Vedras e a sua
rica envolvente rural e paisagística.
5. Referências:
BAPTISTA, João Maria - Chorographia Moderna do Reino de Portugal, vol. IV, Lisboa:
Typographia da Academia Real das Sciencias, 1876.
DOMINGUES, Álvaro - A Vida no Campo, Porto: Dafne Editora, 2011.
PIRES, Amílcar Gil - A Quinta de Recreio em Portugal – Vilegiatura, Lugar e
Arquitectura, Lisboa: Caleidoscópio, 2013.
Programa Territorial de Desenvolvimento do Oeste (Estratégia 2020 – Plano de Acção
2008-2013), Oeste: 2008.
RODRIGUES, Cecília Travanca - Torres Vedras – Passado e Presente, vol. I, Torres
Vedras: Câmara Municipal de Torres Vedras, 1996.
VARANDA, Fernando - Terra e Casas no Oeste, Lisboa: Argumentum, 2009.
6. Fontes Fotográficas
Esquemas da autora (2015) – fig.3.
Fotografias da Autora (2015) – figs. 1, 2, 10, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25b, 26b,
27b, 29, 30, 31, 32, 33, 34, 35.
http://lugaronde.blogspot.pt [consultado a 02-02-2015] – fig.4.
http://aorodardotempo.blogspot.pt [consultado a 02-02-2015] – fig.5.
http://www.monumentos.pt/Site/APP_PagesUser/SIPAArchives.aspx?id=092910cf-8eaa4aa2-96d9-994cc361eaf1&nipa=IPA.00006342 [consultado a 08-05-2015] – figs.11,34.
http://vedrografias2.blogspot.pt/2014/07/5-edicao-dos-chas-de-pedra.html [consultado a
02-02-2015] - fig.79.
Google Earth – figs.6, 7, 8, 12, 13, 14, 25a, 26a, 27a, 28.
23. Impactos turísticos em destinos sensíveis e de pequena
dimensão
Manuel Salvador,
Francisco Dias,
Sérgio Miguel Leandro
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RESUMO
De um modo geral, os recursos ambientais existentes nas áreas protegidas e de grande
sensibilidade ecológica determinam que a conservação é a sua vocação principal.
Contudo, esta deve ser assegurada, em parte, através do fomento de atividades humanas
complementares sejam elas florestais, agrícolas, cinegéticas, turístico-recreativas, entre
outras, desde que promovam a criação de uma identidade cultural constituindo assim um
recurso de valor. Todas estas atividades, promovidas segundo os princípios e pressupostos
do desenvolvimento sustentável, podem tornar as áreas protegidas extraordinariamente
bem-sucedidas. No entanto o uso abusivo dos recursos existentes e a sua falta de
fiscalização e monitorização poderão produzir, por outro lado efeitos devastadores para a
área que se propunha proteger e conservar, levando a sua extinção de reconhecimento
ecológico.
No que respeita em particular ao turismo, um dos princípios fundamentais sobre os quais
deve assentar a discussão acerca desta atividade em áreas protegidas, é precisamente a sua
sustentabilidade, daí o conceito de turismo sustentável.
A articulação entre proteção da qualidade do ambiente e promoção do desenvolvimento
económico parece ter encontrado na expressão «Desenvolvimento Sustentável» um
paradigma de suporte. É interessante constatar como um conceito com limites conceptuais
pouco nítidos, e cujo valor prático se mostra ainda questionável, tem contribuído para a
geração de consensos entre domínios considerados conflituosos e mesmo contraditórios.
Os padrões de crescimento e desenvolvimento recentes têm sido responsáveis pelo
agravamento dos problemas de qualidade ambiental decorrentes do rápido incremento
populacional, da urbanização, da crescente utilização de recursos e produção de resíduos
e, do aumento dos níveis de consumo e consequentes impactes ambientais, o que leva à
procura de modelos que minimizem estas ações procurando esse desenvolvimento
sustentável. 2
Pretende-se assim demonstrar, com este caso de estudo, de que forma poderá o turismo
constituir uma atividade complementar na preservação da natureza, em zonas
especificadas por lei, tal como a Ilha da Berlenga classificada como Reserva da Biosfera
da UNESCO, podendo contribuir ativamente para o processo de desenvolvimento e
conservação.
PALAVRAS-CHAVE : Turismo – Sustentabilidade – Áreas Protegidas – Monitorização
ABSTRACT :In a general way, the existing environmental resources in protected and
high sensitivity ecological areas determine that their primary vocation is conservation.
However, it must be ensured, in part, through the promotion of complementary human
activities such as forestry, agriculture, hunting, tourism and recreation, among others,
however they must promote the creation of cultural identity constituting a valuable
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resource. All these activities promoted according to the principles and concepts of
sustainable development, can become protected extraordinarily successful areas. However
the abusive use of existing resources and their lack of supervision and monitoring may
produce devastating effects on the area that was proposed to protect and maintain.
Concerning tourism, in particular, one of the main principles its sustainability, it’s the
main argument on which should establish the discussion about the activities in protected
areas, supporting the concept of sustainable tourism.
The articulation between the protection of the environment quality and the promotion of
the economic development, seems to have found in the expression '"sustainable
development' a support paradigm. It is interesting to see how a concept with not so
distinct conceptual limits, and whose practical value shows it self as questionable, has
contributed in the grout consensus between areas considered conflicting and even
contradictory. Growth patterns and recent development have been responsible for the
aggravation problems of environmental quality caused by rapid population growth,
urbanization, increasing resource use and waste production, and the increase in
consumption levels and consequent environmental impacts, which lead to search for
models that minimize these actions, searching the sustainable development referred
before. 3
It is intended to show how tourism can be a complementary activity for nature
conservation, in short restricted areas (defined by law) contributing activity for the
development and conservation process.
KEYWORDS: Tourism – Sustainability - Protected areas - Monitoring
Introdução
“A Comunidade humana, da mesma maneira que as dos organismos inferiores, é
fundamentalmente um produto de forças bióticas e do ambiente. O homem, no entanto, é
um animal cultural e, por conseguinte, capaz de modificar o meio em que vive (controlo
do meio) e criar o seu próprio habitat, dentro de certas limitações.” McKenzie (citado por
Batista, 2010).
Bellen (2004) citando, Wackernagel e Rees, autores do Ecological Footprint Method,
refere que para estes a base do conceito de sustentabilidade é a utilização dos serviços da
natureza dentro do princípio da manutenção do capital natural, isto é, o aproveitamento
dos recursos naturais dentro da capacidade de carga do sistema.
Segundo Batista (2010), poder-se-á referir que um desenvolvimento sustentável pressupõe
também a sustentabilidade da atividade turística, no entanto, a diferenciação de conceitos
e uma breve incursão pelos seus fundamentos teóricos, permitem uma melhor
compreensão dos mesmos e da importância da sua operacionalização para ordenamento e
gestão das AP's1.
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1 Áreas Protegidas
Turismo Sustentável
A exploração descontrolada dos recursos que a natureza colocou ao dispor do homem
conduziu a que ocorressem fenómenos de degradação de espaços naturais, muitas vezes,
sem poder de reversibilidade. Esta situação originou o aparecimento de movimentos em
favor da salvaguarda e preservação do património natural que estão, eles próprios, na
génese dos espaços naturais protegidos. A sua deterioração, com o consequente
desaparecimento de espécies ameaçadas, o aquecimento global ou a degradação acelerada
dos solos, aumentou as 4 energias dos movimentos em favor do património natural. Na
sociedade atual, em constante mutação, os espaços naturais protegidos desempenham um
papel importante na qualidade de vida das populações. Estes espaços, pelas características
que possuem, permitem a sua utilização para atividades turísticas e constituem-se, por
isso, como um verdadeiro património que se deve conservar e salvaguardar (Castro,
2004).
Em 1980 a OMT2, convocou a primeira conferência mundial de turismo celebrada em
Manila (Filipinas). A declaração de Manila, referia então, a necessidade de se criar “ (…)
uma oferta bem concebida e de qualidade e que simultaneamente proteja e respeite o
património cultural, os valores do turismo e o ambiente natural, social e humano” refere
ainda “a necessidade para que se redobrem os esforços para evitar que se ultrapasse a
capacidade ecológica do ordenamento turístico, para conservar e valorizar o património
artístico e natural, para promover o valor educativo do turismo, e para proteger as espécies
de fauna e flora, em beneficio das gerações futuras (…)”, que dá o enquadramento
necessário à prática de um turismo sustentável.
2 Organização Mundial do Turismo
A temática do turismo sustentável teve um grande impulso com a criação do Comité do
Ambiente da OMT, integrando representantes das áreas do turismo e do ambiente, tendo
como objetivo definir as suas linhas orientadoras de trabalho.
“O turismo sustentável é um modelo de desenvolvimento económico concebido para
melhorar a qualidade de vida da comunidade recetora, e proporcionar ao visitante uma
experiência de elevada qualidade e simultaneamente manter a qualidade do meio
ambiente de que dependem a comunidade anfitriã e visitantes.” (OMT, 2005).
O turismo responsável tem na sua essência um modelo comum, transversal a todos os
tipos de turismo, mesmo a um turismo de massas, refletido nas práticas de gestão. A
sustentabilidade turística está presente na importância que a gestão ambiental assume, a
par com o desenvolvimento económico e sociocultural. (OMT, 2005).
De acordo com a informação fornecida pela OMT na sua página oficial o turismo
sustentável deve atender às seguintes considerações:
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Otimização dos recursos naturais, sem que ocorra a deterioração dos processos
ecológicos essenciais, contribuindo simultaneamente para a conservação dos recursos
naturais e para a biodiversidade; 5
Respeitar a autenticidade sociocultural das comunidades anfitriãs, preservar os recursos
naturais, patrimoniais e culturais bem como todos os valores tradicionais, contribuindo
para o intercâmbio e tolerância intercultural;
Assegurar a viabilidade das atividades económicas a longo prazo, proporcionando
benefícios socioeconómicos para todos os agentes envolvidos distribuídos
equitativamente, nomeadamente no que se refere às oportunidades de emprego de longa
duração, bem como na dotação de meios e serviços para as populações de acolhimento,
contribuindo para a melhoria da qualidade de vida;
Para Pires (2002), as propostas de um “turismo alternativo” receberam um grande impulso
logo após a conferência de Manila, pois passou a considerar-se que o turismo só deveria
existir caso o seu principal objetivo fosse a melhoria da qualidade de vida das populações.
O mesmo autor citando Lafant & Graburn refere que ao observar-se o panorama turístico
as opções pelo “turismo alternativo” na sua etapa inicial parecem ter cumprido a sua
missão, a de alertar a sociedade sobre os desvirtuamentos que existiam na altura no
turismo convencional, sendo que continuam a existir, estes originaram inúmeras e
desejáveis segmentações entre elas o Ecoturismo.
Para Ruschmann (1997) o relacionamento entre o meio ambiente e o turismo não é nem
será simples, são registadas imensas situações de conflito e mediante a sua fragilidade
cada medida de precaução pode produzir um efeito adverso e perverso que será difícil de
controlar. Logo o grande desafio reside em encontrar o equilíbrio entre o desenvolvimento
da atividade turística e a proteção ambiental.
Da sustentabilidade ao ecoturismo como forma de preservação
O Turismo sustentável tem conduzido ao surgimento de modelos alternativos, onde os
fatores ambientais e sociais assumem um maior protagonismo. O Ecoturismo entre outras
modalidades de turismo “ambiental”, surge neste contexto, como uma alternativa,
frequentemente associada a termos como “responsável” e sustentável”,
O ecoturismo e o turismo sustentável, de forma mais ampla, surgiram como estratégias
vencedoras baseadas numa ideologia de uma linha tripla, na qual se estão incluídas
estratégias 6 ambientais, económicas e socias, para a população local e para a natureza
(Buckley, 2009; Weaver & Lawton, 2007; Pegas & Castley, 2014), particularmente em
países em desenvolvimento (Abrams et al., 2009; Pegas & Castley, 2014).
Segundo Wester (citado por Machado, 2004) o Ecoturismo é a forma de satisfazermos o
nosso desejo de estarmos em contato com a natureza, explorando o potencial turístico
existente, procurando a conservação e o desenvolvimento, evitando o impacto negativo no
que diz respeito à ecologia, à cultura e à estética do local.
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Para Fennel (2003) o ecoturismo é uma forma sustentável de turismo baseada nos
recursos materiais que são geridos para ser de baixo impacto, não consumidor e orientado
ao local (controlo, benefícios e escala). Ocorre, tipicamente, em áreas naturais e deve
contribuir para a conservação ou preservação dessas áreas.
Moniz (2006) refere que uma das maiores preocupações quando se trata de orientar o
desenvolvimento do turismo é a necessidade de controlar os seus impactes sobre o
ambiente natural e sociocultural. Os impactes sociais, culturais e ecológicos do turismo
podem ser tanto positivos, como negativos, pelo que há necessidade de reafirmar a
sinergia existente entre as boas práticas turísticas e a conservação e gestão do património
natural e cultural.
Desta forma para Honey (citada por Batista, 2010) o ecoturismo consiste em viajar para
áreas frágeis, puras e normalmente protegidas que pretenda ser de baixo impacto e em
pequena escala. Nesta definição estão contidos alguns dos princípios do ecoturismo que
são:
Diminuir os impactes negativos no ambiente e nas comunidades locais e ao mesmo
tempo sensibilizar e promover o respeito pelo ambiente natural e cultural em geral;
Proporcionar experiências positivas tanto aos visitantes como às comunidades recetoras
e benefícios financeiros diretos para a conservação e melhoria da qualidade de vida das
populações locais;
Apoiar os direitos humanos e acordos internacionais;
Segundo Weaver (2001), o ecoturismo é o único sector do turismo que tem como
requisito práticas ambientais e socioeconómicas sustentáveis, designando-o “consciência
do turismo sustentável”. Este autor considera, contudo, que é impossível afirmar para
além de 7 qualquer dúvida que uma atividade ou produto em particular do ecoturismo é
sustentável, sendo portanto mais razoável dizer que o ecoturismo deve “parecer”
sustentável.
Na opinião de Batista (2010), o ecoturismo é para os ambientalistas uma forma de
proteger a natureza e os seus recursos a longo prazo. Aplicado de forma eficiente, o
ecoturismo revela-se um meio eficaz para a conservação da natureza, promovendo desta
forma a salvaguarda das áreas protegidas, e da sua biodiversidade garante-se que os
ecoturistas serão satisfeitos. Os projetos de ecoturismo devem seguir princípios e aplicar
medidas que minimizem os impactes ambientais.
No entanto, para Layrargues (2002), o Ecoturismo pode e deve ser encarado como um
novo mercado, sendo que a natureza se tornou uma nova mercadoria, possibilitando em
função do aparecimento da crise ambiental, como efeito subjetivo, a criação de uma nova
sensibilidade, que é capaz de fornecer à natureza um com aspeto positivo.
Brandon e Margoluis (1996) referem que o principal objetivo do ecoturismo é a
conservação da biodiversidade, sendo secundários os benefícios sociais e económicos
para a comunidade local.
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Áreas protegidas (ap’s)
As Áreas Protegidas correspondem ao primeiro esforço sistematizado e congruente de
transcrever as preocupações de ordem ambiental da administração governamental, tendo
por objetivo a defesa dos recursos naturais e da melhoria da qualidade de vida dos
cidadãos, principalmente nos países ditos desenvolvidos. Segundo o n.º 1 do DL 19/93 de
23 de Janeiro, compreendem as áreas terrestres e águas interiores e marítima classificadas,
em que a fauna, a flora, a paisagem, os ecossistemas ou outras ocorrências naturais
apresentam, pela sua raridade, valor ecológico ou paisagístico, importância científica,
cultural e social, uma relevância especial que exige medidas específicas de conservação e
gestão, em ordem a promover a gestão racional dos recursos naturais, a valorização do
património natural e construído, regulamentando as intervenções artificiais suscetíveis de
as degradar (n-º1, DL 19/93 de 23 de Janeiro).
Conforme Batista (2010) a sustentabilidade acima de tudo está associada a uma forte
aposta que deve ser a garantia da diversidade e multifuncionalidade das atividades, com
respeito não apenas pela biodiversidade do território mas também pelo uso múltiplo do
espaço, condição essencial à prossecução não só de objetivos de sustentabilidade em si
mas 8 também à eficiência económica no melhor uso possível dos recursos endógenos
existentes. Sendo o turismo uma atividade com conhecidas formas de sustentabilidade,
deverá ser assumido como uma possibilidade para o incremento e diversidade das
atividades em AP's.
A mesma autora refere que o turismo nas AP´s produz benefícios e introduz custos,
entendendo-se por custos os efeitos negativos que decorrem da atividade turística,
tornando-se uma opção do planeador maximizar os benefícios em detrimento dos custos,
sendo que em primeira instância, as AP´s, foram criadas para preservar um processo
biofísico e uma biodiversidade que integra a herança cultural e tradições, mas
principalmente a preservação da fauna, dos habitats e da paisagem protegida.
A prossecução da sustentabilidade do turismo é um processo contínuo, que requer a
constante monitorização de impactes e a atempada introdução das medidas necessárias em
termos preventivos e/ou corretivos. O destino deve oferecer uma experiência turística de
qualidade (não necessariamente a mesma) a cada um dos segmentos da procura turística,
de modo a satisfazê-los, estimulando paralelamente a adoção de práticas mais sustentáveis
e influenciando o comportamento dos turistas tendo em vista a proteção do ambiente e a
preservação da identidade cultural da comunidade de destino. (Moniz, 2006)
Com o crescimento baseado no turismo de natureza e no ecoturismo, e com as empresas
associadas com essas atividades, muitas áreas protegidas têm adquirido importância como
destinos turísticos (Dharmaratne, Sang, & Walling, 2000; Whitelaw, King &
Tolkach,2013). No entanto, a relação entre o turismo e as áreas protegidas é muitas vezes
complexa, derivado à distinção que deve ser criada entre o foco económico atribuído ao
turismo, que deve ser distinto do foco que se deverá ter na conservação e preservação das
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áreas protegidas (Wilson et al., 2009; Whitelaw, King & Tolkach,2013). As áreas
protegidas foram criadas para proteger e conservar a sua natureza, no entanto este facto
pode ser incongruente com os impactos negativos que são por vezes associados à
visitação e a procura por proveitos económicos das empresas comerciais de turismo,
criando assim uma lacuna no uso dessa mesma conservação (Jamal & Stronza, 2009;
Wilson et al., 2009; Whitelaw, King & Tolkach,2013).
Para Ruschmann (1997) o turismo é um grande consumidor da natureza e a sua evolução,
nas últimas décadas, ocorreu como consequência da busca do verde. O grande fluxo de
turistas nas zonas mais sensíveis como as AP’s apontam para que exista a necessidade de
9 um planeamento fundamental de forma evitarem-se danos sobre o local visitado e a
procura pela manutenção da atratividade dos recursos para as gerações futuras.
Turismo em zonas / ilhas protegidas e de pequena dimensão
Para Tershy (1999) os ecossistemas de ilhas pequenas são suscetíveis ao uso humano, e os
impactos negativos dos visitantes pode ser extremo. Assim, o número de visitantes que
podem visitar uma pequena ilha, sem causar danos significativos é frequentemente muito
mais baixa do que em áreas continentais cujo ecossistema possa ser comparável. No
entanto, os ecoturistas apreciam visitar essas mesmas ilhas e podem estar dispostos a
pagar generosamente por este privilégio. O ecoturismo tem o potencial para contribuir
para a conservação de ilhas e economias locais, funcionários e gestores de turismo em
áreas protegidas são confrontados com a difícil tarefa de permitir a atividade de
ecoturismo, administrando-a de forma a causar o mínimo dano possível na ilha visitada.
Ruschmann (1997) aborda assim a necessidade de ordenar as ações do Homem sobre o
território, ocupando-se em direcionar a construção de infraestruturas adequadas de forma
a evitar os efeitos negativos nos recursos, que destroem ou reduzem a sua a sua
atratividade.
O mesmo autor refere ainda que todos os espaços que contêm recursos de beleza
considerável têm sido alvo de uma “invasão”, durante a temporada de férias, por turistas
ávidos de usufruir do seu tempo livre da forma mais gratificante possível, sem considerar
dos riscos que essa mesma presença possa ter para o destino. Assim sendo, apenas as
ações planejadas com vista a um desenvolvimento sustentável da atividade turística
podem conduzir a uma evolução favorável para os empreendedores, para as populações
recetoras e para os turistas.
As autoridades responsáveis pelas áreas protegidas têm sido criticados por criarem
restrições e proibições ao invés de terem reações pró-ativas, criando uma abordagem
sustentável de desenvolvimento e de gestão (Sharpley & Pearce, 2007; Whitelaw, King &
Tolkach,2013). Este problema é muitas vezes exacerbado pela história de falta de
comunicação entre as empresas ligadas ao turismo e autoridades das áreas protegidas
(Sharpley & Pearce, 2007; Whitelaw, King & Tolkach,2013). Estas pressões combinadas
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sugerem que são necessários meios inovadores de forma a se poder financiar e gerir as
áreas protegidas. Independente dos mecanismos de gestão, há uma capacidade infinita
para que as receitas do turismo possam financiar estas áreas. Isto é particularmente
pertinente uma vez que a presença de infraestruturas de turismo e a sua visitação podem
ter efeitos prejudiciais sobre a 10 biodiversidade. De forma a amenizar os efeitos
prejudiciais, a resolução dos mesmos devem ser financiados pelo turismo, uma vez que
este é a causa do problema inicial (Buckley, 2003; Atender et al., 2008; Wilson et al.,
2009; Whitelaw, King & Tolkach,2013). Para determinar a melhor adequação de
determinados modelos de gestão e de financiamento, as áreas protegidas devem ser
primeiramente classificadas quanto à sua base de visitação e de biodiversidade.
Perfil dos visitantes das Áreas Protegidas Portuguesas
Segundo Marques. C, Menezes. J, e Reis. E, (2010) citando Seaton e Bennett, (2000), o
primeiro passo no planeamento de tipos de turismo baseado na natureza é a análise da
procura turística. Os mesmos autores referem que os diferentes requisitos e exigências da
procura tornam-se críticos aquando da definição da oferta. Se quem planeia e gere tiver o
conhecimento necessário do turismo baseado no mercado de natureza e as motivações da
viagem de diferentes segmentos, tornam-se mais conscientes das implicações da gestão
dos visitantes dos parques e das áreas protegidas de modo a desenvolverem um melhor
planeamento turístico e melhores estratégias de marketing para o local.
Para Marques. C, Menezes. J, e Reis. E, (2010) apesar de Portugal não ser um dos
“hotspots” mundiais de biodiversidade, no contexto europeu, tem no entanto algumas
paisagens naturais interessantes localizadas em parques, reservas naturais e outras áreas
naturais interesse. No entanto, o turismo em áreas protegidas ainda encontra-se num
estágio inicial, com algumas limitações, principalmente em infraestruturas e serviços de
apoio ao visitante. Nos últimos anos, tem havido uma crescente demanda para as
atividades de natureza mas existia à data falta de informação sobre a caracterização dos
visitantes e as suas motivações. Assim sendo elaboraram um estudo de forma a identificar
e compreender a diversidade de visitantes nacionais das Áreas Protegidas Portuguesas
baseado na segmentação. Segmentos baseados nas suas motivações e caracterizados com
base na importância dada a aspetos como as atividades, as instalações e os serviços,
frequência de visita e aspetos sociodemográficos.
Através deste estudo é possível auferir que Portugal tem 5 tipos distinto de visitantes de
áreas protegidas:
• visitantes egocêntricos (self-centered visitors); 11
• visitantes ocasionais (occasional visitors);
• visitantes urbanos (urban visitors);
• excursionistas (excursionists);
• naturalistas (sociable naturalists)
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Os visitantes egocêntricos são motivados por aspetos de realização pessoal e usufruto da
natureza, independentemente da distância percorrida. Eles são os menos influenciados
pelos familiares ou amigos e não visitam parques por motivos de saúde, educação
ambiental, desporto ou participar em eventos tradicionais. Estas pessoas desfrutam da
natureza, de modo a sentirem-se bem.
Os visitantes ocasionais dão mais importância a quase todas as dimensões de motivação.
As suas visitas são limitadas pela proximidade. Esses visitantes são motivados por
atividades desportivas e a participação em eventos tradicionais planeados. O ambiente
natural e os cenários paisagísticos são pouco apreciados por este tipo de visitantes. Em
suma, os visitantes ocasionais procuram eventos ou atividades desportivas realizadas nas
imediações.
Os visitantes urbanos visitam os parques próximos da sua zona de conforto (residência),
influenciados pela família e amigos com objetivo de desfrutar a natureza. Estes visitantes
dão pouca importância para aspetos de saúde, eventos tradicionais e educação ambiental,
visto que eles visitam áreas protegidas como um refúgio, com o intuito de relaxar e estar
com a família e amigos.
Os excursionistas são influenciados pela família e amigos a visitar parques para alcançar a
realização pessoal. Eles mostram interesse em eventos tradicionais mas dão pouco valor
ao ambiente natural, são sobretudo indivíduos que visitam áreas protegidas, de modo a
sentirem-se ativos.
Os naturalistas são motivados pelo prazer do ambiente natural e paisagem. Eles também
visitam parques por motivos de saúde, educação ambiental e realização pessoal e são os
mais influenciados quer por amigos, familiares e outras pessoas. Indivíduos que estão
dispostos a viajar grandes distâncias para chegar aos parques dando pouca importância à
dimensão de proximidade.
Para os autores existem algumas semelhanças entre os segmentos de turistas que visitam
as áreas protegidas Portuguesas e os consumidores de turismo, uma vez que, os
Egocêntricos e os Visitantes urbanos são referenciados como turistas de natureza, bem
como, 12
os Naturalistas, são referenciados como ecoturistas. Os excursionistas e os visitantes de
ocasião têm semelhanças entre si, uma vez que não visitam estas áreas por prazer na
natureza, mas sim porque viajam em grupo. Existem por outro lado dois grupos distintos
com características comuns. Os egocêntricos, os visitantes urbanos e os naturalistas estão
claramente comprometidos com o ambiente natural e têm as características típicas do
turista que se baseia na natureza para viajar, sendo que os Egocêntricos e os Visitantes
urbanos também se encontram comprometidos com a experiência afetiva. Por outro lado
os Visitantes ocasionais e os Naturalistas focam-se em atividades e eventos.
Existe segundo o estudo um segmento de visitantes nacionais, composto por ecoturistas
que são designados como os Naturalistas (Sociable Naturalists), que contribuem imenso
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para o desenvolvimento da imagem internacional do país, posicionando Portugal como
um destino ecoturista.
Ao contrário do que seria de se esperar da experiência prática do caso de Portugal,
nenhum dos segmentos foi identificado com características distintivas de turistas de
aventura, apesar dos Visitantes ocasionais relacionarem os desportos e a aventura de
recreação como uma das motivações principais para a sua viagem.
Ilha das Berlengas como caso de estudo
A Reserva Natural da Berlenga foi criada em 1981 (Decreto-Lei n.º 264/81, de 3 de
Setembro) e integra a Rede Nacional de Áreas Protegidas. A gestão desta rede compete ao
Instituto da Conservação da Natureza e das Florestas (ICNF) podendo ser exercida
diretamente ou por delegação de competências, devidamente articulada com outras
entidades, públicas e privadas.
O objetivo principal da Reserva Natural das Berlengas que se encontra incorporado em
toda a rede nacional de áreas protegidas, tal como é indicado no PORNB3 é garantir o
princípio da sustentabilidade do território nacional, com salvaguarda das áreas territoriais
que mantenham a estrutura e funcionamento dos sistemas naturais que garantem a vida.
3 Plano de Ordenamento da Reserva Natural das Berlengas
Os seus objetivos específicos definitos à altura da sua constituição salvaguardavam:
Proteger a flora e fauna autóctones e os respetivos habitats;
13
Promover a gestão e salvaguarda dos recursos marinhos, recorrendo a medidas adequadas
que possibilitem manter os sistemas ecológicos essenciais e os suportes de vida que
garantam a sua utilização sustentável, que preservem a biodiversidade e recuperem os
recursos depauperados ou sobre explorados;
Aprofundar os conhecimentos científicos sobre as comunidades insulares e marinhas;
Contribuir para o ordenamento e disciplina das atividades turística, recreativa e de
exploração pesqueira, de forma a evitar a degradação dos valores naturais, permitindo o
seu desenvolvimento sustentável.
Segundo o mesmo plano o objetivo principal que se encontrava incorporado em toda a
rede nacional de áreas protegidas é garantir o princípio da sustentabilidade do território
nacional, com salvaguarda das áreas territoriais que mantenham a estrutura e
funcionamento dos sistemas naturais que garantem a vida. Desta forma um dos objetivos
específicos do referido plano, menciona a necessidade de contribuir para o ordenamento e
disciplina das atividades turísticas, recreativas e de exploração pesqueira, de forma a
evitar a degradação dos valores naturais, permitindo o seu desenvolvimento sustentável.
Após a implementação do PORNB, foram executados vários estudos, relatórios e ações
por diversas entidades que asseguram a gestão direta ou indireta da área protegida, tendo
assegurado a candidatura do arquipélago a Reserva da Biosfera da UNESCO. Atualmente
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para além da classificação da UNESCO integra a Rede Natura 2000, é uma Reserva
Biogenética e uma Zona de Proteção Especial.
Um dos relatórios anteriormente mencionado foi executado pelo Município de Peniche
integrado na rede ECOS onde é referido que (…) “ao nível do Turismo, a alteração para
um tipo de turismo mais vocacionado com os valores naturais, históricos e culturais do
arquipélago das Berlengas – Turismo de Natureza e/ou Ecoturismo, contrariamente a um
turismo de massa – permitindo o aparecimento de nichos de mercado altamente
especializados e com forte rentabilização económica. A este propósito, de referir que a
Organização Mundial de Turismo previa, que os produtos relacionados com a defesa do
meio ambiente, nomeadamente o turismo ambiental desenvolvido em locais que
implementam condutas de turismo sustentável, as atividades de ar livre e o turismo
científico, viessem a ser o sector económico que mais iria crescer, tendo sido esta a aposta
inerente à promoção da candidatura da Berlenga a Reserva da Biosfera. Este tipo de
turismo exigiria um esforço acrescido aos operadores turísticos locais 14
ao nível da sua formação e recrutamento de colaboradores com formação específica em
matérias relacionadas com o património natural, cultural e histórico. A formação dos
operadores e dos seus colaboradores poderia ser assegurado pelo Instituto Politécnico de
Leiria - Escola Superior de Turismo e Tecnologia do Mar de Peniche – Instituto
Politécnico de Leiria, dada a sua presença na região e vocação em cursos na área do
Turismo e Biologia Marinha, contribuindo deste modo para o crescimento e consolidação
do seu projeto educativo” (…) (ponto 14.3 - Benefícios das atividades económicas para a
população local, pág.64).
No que diz respeito aos impactes positivos e negativos do turismo refletidos no dossier de
candidatura,- Berlengas a Reserva da Biosfera da UNESCO, o qual menciona que no
ponto 14.2.3 - Impactes negativos e positivos do turismo (atuais e previstos) refere-se que
(…) “Tendo em atenção que a capacidade de carga foi definida há mais de 15 anos e que
atualmente as condições do arquipélago para receber visitantes são algo diferentes,
nomeadamente tendo em atenção a magnitude da sazonalidade da pressão turística e o
investimento previsto/em curso nas infraestruturas de energia, saneamento, água e apoio à
visitação, está prevista a realização de um novo estudo de capacidade de carga e de
definição de mecanismos de controlo da visitação mais rigorosos.
O mesmo ponto refere ainda que (…) “O turismo poderá assim, em parte, ser o motor da
autossustentabilidade e valorização da ilha. Sendo certo que a atividade turística cria a
necessidade e os meios para intervir neste âmbito, poderão assim ocorrer diversos aspetos
positivos ao nível local, muitos dos quais passam pela resolução dos problema” (...)
Problemas esses, que são mencionados nos impactos negativos, tais como, a falta de boas
condições de armazenamento e abastecimento de água na ilha, as fracas infraestruturas de
saneamento e a recolha de resíduos sólidos urbanos, que no final da época balnear, junto
ao apoio de campismo, são abandonados vários recipientes que acabam por ir para o mar.
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Já na altura da constituição do PORNB a problemática da excessiva procura turística
encontrava-se bem latente no relatório. Prova disso era a preocupação pela implementação
e controlo da capacidade de carga não só da ilha como de todo o Arquipélago, de forma a
evitar danos futuros na sua biodiversidade (…) ”Apesar da reduzida acessibilidade, e das
condições adversas para atracar e desembarcar nas ilhas, e em particular devido, por um
lado, à elevada vulnerabilidade da vegetação ao pisoteio, por outro, aos habitats de
nidificação de algumas espécies de aves, que estiveram na origem do estabelecimento das
reservas integrais e parciais na zona emersa da Ilha, foi necessário equacionar medidas
que permitissem gerir o 15
fluxo de utilizadores/visitantes da Ilha da Berlenga.” (…) ”Nesse sentido em 1987 foi
elaborado o Estudo de Capacidade de Carga da Reserva Natural das Berlengas.” (…)
(ponto 7.2.3 – Capacidade de Carga, págs.189 e 190)
O objetivo passava por determinar o número máximo de utentes que a ilha poderia receber
diariamente excluindo a população residente tendo em conta tiveram em conta a
vulnerabilidade e sensibilidade dos valores naturais existentes. Chegou-se assim através
de ponderações ao seguinte resultado:
(…) “Nas condições de infraestruturas existentes em 1987, a carga máxima total de
alojamento calculada por este estudo, aconselhava a não exceder os 130 utentes, sendo a
carga ideal de 77 utentes. A carga máxima recreativa não deveria exceder os 230 utentes
simultâneos, na utilização diária da ilha.” (…) (ponto 7.2.3 – Capacidade de Carga,
pág.190)
O conceito de capacidade de carga apresenta sérios problemas de operacionalização, uma
vez que se define perante situações de saturação já existentes, sendo de difícil previsão os
limites absolutos para cada espaço (Joaquim, 1997).
Oliveira (2013) citando a OMT (UNWTO, 2012) sobre a definição da capacidade de
carga turística explana que a mesma consiste “no número máximo de pessoas que, uma
determinada área pode suportar, sem que haja alteração no meio físico, sem reduzir a
satisfação dos visitantes e sem que se produza efeitos adversos sobre a comunidade
recetora, a economia ou cultura local.”
Metodologia de investigação do perfil dos segmentos de visitantes e
satisfação da visita á Reserva Natural da Ilha das Berlengas.
Pretende-se elaborar um estudo de forma a identificar a diversidade de visitantes desta
área protegida portuguesa com base na satisfação da sua visita e os motivos que levaram à
sua visita. Ao falarmos de Experiência Turística, falamos também do já referido “Novo
Turista”, que passa por ser um consumidor mais informado, exigente, com várias
motivações e que procura experiências únicas, individuais, personalizadas. A experiência
é dinâmica, é intrapessoal, é intangível pelo que a mesma mede-se através dos
comportamentos. A pré-experiência, a experiência e pós experiência são marcadas por
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elementos que permitem diferenciar todo o processo da experiência e dividir assim nestas
três fases. Sendo que através do imaginário turístico, da autenticidade existencial e da
nostalgia, é possível descrever todo o processo. Mas 16 será que a forma como está a ser
gerida a área protegida em causa, contribui para uma agradável experiência, e
consequentemente está a contribuir para a atratividade do local?
A questão anterior leva-nos a formular hipóteses, que servirão de suporte para atingir os
objetivos a que nos a que nos propomos, permitindo-nos aproximar do foco central do
estudo, uma vez que estas são previsões específicas sobre a natureza e a direção do
relacionamento entre duas variáveis, estas hipóteses são testadas e mensuradas pelos
métodos propostos para a pesquisa, sendo possíveis respostas plausíveis e provisórias ao
problema da pesquisa orientando a busca de outras informações.
Para a pesquisa/estudo em questão foram formuladas 6 hipóteses, que nos ajudarão a
concluir a resposta à nossa questão principal – Qual o nível de satisfação e os motivos da
visita à Reserva Natural da Ilha da Berlenga
H1 –
Modo de organização da visita – Esta hipótese leva-nos ao conhecimento do
número de vezes que determinado individuo visitou a ilha, com quem viajou, como
obteve informação sobre a mesma e como organizou a sua viagem e duração da sua
estada.
H2 –
Avaliação da experiência da visita – Pretende-se com esta hipótese aferir o grau
de satisfação no âmbito da viagem à ilha das Berlengas, os motivos relacionados com a
sua visita, a importância das diversas infraestruturas e serviços existentes na ilha e a
intenção de voltar a visitar a mesma
H3 –
Estatuto do Arquipélago das Berlengas – Nesta hipótese pretende-se saber qual o
conhecimento que o visitante / turista tem sobre o arquipélago, quais as classificações
atribuídas por entidades oficiais e a importância que as mesmas têm ou poderiam ter para
a ilha.
H4 –
Gestão da sustentabilidade da Ilha das Berlengas – Com esta hipótese pretende-se
aferir se as regras existentes e implementadas pelas autoridades responsáveis pela gestão
da ilha, foram transmitidas a quem a visita, bem como se as mesma são demasiado rígidas
e que aspetos são considerados mais importantes para a gestão e sustentabilidade da ilha.
H5
- As características demográficas (idade, sexo, nacionalidade, local de residência)
apresentam influência na decisão da deslocação? – Pretende-se com esta hipótese,
concluir se a motivação da deslocação está relacionada com a proximidade ao local.
O levantamento de dados para a pesquisa irá ser efetuado por um questionário como
instrumento de investigação, a aplicado durante o período de maior sazonalidade. Irá
resultar 17
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de uma rigorosa seleção, na tentativa de efetuar somente as questões necessárias e
suficientes para o estudo, tentando ser o mais objetivo possível, usando uma linguagem
clara e acessível ao público-alvo, bem como incluir vários aspetos relevantes para o
estudo em causa.
Os resultados irão auferir dentro dos resultados obtidos no estudo efetuado por Marques.
C, Menezes. J, e Reis. E, (2010) qual ou quais são os atuais segmentos de mercado que
viaja com mais frequência a ilha da Berlenga, caraterizando o seu perfil e o motivo da
visita.
Devido à maior complexidade da procura turística e suas motivações, o destino deve
oferecer uma experiência turística de qualidade, se pretende manter a sua competitividade
a longo prazo (WTO, 1998, Moniz 2006).
Para Moniz, (2006) o planeamento turístico traduz-se num plano estratégico que integra
todos os aspetos do desenvolvimento do turismo, incluindo os recursos humanos,
ambientais e socioculturais. Deve começar pela determinação de objetivos, indo de um
nível mais geral para a um nível mais específico, utilizando vários níveis de desagregação.
Sendo um documento a longo prazo, deve assentar num consenso entre todos os agentes
envolvidos. Do mesmo modo, deve formalizar os instrumentos necessários para a
respetiva implementação e prever mecanismos de controlo, que permitam averiguar o seu
nível de êxito, ou seja, o seu grau de execução.
BIBLIOGRAFIA
Amado, A. (2007), Plano de Ordenamento da Reserva Natural das Berlengas. Consultado
a
20
dezembro,
2014
do
Município
de
Peniche
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site:
http://www.cmpeniche.pt/_uploads/PDF_Berlengas_Laboratorio/PO_RNB_Relatorio.pdf
Batista, D. (2010), Turismo, contributo para o desenvolvimento sustentável de áreas
protegidas. Dissertação de mestrado, Faculdade de Ciências e Tecnologia da Universidade
Nova de Lisboa, Lisboa, Portugal.
Van Bellen, H. (2004), Desenvolvimento Sustentável: Uma Descrição das Principais
Ferramentas de Avaliação in Revista Ambiente & Sociedade – Vol. VII nº. 1 jan./jun.
2004
Brandon, K & Margoluis, R.(1999), The Bottom Line: Getting Biodiversity Conservation
Back to Ecotourism, The Ecotourism Equation: Measuring the Impacts, consultado a 30
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2014
do
Yal
F&ES
Bulletin
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site:
http://environment.research.yale.edu/documents/downloads/0-9/99brandonetal.pdf
Castro, J (2004), Parque Natural Douro Internacional / Arribas delnbDuero – Territórios
Transfronteiriços - Suas Dinâmicas. Tese de mestrado não-publicada, Universidade do
Minho, Minho, Portugal
Fennell, D. & Dowling, R. (2003) Ecotourism Policy and Planning.London, UK; CABI
Publishing.
Joaquim, G. (1997).Da Identidade à Sustentabilidade ou à Emergência do “turismo
responsável”- Sociologia – Problemas e Práticas nº 23, 1997.
Layrargues, P. (2002), A Função Social do Ecoturism. Consultado a 31 dezembro, 2014
do Senac Web site: http://www.senac.br/INFORMATIVO/BTS/301/boltec301e.htm
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Machado, D. (2004), Educação Ambiental – O Ecoturismo e os seus Impactos.
Consultado
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Etur,
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http://www.etur.com.br/conteudocompleto.asp?IDConteudo=2644
Marques, C., Reis, E., & Menezes, J. (2010). Profiling the segments of visitors to
Portuguese protected áreas. Journal of Sustainable Tourism.
Moniz, A. (2006), A Sustentabilidade do Turismo em Ilhas de Pequena Dimensão: O
Caso dos Açores. Tese de mestrado não-publicada, Universidade dos Açores, Ponte
Delgada, Portugal.
Município de Peniche, (2012). Consultado em 25-05-2012, no Portal: http://www.cmpeniche.pt/
Oliveira, C. (2013), Caracterização do mercado de actividades de Turismo de Natureza
em Portugal. Tese de mestrado não-publicada, Faculdade de Ciências e Tecnologia,
Universidade Nova de Lisboa, Lisboa, Portugal.
Pegas, F & Castley, J. (2014), Ecotourism as a conservation tool and its adoption by
private protected areas in Brazil. Journal of Sustainable Tourism.
Pires, P. (2002), Dimensões do Turismo. São Paulo: Senac 19
Ruschmann, D. (1997), Turismo e Planejamento Sustentável – A Proteção do Meio
Ambiente. 14ª Edição. São Paulo: PapirusEditora
Tershy, B., Donlan, C., Keitt, B.,Croll, D., Sanchez, J., Wood, B., et.al. (1999) Island
conservation in north-west Mexico: a conservation model integrating research, education
and exotic mammal eradication. London,UK: IUNC Pubication Services Unit.
Weaver, D. (2001). The Encyclopedia of ecotourism.Oxon. UK: Cabi Publishing
Whitelaw, P., King, B., & Tolkach, D. (2013). Protected areas, conservation and tourism
– financing the sustainable dream. Journal of Sustainable Tourism.
World Tourism Organization - Sustainable Development of Tourism. Consultado a 06 de
janeiro de 2015 do UNWTO Archive web site:
http://sdt.unwto.org/content/about-us-5
24. SURF: ROYAL SPORT FOR THE NATURAL KINGS OF EARTH UMA PERSPETIVA HISTÓRICA.
Nunes, JM1, Mendes, S2, Jorge, JP1
1Grupo
de Investigação em Turismo (GITUR), Escola Superior de Turismo e
Tecnologia do Mar (ESTM), Instituto Politécnico de Leiria (IPL), 2520-641
Peniche, Portugal; 2Grupo de Investigação em Recursos Marinhos (GIRM),
Escola Superior de Turismo e Tecnologia do Mar (ESTM), Instituto Politécnico
de Leiria (IPL), 2520-641 Peniche, Portugal
ABSTRACT :In recent years, surf has reached such proportions in terms of media
coverage and importance in the Portuguese economy such a way that even attracted the
government's attention to the phenomenon. This attention was reflected in national
strategic documents of the economy of the sea, through the surf tourism.
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Nowadays Portugal is mentioned as one of the countries with the highest tourist demand
for surfing, which is reflected in the increasing availability of products relating to this
activity, including hostels, surfcamps and surfschools, among others.
As a first introduction we refer to the origin of the word surf, as well as their
differentiation relative to the term surfing, some of the modalities that are practiced in the
waves, chronologically followed by their origin, history, social issues and decline, with
the connection to surf tourism at the beginning of the 20th century proving to be
extremely important to your success and rebirth, while economic activity and subsequent
development. In the end, globalization, finishing with its arrival in Portugal.
Palavras-passe: surf, surfing, história, turismo
INTRODUÇÃO
A palavra surf, está definida no dicionário da língua inglesa como a linha da espuma,
resultante da onda em rebentação.
The term surf in literature usually refers to the breaking waves on shore and on reefs when
accompanied by a roaring noise caused by the larger waves breaking. (SWCES, s.d.)
Crê-se que a origem do termo derive da palavra indiana suffe (Harper, 2001), utilizada
com o sentido de linha de costa, tendo sido adotada pelos navegadores portugueses no séc.
XVII (HM, 2014; SIAdmin, s.d.), até entrar no vocabulário inglês com o significado que
acima se transcreveu.
O dicionário de língua portuguesa define surf do seguinte modo:
Desporto náutico que consiste em acompanhar o rebentar das ondas mantendo-se em
equilíbrio sobre uma prancha. (Do inglês surf, «rebentação») (Porto, s.d. a)
Existem outras definições, mais ou menos técnicas sobre o que realmente é o surf, como
por exemplo:
Acto de deslizar sobre as ondas. (Silva & Ramos, 2004)
É curioso salientar que esta última definição já não faz referência a qualquer tipo de
acessório, pois existem diferentes formas de deslizar nas ondas, em função das pranchas e
dos seus diferentes tipos, e até mesmo sem prancha. Assim, como nos diz Moreira (2008),
as principais vertentes são: bodysurfing, praticado sem prancha; bodyboarding, praticado
deitado na prancha; kneedboarding, de joelhos na prancha; longboarding, em pranchas
grandes e em pé; shortboarding, em pranchas pequenas e em pé,
sendo praticamente consensual a utilização de todos estes termos, exceção feita ao
shortboarding, que por norma é designado por surf.
Todas estas modalidades são praticadas na mesma zona da onda, e o surf ou shortboarding
é uma delas, então:
Surfing é a modalidade onde se viaja na onda, deslizando na parede em direcção à praia.
(Moreira, 2008)
É no entanto comummente aceite a utilização do termo surf, não como uma das várias
disciplinas do acto de deslizar nas ondas, mas como designação da própria modalidade.
Segundo Warshaw (1997), “surfing isn’t easily categorized. It is based in sport, but can
drift into art, vocation and avocation, even religion”, e na mesma linha, Moriarity e
Gallangher (2001) afirmam: “it’s an art by the way you express yourself on a wave. It’s a
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sport because you compete with it, and it’s spiritual because it’s just you and Mother
Nature.” (in Taylor, 2007)
PRÉ-HISTÓRIA DO SURF
Apesar da origem do surf não seguir uma ordem cronológica definida, acredita-se que esta
modalidade teve o seu desenvolvimento em três locais distintos: Peru, Polinésia Francesa
e Havai (Souza, 2004).
Nat Young, campeão do mundo de surf em 1966, terá sido dos primeiros a sugerir na sua
obra The History Of Surfing, que os homens deslizam nas ondas desde o princípio da
humanidade, baseando-se na necessidade natural de adaptação ao meio.
The first surfers were probably ‘unconscious’ surfers: Island fishermen who used waves
as the fastest means of getting their canoes over the coral reefs and back to the beach with
their catch. (Young, 1998)
A colonização dos povos da Polinésia, mais concretamente nas Ilhas Marquesas, poderá
ter acontecido anteriormente à colonização espanhola, pelos Incas que viviam no Peru, e
que através da corrente marítima de Humboldt teriam chegado à Polinésia Francesa em
embarcações contruídas de junco, denominadas de “totora” (Heyerdahl, 1996). Sabe-se
que os povos ameríndios Mochicas e Chimus (Séc. II A.C. a 750 D.C. e 1000 a 1470 D.C
respetivamente), utilizavam estas pequenas embarcações chamadas de caballitos de totora,
onde os pescadores ao retornarem da pesca surfavam as ondas até chegar à praia, sendo
consideradas as antecessoras das pranchas de surf havaianas:
Los Chimus, y antes los Mochicas, hicieron unos pequeños barcos de totora, generalmente
individuales, para pescar. Son llamados “caballitos de totora” por la manera como el
pescador “se monta” para navegar. Ellos sobreviven hasta hoy. En los medios deportivos
de la actualidad que practican “surf” se considera al “caballito” como el inmediato
predecesor de las antiguas, grandes y pesadas tablas usadas por los nativos de Hawai que
iniciaron ese deporte. (Zevallos, 1999)
Segundo Souza (2004), “os primeiros a chegar ao Havaí teriam sido os habitantes das
Ilhas Marquesas, na Polinésia. Eles praticavam a arte do paipo: descer numa onda deitado
sobre uma pequena prancha arredondada”, para depois, “numa segunda leva, bem
posterior, os taitianos também chegaram ao arquipélago, trazendo o hábito de ficarem em
pé em cima de uma prancha...”
Kampion, na sua obra Uma História da Cultura do Surf, afirma que por volta do ano 400
DC, um grupo de polinésios provenientes do Tahiti chegou ao Havai. Uma viagem
oceânica de milhares de quilómetros, quase mil anos antes das grandes navegações
europeias.
O surf, praticado em pranchas de madeira, e não em canoas, terá surgido há cerca de mil
anos (Butts, 2001), quando habitantes do sudoeste da Ásia começaram a estabelecer
contacto com o mar, e se dirigiram em direção às ilhas que pontificam no sul do Oceano
Pacífico (Finney & Houston, 1996), ou seja, o surf tal como o conhecemos hoje, terá
surgido por volta do século XI, sendo uma invenção Polinésia, com o seu
desenvolvimento nas Ilhas Havaianas (Warshaw, 2010).
Apesar de não descartar a ideia do surf ter sido praticado por tribos primitivas, onde hoje
se situa o Peru e regiões da África, como Senegal e Gana (Finney & Houston, 1996), os
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primeiros povos a praticá-lo com maior intensidade teriam sido as sociedades tribais
localizadas no Pacifico Sul, conhecidas pelos europeus como polinésias, que
incorporaram esta prática com um forte significado sócio religioso (Lueras, 1984).
Os primeiros relatos escritos do contacto do Homem Ocidental com o que agora
chamamos de surf é-nos fornecido pelos diários da expedição do Capitão da Marinha Real
Britânica, James Cook, que ao comando da frota constituída pelos navios, Resolution e
Discovery, aportou nas Ilhas Havaianas em 18 de Janeiro de 1778, mais precisamente a
O’ahu (Kampion & Brown, 1998). Não fora no entanto, esta a primeira vez que James
Cook se deparava com a visão de alguém a fazer surf, pois no ano anterior, no Tahiti, vira
várias vezes um ilhéu a fazê-lo com uma canoa (Kampion & Brown, 1998). Descreveu-o
assim no seu diário de bordo:
I could not help concluding that this man felt the most supreme pleasure while he was
driven on so fast and so smoothly by the sea (…) During my stay, two or three of the
natives came up, who seemed to share his felicity, and always called out when there was
an appearance of a favourable swell (…) (Cook & King, 1784)
Após a sua morte, em 14 de Fevereiro de 1779, assassinado por um grupo de nativos, na
Baia de Kealakekua, é o Primeiro-Tenente James King que completa os diários, e
descreve assim o que observou:
(…) twenty or thirty of the natives, taking each a long narrow board, rounded at the ends,
set out together from shore. The first wave they meet, they plunge under, and suffering to
roll over them, rise again beyond it, and make the best of their way by swimming out to
sea. The second wave is encountered in the same manner with the first (…) As soon as
they have gained, by these repeated efforts, the smooth water beyond the surf, they lay
themselves at length upon their boards, and prepare for their return. As the surf consists of
a number of waves, of which every third is remarked to be always larger than the others,
and to flow higher on the shore, the rest breaking in the immediate space, their first object
is to place themselves on the summit of the largest surge, by which they are driven along
with amazing rapidity toward the shore. (Cook & King, 1784)
Os taitianos, e posteriormente os havaianos incorporam o surf na sua estrutura social e
religiosa, através de cultos e atividades sociais baseadas nas forças marítimas da natureza
(Finney & Houston, 1996), praticando o He’enalu, que no dialeto moderno havaiano,
significa algo como “fazer surf ou cavalgar na onda” (Pukui & Elbert, 1986), sendo no
entanto esta prática muito mais ativa no Havai do que no Tahiti (Finney & Houston,
1996).
O He’enalu era considerado pelos missionários, nos seus relatos, como um passatempo
nacional no Havai (Finney & Houston, 1996), sendo praticado na maioria das ilhas do
arquipélago, onde existiam numerosas comunidades de surf (Holt, 2012). Os nativos
praticavam-no com muita intensidade, largando tudo o que faziam quando sentiam boas
ondas a aproximarem-se com as marés (Finney & Houston, 1996).
The universality of surfing in Hawaiian life, being practiced by men, women, and
children, chiefs and commoners, further confirms the status of surfing as a Hawaiian
national sport. (Finney, 1959)
O povo havaiano estava profundamente ligado ao surf e à energia poderosa do oceano que
o rodeava (Kampion & Brown, 1998), assumindo este uma importância tal, que
funcionava inclusivamente no seio das sociedades tribais do arquipélago como um
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diferenciador de classes, onde o tipo de pranchas que cada uma delas poderia utilizar as
distinguia.
Esta afinidade com as ondas diferenciava-os dos restantes povos da Oceânia onde também
se praticava surf, exceção feita ao Tahiti, ao evoluírem a sua técnica de surf, de
simplesmente deitados de bruços,
para a posição de pé sobre a prancha. (Finney, 1959), o que se viria também a refletir na
forma das próprias pranchas, tanto ao nível do tamanho e espessura, bem como nas
madeiras usadas, nomeadamente no que concerne à sua flutuabilidade.
A construção de pranchas de surf foi uma parte importante da cultura inicial do surf, pois
encerrava em si mais do que apenas a sua construção, acompanhando-a rituais específicos
de grande significado mitológico, até à altura de cumprirem a sua função no mar.
(Kampion & Brown, 1998)
When the board maker had selected a suitable tree, he placed a red fish (kumu) in its trunk
and then felled it with his stone adze. He then dug a hole in the remaining roots and put
the fish in it, with a prayer, as an offering in return for the tree. Then he cut the tree down
to a rough plank, which he later finished in a canoe house (halau) or some other suitable
structure near the shore. Before the board could be used it had to be properly dedicated
with another ritual. (Finney, 1959)
Como em cima já foi referido, era também através do he’enalu que se acentuavam as
diferenças sociais, e nesse sentido os chefes e os seus familiares, tinham direito aos
melhores locais das praias para o praticar. As ondas surfadas por estes, eram proibidas de
serem compartilhadas, e quem o fizesse era condenado à morte. Ainda na componente
social, o he’enalu assumia um papel importante nas relações conjugais entre os havaianos,
pois ambos os sexos o praticavam. A exibição corporal em cima de uma prancha era uma
das maneiras de demonstrar interesse num parceiro. Quem o fizesse com mais habilidade
ou conseguisse surfar na mesma onda que o seu parceiro até à praia, muitas vezes era
recompensado nos seus intentos. (Finney, 1959)
…when a man and woman rode in on the same wave sexual indulgence often followed.
Surfing was also a means of more formal courtship… (Finney, 1959)
A prática do he’enalu, e a competição a ele associada, através de intensos torneios, era
generalizada, e todos aqueles que possuíam algum tipo de bens, os apostavam, em alguns
casos, até a sua própria liberdade e a da sua família, o que em caso de derrota significava
tornarem-se escravos do surfista vencedor. Apesar de todos os homens havaianos se
desafiarem, os principais torneios eram realizados entre chefes tribais (ali’i), pois para
além das consequências materiais do resultado final, com ganhos e perdas, era de grande
importância o reconhecimento como sendo um grande surfista. (Finney, 1959)
The chiefs (ali'i), who prided themselves on their ability in sports, were specifically noted
for their prowess in surfing. (Finney, 1959)
Nestes torneios, os confrontos eram entre dois surfistas, que remavam com as suas
pranchas até à zona de rebentação. Assim que uma onda grande aparecia, apanhavam-na,
sendo o vencedor daquela onda, aquele que tivesse habilidade suficiente para se desviar
dos corais e rochas, chegando à praia em primeiro lugar. A vitória final seria declarada
depois de várias ondas terem sido feitas. (Finney, 1959)
Com a chegada do Homem branco, a população nativa foi praticamente dizimada, e no
final do séc. XIX o povo havaiano era já minoritário no arquipélago, passando de uma
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população de cerca de 400.000 pessoas em 1778, aquando da chegada de Cook, para
apenas 40.000 em 1890. (Kampion & Brown, 1998)
Com a deposição da monarquia havaiana, que pretendia tornar o Havai num reino
independente (Finney & Houston, 1996), a velha ordem desmoronou-se, o cristianismo
florescia, a cultura havaiana sofria uma reviravolta e desintegrava-se. (Kampion &
Brown, 1998)
Com os seus elementos reguladores a serem severamente afetados e substituídos pelos
ideais republicanos europeus, o he’enalu não foi exceção. Associado que estava ao
nudismo e à sexualidade, sofreu forte oposição por parte dos missionários, que quase
levaram a sua prática à extinção.
Se não fossem alguns pequenos enclaves e praticantes isolados, o surf teria desaparecido
durante o século XIX. (Kampion & Brown, 1998)
Em meados do séc. XIX ficou reduzido a uma curiosidade ocasional, com exceção de
alguns lugares em O’ahu, Kauai e possivelmente Maui, tornando-se uma visão rara nas
ilhas havaianas, até mesmo na costa de Kona, onde tinha sido anteriormente tão popular.
(Finney, 1960)
The surfers themselves were few in number; at Waikiki only a hand-ful could be seen in
the water at any one time. And riding techniques seemed to have regressed. Many of these
surfers rode straight-off instead of angling across the wave. No longer were there the
“difficult and dangerous maneuvers” that Lieutenant King had found altogether
astonishing and hard to believe. (Finney & Houston, 1996)
RENASCIMENTO E EVOLUÇÃO DO SURF
Há relatos, que por volta de 1860, em Hilo, um dos últimos redutos do desporto na ilha do
Havai, ainda se podia ver esse grande espetáculo, pois alguns havaianos da nova geração
tinham aprendido a fazer surf. (Finney, 1960)
Em 1890 com a saída dos missionários do Havai, o surf começa a ter novamente espaço,
iniciando-se então um período de recuperação e desenvolvimento (Warshaw, 2010). De
salientar que tal período coincide com a altura em que o Havai perde a sua soberania
(1893) e é anexado aos Estados Unidos da América (1898). (USHistory.org, 2014)
Com cerca de um quarto dos havaianos sobreviventes a residirem em Honolulu, na Ilha de
O’ahu, a praia de Waikiki era local de reunião de alguns surfistas locais. Com a sua
exuberante cultura e excelente clima, o Havai ganha fama, nomeadamente a praia de
Waikiki, tornando-se um dos principais polos turísticos do mundo, com um número cada
vez maior de haoles a chegarem, que viam os surfistas havaianos e a sua prática com uma
curiosidade crescente. (Kampion & Brown, 1998)
Local surfers posed proudly and rode straight to shore. Tourists, amazed by the feats of
the watermen, wanted to walk on water… (Borte, 2000)
Como consequência deste aumento de turistas, a construção de hotéis na zona aumenta
desmesuradamente e começa a colocar em causa a própria praia, assim como as zonas
onde os surfistas se juntavam e guardavam as suas pranchas. É nesta altura que Alexander
Hume Ford, aventureiro e negociante, Jack London, romancista consagrado e George
Freeth, desportista local, travam conhecimento. O fascínio de Ford relativamente à paixão
que os outros dois têm para com o surf e a sua cultura, leva-o a criar o primeiro clube do
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mundo deste desporto, o Outrigger Canoe and Surfboard Club (Kampion & Brown,
1998), o que acontece em 1908, com a finalidade de reviver, preservar e promover os
ancestrais desportos havaianos de “surfar” em pranchas e canoas. (Warshaw, 2013a).
A vertente turística de valorização económica do surf, estava muito marcada na
comunicação feita pelo clube, nomeadamente na imprensa escrita, tendo isso, sido
fundamental para o efeito galvanizante que o surf e a canoagem obtiveram.
The tourist is enabled to enjoy the benefits of the club either by becoming a member or by
invitation, and the good times enjoyed in the Waikiki surf will linger long in his memory
and will be recounted to his friends on his return to the mainland or wherever his
destination may be. (Ford, 1909)
Em 1915, o Outrigger Canoe Clube, tinha mil e duzentos membros, com centenas em lista
de espera (Kampion & Brown, 1998), sendo que hoje tem mais de quatro mil. (The
Outrigger Canoe Club Story, s.d.)
The club which was first thought of by the much traveled Ford, is in a flourishing
conditions, and every afternoon a big bunch of swimmers and canoe and surf board riders
is in evidence. (Outrigger Club is Flourishing, 1909)
Três anos depois da criação do Outrigger Canoe Clube, em 1911, um outro grupo de
surfistas, onde se incluía Duke Kahanamoku, fundou o Hui Nalu. Os seus membros eram
predominantemente havaianos, ao contrário do anterior, que era uma organização quase
estritamente haole (Kampion & Brown, 1998).
Por conseguinte, tal facto permitiu que os indígenas voltassem a ter o seu lugar na praia.
Subsistem no entanto algumas divergências quanto ao ano exato da sua fundação,
havendo referências que este clube teve a sua origem em 1905, como um pequeno grupo
solto de surfistas locais, e posteriormente em 1911 oficialmente criado (Surf Clubs, s.d.),
no entanto o próprio clube refere que o seu ano de fundação foi 1908. (HNAdmin, s.d.)
Estes dois clubes, e os seus fundadores foram fundamentais para o renascimento do surf, e
a sua saudável rivalidade, proporcionou o começo da recuperação do status deste desporto
como uma importante parte da cultura havaiana (Finney & Houston, 1996).
Os artigos de Ford na imprensa, e depois a descrição feita por London, romancista muito
conceituado na altura, da sua experiencia de surf, primeiro, num artigo na Woman’s
Home Companion Magazine (Kampion & Brown, 1998), e mais tarde incluído no livro
The Cruise of the Snark, onde lhe dedicou um capítulo inteiro denominado Royal Sport,
deram a conhecer ao mundo o “royal sport for the natural kings of earth”. (Warshaw,
2013b)
That is what it is, a royal sport for the natural kings of earth. (…) I shall never forget the
first big wave I caught out there in the deep water. (London, 1911)
A expansão interna do surf dá-se inicialmente de forma lenta. Nos anos vinte do século
dezanove, este, estava confinado a Waikiki, sendo raro a sua prática fora desta zona. De
facto, tal, só aconteceu na década seguinte, tanto para outros locais da ilha, como para
outras ilhas, nomeadamente, Maui e Kaua’i. (Finney & Houston, 1996)
Noutro plano, um elemento de cada um destes clubes, George Freeth e Duke
Kahanamoku, Outrigger Canoe Clube e Hui Nalu, respetivamente, foram responsáveis por
inúmeras demostrações de surf fora do arquipélago.
Freeth, considerado o melhor surfista de Waikiki, foi em 1907, contratado para fazer uma
demostração de surf na Califórnia, que coincidiu com o aparecimento do artigo de
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London, resultando em milhares de pessoas a vê-lo apanhar ondas em Redondo Beach,
South Bay. (Kampion & Brown, 1998) Tornou-se assim o primeiro surfista profissional
do mundo, estabelecendo-se como o primeiro surfista radicado no Sul da Califórnia, com
demonstrações desde Balboa Beach até Palos Verdes (Borte, s.d. a). Não foi no entanto o
primeiro a fazer surf na Califórnia, pois em 1885, três jovens príncipes havaianos, Kuhio
Kalaniana’ole e os seus dois irmãos David e Edward, sobrinhos dos monarcas havaianos
Kapi’olani e Kalakaua, surfaram no Norte da Califórnia (Nendel, 2009), na Foz do rio San
Lorenzo, em Santa Cruz, em pranchas feitas a partir de sequoias locais. (Kampion &
Brown, 1998)
George Freeth radicou-se na Califórnia, tornando-se o primeiro salva-vidas oficial dos
Estados Unidos da América, inventando inclusivamente um dispositivo de salvamento,
usado ainda nos dias de hoje. (Borte, s.d. a) Estava dado o primeiro passo para esta nova
subcultura. (Kampion & Brown, 1998)
Com o surf a ser cada vez mais popular no continente, o número de turistas a chegarem ao
Havai, nomeadamente a Waikiki, não parava de aumentar, atingindo em meados de 1910
uma magnitude crítica, com dúzias de surfistas a povoarem as ondas, sendo os beach boys
locais recrutados para ensinar os recém-chegados a surfar. Duke Kahanamoku,
encontrava-se entre eles. (Kampion & Brown, 1998)
Growing up on the beach in Waikiki, Duke surfed with his brothers and entertained
tourists with tandem rides. (Borte, s.d. b)
Nascido em 1890, Duke Kahanamoku acabaria por se transformar num desportista
fenomenal (Kampion & Brown, 1998), tendo sido campeão olímpico de natação, em 1912
e 1920, nos jogos realizados em Estocolmo e Antuérpia, respetivamente, para além de
medalhas de prata, nomeadamente nos jogos de Paris em 1924 (Warshaw, 2013c), o que
lhe granjeou enorme fama e respeito. (Borte, s.d. b)
Esta sua popularidade permitiu-lhe viajar, e em 1912, ao voltar dos Jogos Olímpicos,
trouxe o surf para a costa leste dos Estados Unidos com demonstrações em Atlantic City,
no estado de New Jersey, para nos finais de 1914, princípios de 1915, o ter introduzido na
Austrália e Nova Zelândia, com
demonstrações que atraíram milhares de pessoas à praia. Até à década de trinta ajudou a
popularizar o surf no sul da Califórnia. (Warshaw, 2013c)
In 1914 he showed up in Freshwater Beach, Australia, and shocked onlookers with his
waveriding demonstrations. On a board he crafted from a local sugar pine, he easily
navigated overhead surf to the crowd's amazement. He took a young woman, Isobel
Latham, for a tandem ride and made her the country's first surfer. (Borte, s.d. b)
No seguimento, em 1920, Duke Kahanamoku pediu ao Comité Olímpico Internacional, a
inclusão do surf nos Jogos Olímpicos. (Aguerre, s.d. a). Neste mesmo ano, regressando
das Olimpíadas de Antuérpia, Duke passa por Detroit, onde conhece um jovem de
Wisconsin, Tom Blake, que de tão impressionado que fica com a história de Duke e dos
desportos náuticos havaianos, decide em 1924 mudar-se para o Havai (Kampion &
Brown, 1998), onde constrói em 1926 a primeira prancha oca denominada hollow, muito
mais leve que as tradicionais pranchas havaianas, que patenteia em 1930, depois de as
levar para o continente em 1928 (Kampion, s.d.).
Se Duke Kahanamoku é referido hoje em dia como o pai do surf moderno (Kampion &
Brown, 1998), sendo considerado em 1999 pela Surfer Magazine, a bíblia deste desporto
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(Kampion, s.d.), o surfista mais influente do século (Borte, s.d. b), levando grupos de
novos entusiastas a aderir a esta prática sempre que mostrava à assistência como andar
sobre a água (Kampion & Brown, 1998), Tom Blake, é considerado o primeiro surfista
moderno (Kampion, s.d.).
Esta cumplicidade entre Duke e Blake, foi fundamental para o desenvolvimento da
modalidade no início do século vinte, dando assim início à grande revolução, pois
permitiu tornar o surf acessível a um maior número de pessoas. De repente tudo era
possível. (Kampion & Brown, 1998).
O surf florescia, e inspirados por Freeth e Duke, e pelas revolucionárias pranchas ocas de
Blake, que facilitavam o surf, o número de praticantes aumentou durante os anos vinte e
trinta. A chegada da grande depressão (década de 30) ajudou, pois umas das poucas coisas
que os miúdos sem dinheiro podiam fazer era ir para a praia. Um dos expoentes máximos
desta nova cultura de praia foi San Onofre, no Rancho Santa Margarida, Sul da Califórnia,
sendo considerado em meados dos anos trinta o local de surf mais famoso a sul da
península de Palos Verdes. (Kampion & Brown, 1998)
Num dia quente de Verão, a praia isolada, com a sua ondulação e cabana de colmo, era
uma Waikiki continental. Os surfistas que a frequentavam, por vezes acampando lá
durante semanas, criaram a sua própria cultura. (…) Seguiu-se uma idade de ouro
neopolinésia anterior à guerra e o grande sonho era viajar até ao Havai, terra de Freeth e
Duke. (Kampion & Brown, 1998)
Entretanto seria descoberto um novo local a norte de Los Angeles, Malibu. Se San Onofre
celebrava as raízes havaianas do surf, Malibu, tão próximo de Hollywood, sofre a sua
influência, e passa a ser o palco de uma mística baseada no atrativo comercial em massa
do surf, com o surgimento das primeiras lojas, revistas, músicas e filmes de surf.
(Kampion & Brown, 1998)
A Segunda Guerra Mundial interrompeu esta expansão (Finney & Houston, 1996). No
entanto depois da guerra a Califórnia encontrava-se em crescimento, e a comunidade
surfista acompanhou essa evolução tendo passado para uns cinco mil surfistas, divididos
por pequenas colónias locais ao longo da costa, nomeadamente Huntingon Beach, Malibu,
Santa Cruz e San Onofre. (Young, 1998)
Em 1951 Hugh Bradner inicia o desenvolvimento dos fatos isotérmicos de neoprene, que
posteriormente Jack O’Neill adapta ao surf (Warshaw, 2010). Tal permitiu que se pudesse
praticar surf em qualquer lugar do mundo e em qualquer altura do ano (Kampion &
Marcus, 2009).
Em meados dos anos cinquenta, o governo americano patrocina a ida de uma delegação
dos seus melhores surfistas à Austrália, coincidindo com os Jogos Olímpicos de 1956 em
Melbourne. Fizeram exibições em festivais por toda a costa Este da Austrália, com um
efeito extraordinário na comunidade australiana. (Kampion & Brown, 1998)
Todos os surfistas australianos que viram os americanos tinham simplesmente que ter uma
prancha Malibu. (…) … faziam-se perguntas urgentes sobre os construtores de pranchas
da Califórnia e os primeiros fabricantes australianos de pranchas preparavam-se par o
negócio. (Kampion & Brown, 1998)
A Austrália passa a ser a par da Califórnia e Havai um importantíssimo pólo de
dinamização do surf, cujo interesse e troca de experiências é crescente. Quase em
simultâneo um vendedor da Reichold Plastics apresenta um novo produto a Hobie Altar
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(Hobie Surfboards), a espuma de poliuretano, material desenvolvido durante a segunda
Guerra Mundial (Warshaw, 2010), que iria revolucionar o fabrico de pranchas de surf até
aos dias de hoje.
Em 1959 a Columbia Pictures lançou o filme Gidget, baseado no romance de Frederick
“Fritz” Kohner, que narrava a história romântica de um grupo de jovens, rebeldes, de
espírito livre, que tinham como único objetivo de vida, viver, amar e surfar na praia. Este
filme atingiu o jovem público americano de tal forma que a explosão da cultura do surf foi
enorme (Kampion & Brown, 1998). O imaginário do surf estava criado.
Todos estes fatores contribuíram para que na década de sessenta o surf e a sua cultura
sofressem de ampla consciencialização por todo o mundo (Kampion & Brown, 1998),
com o primeiro campeonato do mundo a acontecer em 1964 na praia de Manly, Sydney,
Austrália, com cerca de 65.000 pessoas na praia a assistir (Young, 1998). Durante esta
competição é criada a primeira organização com o objetivo de regulamentar e desenvolver
o surf, a International Surfing Federation (ISF), mais tarde renomeada para International
Surfing Association (ISA) (ISA, 2014) reconhecida a nível mundial como organismo
responsável pelo surf amador, e hoje reconhecida pelo Comité Olímpico Internacional
(COI) (Aguerre, s.d. a).
As décadas seguintes são de expansão a nível organizativo e de avanço tecnológico. Em
1970 foi inventado um acessório que liga a prancha ao pé do surfista, o leash (Warshaw,
2010). Este é um enorme avanço relativamente à segurança na prática do surf (Marcus,
s.d.), para em 1976 ter sido criada a International Professional Surfers (IPS), que em 1983
é substituída pela actual Association of Surfing Profissionals (ASP) (Borte, s.d. c)
organização ainda hoje responsável pela componente competitiva da modalidade ao nível
profissional. No entanto foi ainda na década de setenta que decorreram as primeiras
surftrips, viagens, que se baseiam na máxima do surf, encontrar a onda perfeita (Zucco,
Mesquita, & Pilla, 2002), o surfari, ou procura do surf não descoberto ou não povoado,
tornou-se a essência da experiência do surf (Kampion & Brown, 1998), abrindo assim
uma nova vertente a este fenómeno, o turismo de surf:
The act of people travelling to either domestic locations for a period of time not exceeding
6 months, or international locations for a period of time not exceeding 12 months, who
stay at least one night, and where the active participation in the sport of surfing, where the
surfer relies on the power of the wave for forward momentum, is the primary motivation
for destination selection. (Dolnicar & Fluker, 2003a)
Os anos oitenta viram o surf viver um segundo boom na sua história, com uma indústria
extremamente rentável à escala mundial (Warshaw, 2010). A cultura do surf era um
negócio importante e os capitalistas avançaram (Kampion & Brown, 1998), e em 1989 foi
criada a Surf Industry Manufactures Association (SIMA) (Warshaw, 2013d).
Surfing was becoming big business. So many people all over the world had taken up the
sport that it had begun to attract advertisers, manufactures, sponsors, franchise, publicists
and, finally, the professional surfer. (Young, 1998)
A última década do século passado serviu para a reorganização profunda do modelo
competitivo do circuito mundial (Moreira, 2007), que passou a integrar dois circuitos
distintos, um principal, o World Championship Tour (WCT), onde apenas estão os trinta e
seis melhores surfistas, e outro, o World Qualifying Series (WQS), que apura os melhores
dez atletas para o primeiro, num ranking unificado a partir do décimo segundo posto do
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WCT. (ASP, 2014). O nível de organização e consequente divulgação mediática
alcançados, elevaram a um patamar superior as premiações, de 28 dólares pela melhor
onda
no Bells Beach Classic em 1962 (Kampion & Brown, 1998), para uns impressionantes
100.000 dólares em 2014 (ASP, 2014), o que potenciou o aparecimento emergente de
estrelas à condição planetária no surf, como até então nunca se tinha visto. Exemplo disso
é o caso de Kelly Slater, onze vezes campeão mundial, figura de destaque incontornável, e
cujo seu aparecimento e evolução veio alterar por completo o conceito de surfista
profissional (Borte, s.d. d).
A entrada no novo milénio potência ainda mais esta nova faceta mediático-milionária do
surf, com a era digital e o advento da internet a ganharem espaço, onde o acesso à
informação, desde campeonatos em direto, até informação sobre atletas, passando por
câmaras localizadas nas praias para observar as condições, está ao alcance de um simples
clique. (Warshaw, 2010)
Dados de 2006 estimam cerca de 23 milhões de surfistas no mundo inteiro (Bicudo &
Horta, 2009), que no entanto subiram para uns impressionantes 35 milhões (Aguerre, s.d.
b; WNWTO, 2014), dos quais 300.000 no Reino Unido, 300.000 em França e 180.000 em
Espanha. (EuroSIMA, 2012)
Atualmente, considera-se que o desafio neste novo milénio assenta nas piscinas de ondas,
inicialmente desenvolvidas na década de 90 (Warshaw, 2010), e que irão permitir que o
surf seja praticado em regiões interiores, onde o mar não existe, democratizando assim a
sua prática a um nível global. (Aguerre, s.d. a)
SURF EM PORTUGAL
O surf em Portugal não surge de um momento para o outro, tendo havido um crescimento
gradual, muito lento e de forma descontínua. A forma que hoje conhecemos remonta aos
meados dos anos setenta. (Rocha J. , 2008)
O primeiro registo conhecido da prática de algum tipo de desporto nas ondas em toda a
Europa, é precisamente em Portugal, remetendo-nos para o longínquo ano de 1926
(Surfertoday, 2014). Este é evidenciado, num documentário produzido pelos Serviços
Cinematográficos do Exército Português em 1927, onde aparecem um grupo de homens,
na Praia dos Ingleses (Leça da Palmeira), praticando bellyboard, a versão original do
bodyboard. Seriam provavelmente indivíduos pertencentes à comunidade britânica,
historicamente com raízes na zona do Porto. (Macdonald, 2012)
O excerto é composto por três cenas em que se vêem cerca de 12 indivíduos entrando na
água com o que parece ser uma “alaia”, um tipo primitivo de prancha de surf, e depois
surfando até ao areal, deitados sobre as pranchas. (Macdonald, 2012)
Depois desta data, só em 1945, Pedro Martins de Lima, considerado o pai do surf
português (Pereirinha, 2013), ou pelo menos o primeiro português a praticar surf
(Macdonald, 2012), trava o primeiro contacto com esta realidade, através de uma revista,
vendo fotos de Duke Kahanamoku surfando no Havai. Em 1946, um ano depois, quando
vai viver para Carcavelos é que passa verdadeiramente à ação, primeiro a fazer bodysurf,
com apoio de umas barbatanas, e no ano seguinte, por altura das marés vivas com umas
placas de cortiça. Este registo leva-nos, ao que podemos associar hoje como sendo o
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bodyboard. No seguimento, e para solucionar a questão do frio, em 1952, Pedro Martins
de Lima auxilia-se na sua prática com um fato de caça submarina em borracha de câmarade-ar. (Lima, 2008)
Se Pedro Martins de Lima tomou contacto com o surf nos Açores, António Gil da Costa
Lopes fê-lo na Madeira, também ele a partir de revistas norte-americanas (Macdonald,
2012), para em 1955, já a viver em Santa Cruz, construir a que é considerada a primeira
prancha de surf em Portugal (Vieira, 2012), a partir de uns planos encomendados a um
fabricante norte-americano. (Pereira, 2012)
Os planos para montar a prancha custaram um dólar. Enviei o dinheiro pelo correio, e
ainda demorei um mês até os receber. Depois levei cerca de seis meses a montar a
prancha (comprar madeira de teca, serrar, isolar as peças com alcatrão, aparafusar e
pintar), mas não foi nada complicado. Era só serrar pelas medidas certas dos planos.
(Lopes, 2012)
Em 1956 Pedro Lima, descobre então numa firma de importação, uma prancha oca em
contraplacado, completamente plana, sem rocker e sem fin, podendo finalmente tentar
imitar Duke Kahanamoku como
tinha visto nas revistas. No entanto, os resultados não são os esperados, pois a prancha
não era a ideal para a prática do surf, mas sim para remar em mar aberto. Só em 1959
consegue finalmente uma prancha de surf, com 10 pés de comprimento, 23 polegadas de
largura e 16 kg de peso e com um fin, adequado aos seus intentos, que traz de Biarritz
(Lima, 2010).Inicia-se assim, uma nova descoberta, a das praias “surfáveis”, assim como
as desavenças com as autoridades marítimas, nomeadamente na zona de Lisboa, levandoo a aventurar-se mais a norte até à Ericeira e mais tarde percorrendo toda a costa
portuguesa, de Valença a Sagres (Lima, 2008).
Em 1967 e 1968 tinha já alguns amigos portugueses que começaram a surfar comigo, e a
encontrar ingleses e americanos que iniciavam a exploração das nossas ondas. (Lima,
2010)
O ano de 1967 regista a primeira referência do surf português na imprensa internacional,
nomeadamente na revista americana Surfer, com uma reportagem sobre as ondas da
grande Lisboa e zona Oeste (Harewood, 1967). A afluência de surfistas começa-se a
notar, principalmente americanos e ingleses, o que proporciona a primeira matéria sobre
surf na imprensa nacional. Esta consta da Revista “O Século Ilustrado”, de Outubro de
1969, onde o destaque vai para um australiano, na altura campeão do mundo, de seu nome
Nat Young. (Lima, 2008)
Há no entanto entre eles um «rei», um pequeno «deus» do «surf» - o americano Nat
Young -, considerado actualmente o melhor surfista em todo o Mundo. Nat é diferente dos
outros. É um profissional. O «surf» é a sua ocupação total. A sua atitude perante este
desporto, para ele uma profissão, é bem diferente de todos os restantes, alegres e
entusiastas amadores. (Santos, 1969)
A revolução de 25 de Abril de 1974, foi um marco também no surf em Portugal, e um
ponto de viragem (Rocha J. , 2008). Somente depois desta data Portugal descobriu
verdadeiramente o surf (Leal & Cipriano, 2012), mudando radicalmente o paradigma da
modalidade, até então bastante elitista, onde o cidadão comum não tinha acesso ao
material de surf, quer pelo preço, quer até pela dificuldade na sua obtenção. Tal facto,
contrasta com esta nova geração pós-revolução, que a partir essencialmente de 1976 sente
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a alteração de hábitos, a abertura do país a novas ideias e a menor rigidez de costumes,
permitindo a pouco e pouco a democratização da prática do surf. (Rocha J. , 2008)
Em 22 de Maio de 1977 realiza-se na praia de Ribeira d’Ilhas, Ericeira, o primeiro
Campeonato Nacional de Surf, sob a égide da Federação Portuguesa de Actividades
Subaquáticas (FPAS), que curiosamente não recebeu o apoio da Direcção-Geral dos
Desportos, mas sim da Direcção-Geral de Turismo, para uns meses mais tarde, e na
sequência deste apoio, agora também da Comissão de Turismo de Peniche, acontecer a 20
de Novembro, nessa localidade, o primeiro Torneio Internacional de Surf, que contou com
a presença do Campeão Europeu, o britânico Bruce Palmer. (Rocha J. , 2008)
Decorreram nos passados dias 20 e 27 as provas do 1º Torneio Internacional de Surf de
Peniche a que concorreu um razoável número de amantes da modalidade, quer nacionais
quer estrangeiros, e onde, como era de esperar, nos foi dado assistir a exibições de grande
nível, marcadas por desenhos de rara beleza. (Seara, 1977)
Em 1978, no segundo Campeonato Nacional de Surf, na Costa da Caparica, disputa-se
pela primeira vez em Portugal uma prova para raparigas. Deste modo, estava assim,
formalmente encetado o percurso do surf feminino em Portugal (Rocha J. , 2008). Ainda
nesse mesmo ano, em S. Pedro do Estoril nasce o Surfing Clube de Portugal (SCP), o
primeiro clube de surf português (Gavazzo, 2008), para no ano seguinte, no verão de 1979
surgir na Praia Grande do Guincho, a primeira escola de surf nacional (Rocha A. , 2008).
Foi também em 1979 que em Hossegor, França, Portugal marcou pela primeira vez
presença num Campeonato Europeu (Rocha J. , 2008).
Os anos oitenta ficam marcados pelo aparecimento da indústria, com as primeiras marcas
e surfshops a surgirem, assim como a primeira revista nacional da especialidade, a Surf
Portugal, em 1987 (Rocha J., 2008). O negócio do surf ganha pleno fôlego, e impulsiona a
necessidade de institucionalização, que culmina com a criação da Federação Portuguesa
de Surf (FPS), em 14 de Março de 1989 (Leal & Cipriano, 2012), para ainda nesse ano
surgir o primeiro calendário de provas sob a sua orientação
(Afonso, 1989 b). É ainda nesse ano que Portugal recebe pela primeira vez uma etapa do
Circuito Mundial de Surf, o Buondi Instinct Pro, na Ericeira (Santos, 1989). No entanto
antes disso, em 1988, tinha já passado por Peniche aquela que foi a primeira etapa de um
circuito internacional de surf em Portugal, o Rip Curl Pro-Am, no caso, a contar para o
Circuito Europeu da EPSA (European Profissional Surfing Association) (Afonso, 1989 a).
Pela primeira vez um campeonato de alto nível competitivo chega às nossas praias. (…) O
RIP CURL PRO-AM, prova a contar para o ranking (campeonato) europeu da
actualidade… (Rip Curl, 1988)
A mediatização do surf em Portugal ganha forte ímpeto na década de noventa, com os
primeiros programas televisivos especializados a surgirem quase em simultâneo em dois
dos quatro canais existentes, a SIC com o Portugal Radical (Curvelo, 2014) e o Sem
Limites na RTP (RTP, s.d.), bem como a realização do primeiro Circuito Pro-Am oficial
da FPS em 1992 (Santos, 1992). Os primeiros títulos a nível internacional surgem também
durante esta década, o EUROJUNIOR em 1996 e o EUROSURF EM 1997 (Braga, 2013).
A 9 de Julho de 1997, é fundada a Associação Nacional de Surfistas (ANS), associação
sem fins lucrativos com o intuito de defender os direitos dos praticantes de surf com
aspirações profissionais na modalidade (ANS, s.d.).
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A entrada no novo milénio consolidou a tendência de crescimento e profissionalização das
décadas anteriores, e em 14 de Janeiro de 2002, antecipando a Lei de Bases da Atividade
Física e do Desporto (Lei nº 5/2007 de 16 de Janeiro de 2007), a FPS delega na ANS o
surf profissional, nomeadamente a organização do Campeonato Nacional de Surf,
individual, para profissionais, a que acrescentou em 2005 o Campeonato Nacional de Surf
Sub-20 (vulgo Pro Junior, CNPJ), tendo em 2010 criado a marca LIGAPROSURF (ANS,
s.d.).
Em 2007, Tiago Pires cumpre um feito histórico para o surf português, ao tornar-se o
primeiro, e até agora, único, surfista nacional, a fazer parte do restrito grupo que compete
no WCT, a elite do surf mundial (Lucas, 2007).
O circuito mundial regressa a Portugal em 2009, no caso, com o Rip Curl Pro Search, em
Peniche, ainda como etapa móvel, para no ano seguinte passar a integrar efetivamente o
calendário mundial como prova fixa, renomeada para Rip Curl Pro Portugal, e que se
mantém até aos dias de hoje.
O surf ganha uma dimensão nunca antes vista, e os cerca de mil surfistas estimados em
1989 (Afonso, 1989 b), passam a ser passadas duas décadas, entre cinquenta e setenta mil
(Bicudo & Horta, 2009), para neste momento se situarem, segundo a ANS, na casa dos
duzentos mil (Guerra, 2014). Relativamente aos atletas federados deu-se também um
incremento significativo, e passou-se de 400 em 1992 (Stuart, 1992) para os atuais 1147,
repartidos por 74 (FPS, 2014)
Em 2011, Portugal vence pela quarta vez o EUROSURF, e merece um voto de saudação
por parte da Assembleia da República (AR), como um acontecimento de grande relevo
para a história do surf e do desporto português (AR, 2011). A Ericeira, é reconhecida pela
organização americana Save the Waves Coalition (SWC) como Reserva Mundial de Surf
(RMS), a segunda no mundo e a primeira da Europa (Fugas, 2011). Ainda em 2011,
Novembro, Garrett MacNamara bate o recorde da maior onda surfada (NQ, s.d.), feito
realizado na Praia do Norte, Nazaré, vencendo o Billabong XXL Award na categoria de
maior onda (NQ, 2012). Um ano depois, a 9 de Outubro de 2012, é inaugurado em
Peniche o primeiro Centro de Alto Rendimento (CAR) de Surf em Portugal, vocacionado
para o treino e aperfeiçoamento técnico de seleções, equipas, atletas de elite e de alta
competição (CMP, 2012).
NOTA FINAL
A dimensão avassaladora, quer em termos de mediatização, quer em termos da
importância e impacto que o surf assumiu na economia das sociedades em geral, e na
portuguesa em particular, leva-nos a crer que o conhecimento histórico da modalidade é
de extrema importância numa perspetiva de enquadramento, para a partir daí elevarmos
qualitativamente a nossa oferta, seja no discurso a ter para com o turista, na decoração do
alojamento, na explicação das técnicas utilizadas para apanhar e surfar uma onda, como
até sobre as próprias pranchas utilizadas.
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25. Identity and Memory - Village Tourism in Bemposta
Maria Inês Ferreira Fernandes Pereira Ferrão, MS Student
Universidade Lusíada - Porto, Portugal
mariainesferrao@gmail.com
Alexandra Maria Barros Alves Chaves Silva Vidal Saraiva, PhD
saraivaalexandra@gmail.com; achaves@por.ulusiada.pt
Abstract: This article was drafted from a wider research that coincided with my master’s
thesis, held at Lusíada University of Porto, under the theme “Identidade e Memória Turismo de Aldeia para Bemposta”, guided by Professor Alexandra Maria Saraiva, in
2013|2014.
The aim of this paper is to investigate the importance that Memory and Human Heritage
represent to the identity of places and how Man feels the need to seek the identity of its
people, from which Man has been separated from.
The study developed sets base on an exploratory research method, culminating in a case
study in Bemposta, a village located in a Portuguese municipality, Mogadouro.
This study is indicative to the widespread desire to return to the origins, and Tourism
reveals to be positive in this search for the human nature and its roots, as long as linked to
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small rural and natural areas, as is the touristic aspect that shows more respect to the
preservation of sites.
The case study points to the development of an Integrated Village Tourism Network
nationwide, recommending its extension to the European scale, with the project for
thirteen houses.
Key Words: Memory; Heritage; Village Tourism
1.Introduction
Rural areas are considered to be the ones which better define Man and his deepest roots,
and that is the reason why they should be privileged. Contrarily to what was expectable,
the rural world is languishing and reaching the point of no return.
With the growing conscience of the importance which identity of places and cultural
identity currently assume, it urges to preserve the rural world, being indispensable to
assure its ethnography and grant its future for the next generations. The preservation has
to provide economical independence, therefore assuring auto sustainability in these
territories. From our point of view, tourism can help to reach such auto sustainability,
even though it has to be organized and planned, so that it can accomplish the referred
purpose and not to aggravate it.
The case study points to the development of an Integrated Village Tourism Network
nationwide, which recommends an extension to the European scale.
Bemposta is a Portuguese village and the object of experimentation that supports the
theories displayed in this article. A SWOT analysis is performed for this territory, leading
us to a diagnose that identifies the territory pathologies, allowing an informed intervention
project. This project starts with a draft of some cultural routes and the planning of several
touristic activities, which were studied for a long period of time, therefore assuring that
they were appropriate for this particular territory. The second part of this project is the
Village Tourism, where the routes help to select the buildings that reveal to be the better
examples of the traditional Portuguese architecture to integrate the touristic project,
allying the restoration of the traditional architecture through traditional techniques. The
claim on the traditional architecture and traditional construction methods arises from the
need to maintain the identity and heritage of a nation or a region that build up the
Collective Memory.
At the strategic level, the project to be developed will focus itself throughout the parish of
Bemposta. On the other hand, operative part will be developed in the highest and oldest
area of the village, where is located the medieval wall (which has great historical and
cultural value). The occurrence of ancient cultural and social practices is part of rural
areas.
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The first purpose of this research involves the appreciation of the Rural Heritage and its
preservation. The second purpose focuses on understanding the importance that tourism
can play in rural areas as an engine for development of abandoned and underused areas.
2. Identity and Memory
2.1. Memory
This research aims to investigate the importance that Memory and Heritage represent to
the identity of places, as well as the need Man feels about his own identity as a nation of a
region or a country.
The memories of a community, a tradition, a language, food, etc., can be essential in
many situations and a very important tool. The Mexican architect Luis Barragán speaks of
a memory that is triggered when a fountain in buildings designed by him recalls the
serenity of other fountains encountered throughout his life: "A fountain brings us peace,
joy and restful sensuality and reaches the epitomy of its very essence when by its power to
bewitch it will stir dreams of distant worlds. While awake or when sleeping, the sweet
memories of marvellous fountains have accompanied me throughout my life. In the
gardens and homes designed by me I have always endeavoured to allow for the interior
placid murmur of silence, and in my fountains, silence sings." (apud BURRI, 2000)
2.2. Heritage - Cultural and Rural Heritage
Heritage is such a broad, controversial, and already widely discussed subject that we will
only explore Cultural Heritage and Rural Heritage so we can narrow it down.
As a legacy left by our ancestors, Heritage can be material or immaterial, and its
importance lies in the hardware that supports Memory. Without such hardware, Memory
and Identity depend on the fragility of the verbal transmission, the software.
Pedro Santana Lopes, a Portuguese politician, argues that the importance of Cultural
Heritage lies on the perpetuation of people, because in Cultural Heritage people see their
past, as well as realise their reality and are assured of their future continuity. (apud
COELHO, 1993)
Understanding that Rural Heritage is the set of goods that witness the relationship which a
community establishes in the course of History with the territory in which it operates
(rural localities), is understanding that it is made of various elements, such as agriculture,
landscapes, folklore and regional dances, memories and testimonies, myths and legends,
superstitions, the music or the local repertoire, the sayings and popular expressions,
clothing, traditional games, gastronomy, architecture, traditions and livelihoods, cultural
and artistic assets, human and community values, among others, march on behalf of this
legacy. All these elements form an identity and build up a memory.
Still on the heritage theme, Chart 1 was very important to the investigation, as it gives the
guidelines to be adopted in the preservation process of Rural Heritage. Without these
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guidelines, the process would have some serious flaws, as these steps are extremely
important for a realistic preservation of what exists or existed, although the mimicry is not
encouraged. If mimicry occurs, it shall be done consciously and acknowledged as such, in
order to avoid misunderstandings and the public to be misled. In the referred chart, "Rural
Heritage Recognition" stands out from the other topics, as it is the most important topic of
all: without that recognition the other steps become useless. It is also possible to analyze
that this whole procedure ends in the "Application of Technical, Regulation and Required
Policy" step. This demonstrates that the Preservation Process of Rural Heritage is subject
to a number of regulations, such regulations showing interest in its preservation.
2.3. Collective Memory
Identity, Memory, Human and Rural Heritage merge into a single concept, Collective
Memory, which has been evolving since the social and political evolution of the ancient
world. Maurice Halbwachs, in the first half of the 20th century, finally baptized the term
as Collective Memory and defined the concept to be used to describe a specific
community. The identity of such communities is supported by testimonies, objects, spaces
and places, and it passes from generation to generation. The French historian Jacques Le
Goff supports that memory, where history grows, is an essential element to individual or
collective identity, and seeks to preserve the past to serve the present and the future. Le
Goff also believes that we must ensure that Collective Memory should release and not
restrain Men. (apud Romano, 1985)
We specifically refer the rural world because it is considered that the place where a
community is located plays an essential role. Halbwachs considers space to be important
in both memory and socialization, because images influence the Memory, making it
operational.
On the subject Time, in the construction of memory, it is safe to refer that it cannot be
retained. It is not possible to reconstruct a collective past and make it eternal, except
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through the representations of the Present. As Memory is driven by present, what is
absorbed is the most essential to the present time.
It is believed that as long as we maintain a Collective Memory, our traditions and our
habits will last forever.
2.4. Village Tourism
Although in the late 30s, of the 20th century, the desire to improve, develop and recover
rural areas emerged in Portugal, only in the 60s was launched the first support program to
the Portuguese villages - the Improved Villages Program (Programa das Aldeias
Melhoradas), in the region of Trás-os-Montes e Alto Douro -, which triggered many
similar initiatives throughout the Portuguese territory. From such initiatives it is worth
highlighting the Recovery of Historic Villages Program (Programa das Aldeias
Históricas), the Villages of Portugal Program (Programa das Aldeias de Portugal) and
the Schist Villages Program (Programa das Aldeias do Xisto). The Schist Villages
Program emerged as a reproduction of the Historical Villages Program model, and so far
has been the most successful in terms of tourist trips, business partners, support of local
people and program range, forming a wide network. This network is extended to 26
villages, making them more valuable for inhabitants, as well as making these villages an
attractive tourist product for visitors. During such recovery, river beaches and a network
of routes, supported by infrastructures, were created, being the existing ones requalified.
In addition, it was also founded a museum initiative composed of joint thematic
initiatives.
All these programs are based on the Village Tourism typology, a type of tourism that is
understood as more enriching than the other, as there is always an interlocutor. The
conversations that may exist between the inhabitants and tourists become a learning
resource for both parties, therefore adding value to the Village Tourism.
With these initiatives, it was imperative to analyze other proposals and projects on a
smaller and also on a larger scale1:
1 In this article it is made a brief summary of these projects, although the master's
dissertation includes a more extensive study of these case studies, where it is possible to
understand the full potential of similar projects. The RETA project has become
specifically important in the study not only for its breadth but also as a support, because
when other tourism network are created there is support for the idea to be implemented.
On a larger scale, we have studied The European Network of Village Tourism (Rede
Europeia de Turismo de Aldeia- RETA), the winning project of Ulysses Award 2007 for
Innovation in Tourism for ONG's, awarded by UNWTO. This is a project that aims to
sustainably develop a touristic offer of excellence in rural areas, developing a tourism
product that proposes partnerships through a national and international network system.
The starting point of such project is to seize the endogenous resources of each territory,
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being its main aim the promotion of the development of tourism in villages and regions
within the network. This promotion should be based on the sustainable development,
using tourism as a catalyst for activities in the villages from a development perspective.
The project also aimed to create a workable framework for European cooperation of
Village Tourism able to share insights and best practices, therefore encouraging overall
quality, cooperation and heritage protection. However, the specific purposes of this
project are a) to use tourism to develop the regions, by promoting, in villages, the
cooperation between tourism and the other sectors of the activity; b) the creation of an
entrepreneurial spirit; c) to enhance economic and social cohesion by creating
partnerships between the agents and the population, preserve the environment, cultural
heritage and local identity; d) to encourage vocational training, ongoing knowledge and
information exchange; e) cooperation between the various villages in order to create a
sustainable structure that allows self-financing; f) to create conditions for villages assert
itselves; and finally f) requalify the traditional tourism of rural nature, valuing life and
environment quality, the cultural and ethnographic heritage, the endogenous products, in
order to develop cooperation and networking. (Rodrigues, Rodrigues, [S.d]). This project
made us realize that the creation of a National Integrated Village Tourism Network is
possible, as, so far, partnerships have already been achieved between localities in different
countries, such as Portugal, Finland, Romania, Italy and Poland. A network extended
nationwide would be a good starting point for the dissemination of this Integrated
Network, which makes the RETA project a great added value, because a part of this
planning is already done, and the bridge to other European countries is already made.
The Aldeia da Mata Pequena project, located in a small place called Mata Pequena about
20 minutes from the Portuguese capital Lisbon, arises in this research naturally, once it
was necessary to find a small-scale project to better understand the specific needs of a
Village Tourism and what impact this could have in a small community and neighbouring
communities. The SWOT chart illustrates and summarizes the impact caused by this
project:
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From this analysis it is possible to understand that the village tourism unit of Aldeia da
Mata Pequena brings huge gains to the territory, but the reverse is also true. If it was not
the conditions that the place has, its implementation would have not been possible or it
would have been be very difficult to achieve. One may verify these conclusions in the
case study of Bemposta, where there were a lot of constructions that collide with the
traditional architecture. In the Bemposta’s case, the creation of a Village Tourism project
will be more fruitful and have more impact to the local, than the local will have for the
project.
The analysis of these case studies was very important for the study as it becomes an
awareness of what can be done both locally and at national level, or even at an European
level.
2.5. Village Tourism in Bemposta : a project-test
The project-test begins with a SWOT analysis, which proved to be an important tool in
observing the conditions of the territory. The key topics of this analysis are listed in the
chart From the chart below.
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Chart 3 we conclude that Bemposta is a village with great value and economic potential.
However, as it is out of sight of the governments - as all rural areas in Portugal – it fell
into abandon and oblivion, which purges the past and does not provide an auspicious
future. This analysis allows an informed and conscious intervention, facilitating the
implementation of a strategic plan for the whole parish.
fell into abandon and oblivion, which purges the past and does not provide an auspicious
future. This analysis allows an informed and conscious intervention, facilitating the
implementation of a strategic plan for the whole parish.
The Village of Bemposta is a territory with numerous advantages for an implementation
of a hotel divided by its proto-urban centre, leading to the creation of several small-scale
routes that should help to promote Cultural Tourism. These routes can contribute to enrich
the territory by creating more points of interest, such as the Mirandês donkey rides, the
practice of hunting and fishing, the flora and fauna observation, the local landmarks and
contemplation work of art visits2, the handicraft making observation.
2 There is some Renaissance frescoes on a local chapel, the Capela do Santo Cristo.
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The strategy involves the planning of these pathways (which have natural and humanized
treasures of Bemposta) that are considered of great importance to anyone visiting the area,
and it should be supported by small shelters, as the routes are quite long, and any
intervention on the pavement would be quite expensive. Therefore, we have left this
action of intervening on the pedestrian paths to the centre of the localities. The shelters,
besides its refuge function, are intended to have other functions, such as storing extreme
sports equipment; transform itselves into tourist information offices; show local crafts;
host wine tastings, olive oil, honey from the region, among others; function as wildlife
observatory, etc. The aim is the paths to expand to the neighbouring villages, culminating
in a national behaviour, as well as to avoid tourists to only travel into cities and raise
interest in knowing the small villages, which maintain almost untouched the history and
memory of people, customs and some traditional architecture. These paths are intended to
become a route that can be sectioned by regions, facilitating logistics, giving chance to the
tourists to visit each province deeply.
Other activities, such as rowing, paragliding, mountain biking, climbing, geocaching,
parachute jumps, etc. can be offered to the youngest, as this parish meets all the
conditions to do it.
The intervention project focuses mainly on the recovery and protection of traditional
architecture, in order to convert the use of vernacular historic houses that are in a state of
disrepair. Once the not classified architectural heritage is at great risk of deterioration and
abandonment, we grew up the idea of creating a project that would promote better social
and economic dynamics to the community and also demonstrate care in preserving the
Collective Memory- a Village Tourism project. As this project must show respect for the
rural areas, we see the need for a major planning and preliminary study of the touristic
activity and the area potentialities for this kind of tourism, which should be direct and
honest, not intended to be a “musealization” and dramatization of what the country life is.
The Village Tourism Unit Project, formed by 13 buildings located all around the village,
was architecturally developed only in 5 Country Houses, fully equipped allowing a
comfortable and extended accommodation. The location of these Country Houses is not
random, but the result of a study conducted during the visits to Bemposta, which allowed
us to observe the natural flows taken by the inhabitants and the visitors inside the village
space. Therefore, we were able to create a logic of re-use for each building, which has
been determined by its location.3
The idea of creating an enterprising project of this nature in Bemposta emerged with the
aim of providing a recovered social and economic dynamics, getting tourists in direct
contact with the locals, their habits and their lifestyle, allowing the village to integrate a
community tourism that helps to promote the local economy. In the speech of the entities
that coordinate similar projects to the one created for Bemposta, the desire to expand their
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networks is obvious. As such, the joint efforts that would allow the creation of an
Integrated Village Tourism Network would be a positive feature.
3. Conclusion
This work is based on an investigation oriented towards an analysis of rural territories, in
order to better understand the preservation of its heritage, either tangible or intangible.
Being strongly rich in historical, cultural and natural heritage, these areas can generate
wealth boosting local development. The investigation is divided into three phases:
1) Firstly, we approach the subject Memory as an extension of Identity, perpetuating it,
and these two subjects of study together form the understanding of the Human Heritage.
Since rural areas are considered to be Men's foundations, an approach is made to the
subject Rural Heritage in which Identity and Memory merge.
2) The subject Village Tourism emerges from the will to implement one unit in Bemposta,
where the architectural test of the Case Study is to be deployed.
3) Finally, it is made an intensive analysis of the village of Bemposta, in search of the
capital gains and disadvantages by implementing the project, trying to understand what
opportunities it offers and what threats points to the cluster. This process is accomplished
through a SWOT analysis that provides us a positive diagnosis, because the territory has
many advantages for a Village Tourism Unit Project. This diagnosis draws up a strategic
plan for the whole parish and aims to extend to the entire Portuguese territory.
This research intends to revive the debate on a topic that is not new but has not earned the
proper attention, and this investigation will be useful as a reflection tool based on
knowledge, also contributing to personal, intellectual and architectural development, and
being categorical to reach a reasoned and constructive criticism posture.
UID/AUR/04026/2013.
References:
Burri, Rene. 2000. Luis Barragán. 1st ed. London: Phaidon Press Limited. p: 42
Coelho, Maria Eduarda L. 1993. Dar Futuro ao Passado. 1ªed. Lisboa: IPPAR. p: 10.
Ferrão, Maria Inês F.F.P., 2015, Identidade e Memória : Turismo de Aldeia para
Bemposta, unpublished M.A. thesis, Universidade Lusíada, Porto
Miri, Ali. 2012. The Concept of Cultural Heritage Preservation in e-conservation
magazine,
nr.
24,
p.177-182.
[online]
Available
at
<http://www.econservationline.com/content/view/ 1082> [consulted on October 29th of 2013].
Nunes, P., Lourenço, M., Barreira, R. 2008. A Aldeia Saloia da Mata Pequena : Turismo
de Identidade como Motor de Desenvolvimento Rural. Lisboa: Departamento de
Geografia da Faculdade de Letras da Universidade de Lisboa. p: 25.
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Pereira, J.C.D., Fernandez, M.J.B. 2005. Bemposta : Um Tempo e Um Ser : Raízes de
Uma Identidade. 1ªed. Mogadouro: Publix.
Rodrigues, A., Rodrigues, Á. [S.d]. Rede Europeia de Turismo de Aldeia : Um Caso de
Inovação
em
Turismo
Rural.
[online]
Available
at
<http://cassiopeia.ipleiria.pt/esel_eventos/fi
les/3902_14_AureaRodrigues_4bf51244d7a1a.pdf> [consulted on November 15th of
2014]. p: 15.
Romano, Ruggiero. 1985. Enciclopédia Einaudi : 1 : Memória - História. Trad. Fernando
Gil. 3ªed. Porto: Imprensa Nacional- Casa da Moeda. p: 46-47.
Schmidt, M.L.S, Mahfoud, M. 1993. HALBWACHS : Memória Colectiva e Experiência
in Psicologia USP, S.Paulo, no.4. p: 285-298.
Chart Credits:
Chart 2 Rural Heritage preservation process
Source: Adapted and worked by the investigator from Miri, 2012 (Diagram 1. Process of
evaluation, recognition and selection of methodology, policies and standards on the bases
of professional knowledge, experience for preservation of cultural heritage).
Chart 2 SWOT analysis of Aldeia da Mata Pequena project
Source: Adapted and translated by the investigator from Nunes, Lourenço, Barreira, 2008:
25.
Chart 3 SWOT analysis of Aldeia de Bemposta project
Source: Adapted and translated by the investigator from Ferrão, 2015: 97-100
1 In this article it is made a brief summary of these projects, although the master's
dissertation includes a more extensive study of these case studies, where it is possible to
understand the full potential of similar projects. The RETA project has become
specifically important in the study not only for its breadth but also as a support, because
when other tourism network are created there is support for the idea to be implemented.
26.
The Importance of Tourism in Preserving of
Architectonic Zones
Luís M.Pinto1, a *, Paulo Carvalho2,b and Luís País3,c
1
CITAD-UBI, Lisbon-Covilhã, Portugal
2
Beira Interior University, Covilhã, Portugal
Keywords: Reconstruction, Architecture, Tourism, Heritage
Abstract. A building can be a piece of art on the same level as pictures. This notion is
argued by many scholars, yet a building designed in a way that can both satisfy practical
needs and cause aesthetical pleasure is equal to a painting. The actual situation of the
architectural culture, its incongruities and the quantity of architectural production which
increases day by day, leads us according to Manfredo Tafuri in his book Theory and
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History of Architecture (Eco, 1989,00-33), to be facing an unconscious effort. This effort
on one hand dictates the death of Architecture and on the other hand the discovery of a
new dimension and conception of the architectural application in real life.
As referred by Umberto Eco there must be a dialog between the subject and the object.
(Eco, 1989)
Tourism could give a push into the maintenance of architecture quality, and preserving of
architectonic historical zones. So what is the purpose of the tourism realm in the 21st
century?
Introduction
While global tourism has grown steadily at 7% per year over the last 5 years, recent
growth has been limited by the financial crisis. The UN World Tourism Organization
(UNWTO) reports that it "expects 2009 international tourism [growth] to be in the range
of 0 percent to a 2 percent decline." However, the UNWTO also reports that the niche
markets of adventure and cultural tourism are two of the strongest segments of the tourism
industry and that culture has become a component in almost 40% of all international trips.
In 2010, according to data from the World Tourism Organization (WTO), the
international tourist arrivals totaled 940 million worldwide, 58 million more than in the
previous year. The year 2010 reversed the downward trend of international tourist arrivals
occurred in 2009, with a year-on-year growth of 6.6%, the highest recorded since 2005. In
2010, tourism activity showed global positive results on the supply side, which started a
reversal of the downward trend of the tourism activity after the negative results of 2009,
linked to the international economic crisis.
It means that tourism it will be one of the most important industries in the future, and
architecture releases impulses to examine the regional identity as well as life style.
With this paper we intent to explain why Tourism, could help to preserve the local
architectonic culture.
Culture Vs Tourism
Culture. The culture is a number of distinctive features characterizing spiritual, material,
intellectual and emotional paradigm of a particular nation. Moreover it encourages self
identification and motivation for regional cultural performances. However, culture is not a
monolithic concept; it develops with people like a living system. In some cases the
evolution of a culture can be seen in the contrast with the other cultures. Its evolvement
goes through interactions and exchange of ideas, values, and rituals. Cultural diversity,
which exists on the planet, makes the world more distinctive and saturated. In this case
the preservation of cultural identity of a specific nation is extremely important. In the time
of globalization when the frames of original cultures blur, every nation has the aim to
preserve its heritage not only within the custom, traditions, and language, but also within
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the historical places and architectonic buildings, which bare the knowledge of a nation, its
legacy, and spirit.
Tourism generates not only tremendous revenue, but also assists in spreading the
knowledge about the country and the culture of a particular nation. It is broadly agreed
that tourism has an impact on place identities. [1]
In the global scale, the Western culture reached its peak of dissemination, so there is a
vivid contrast between the cultures of the Western world and the others. As one can
admit, tourism is the vehicle of cultural exchange and the purpose to reach homogeneous
cultures through meeting common people, visiting historically or aesthetically significant
sites and places.
People had to use the streets, squares, markets and parks of the city regardless of these
place’s quality and attractiveness.
One question is started to appear; what are the changing expectations for city space?
Market research serves, Governments, as a basis for architectural project development
close to the market needs as well as successful implementation of architecture in tourism
marketing. Data regarding market needs, trends and opportunities, potential target groups
and evaluation of users and guests concerning contemporary architecture. However, some
scholars claim that tourism is an instrument of expansion. For example, some researchers
while visiting Ladakh admitted crucial change before this region was visited by the
Western tourists and after. They admitted that the people of Ladakh began to feel stress,
loneliness, and fear of growing old, unemployment, inflation, etc., all characteristic fears
of the Western society. [2]
Some of scholars noticed that some cultures felt inferior to the Western one in cause of
high technological development and its expansive nature.
While a lot of researchers raise the topic of negative consequences of mass tourism, like
environmental pollution, diseases, and ruination of cultural homogeneity, it is often
forgotten about the positive outcomes of its development. A number of seminal works
have shown how ethnicity is represented, perceived, and reinvented through the tourist
gaze. [3]
The ability of people interact with such vast quantity of different cultures is a privilege of
every human being of this world. However, every nation has to develop strong connection
with its cultural legacy for the purpose to preserve its roots and maintain healthy
relationship with the world and environment around them. Nowadays, one can observe the
positive outcome of globalization. The growing importance of traditional local cultures
passed from generation to generation originates from the fact that local and regional
interests are strengthened against the negative effects of globalization. [4]
It builds not only the strong connection between the nation and its culture, but develops
tourism and attracts more people. In some cultures tourism plays the most important role
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in the economical development of the country and serves as the main revenue for the
majority of people.
As more and more governments recognize the contribution that travel and tourism make –
or could make – to their economies and employment, they turn to change the
methodologies of urban planning and protection of historical areas. The brand of a place
increasingly determines where those people, capital and ideas flow. More and more cities,
destinations and communities are realizing that they now need to take a strategic (versus
organic) approach to developing their brand positioning in order to compete on the global
stage.
Tourism activity in its different approaches must do the emphasis on accommodation
capacity, guests and overnight stays, as well as the total revenue of hotel’s and similar
establishments classified as being of tourist interest by the Local Tourism Authority.
If we approach to a development and tourism strategy and planning a new vision of world
through a lens of possibility, in order to build visions of what the future could be like,
than we can identify strategies to get tourists there. We could promote an revitalization of
old cities center, which are normally historical areas we can create a tourism destination
brand.
The idea of reconstruction
Reconstruction and Preservation of significant historical places, architectonic buildings,
their reconstruction and renewal is the part of the process to create strong and healthy
relationship with the culture and roots. It is also one of the elements of enhancement of
tourism and economical development. Heritage can represent intangible form, like
language, traditions, and customs, and material form: archaeology, art, movable objects,
architecture and landscape. [5]
Preserving architectonic buildings with the further reconstruction and repairing is one of
the most important elements of preservation of one’s culture and staying connected to the
identity of one’s nation.
The idea of reconstruction of historical buildings has been discussed by a huge amount of
researchers, from historians to archeologists since the creation of the first major
reconstruction project at Colonial Williamsburg in 1926. [6]
Each of them has their own proving arguments on what ground an architectonic building
has to be preserved. There are the rules of the reconstruction, which every professional
has to know, though there are cases when the process of reconstruction ruined the original
idea of a building breaking the homogeneity of the historical site. Recently, there are
numerous debates if the reconstruction is ethical concerning the originality of the building
or it is inappropriate to change its structure or its interior or exterior design.
However, a lot of scholars forget that the majority of historical buildings were created
long time ago and they required to be preserved in the good state to connect different
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generations by creating a strong bound with its heritage. There are also the security
measures to maintain by preserving the architectonic buildings of significant importance.
This could be one of the light motive to appear some tourism in historic cities, because, if
the government’s use this strategy, than they could win money to maintain and rebuilt that
areas. Cities have always experienced many changes during their history. Historic urban
quarters have a special place in the city’s history because of their cultural, historical and
architectural value. They reflect the history of the city’s culture and indigenous culture
with their unique forms and patterns. [7]
Cities are often an important focal point for development based on these resources
because they provide concentrations of heritage assets, infrastructure services, private
sector activity, and human resources. Improving the conservation and management of
urban heritage is not only important for preserving its historic significance, but also for its
potential to increase income-earning opportunities, city livability, and competitiveness.
[8]
Traditional or modern? Several architects and planners viewed an opportunity to effect
the reconstruction of old heritage areas of the cities, using money from tourism activity.
This question it is acutely relevant during the plan of reconstruction and methodology to
be used, but what kind of reconstruction? Architects must plan if they will project in
accordance with historical patterns and spirit of that area, or if they are going to project
with new and modern shapes and layouts, with the modern framework.
At first glance, the idea of restoring according to old style may appear anti-modernist, but
the idea of this research paper is to explain the concept of using founds from tourism for
reconstruction of old buildings, that make part of our memories.
Nowadays, country’s, cities and all heritage zones are promoting tourism in a way to
develop sustainable tourism policies and practices which will make optimal respect to the
socio-cultural communities and cultural costumes, that will provide, in the future, benefits
for that place. At that juncture and with those benefits, they could use the money to
reconstruct old heritage houses.
With this action we could keep, on one side, the memory of the place and cultural
costumes, and on the other side, attract more tourists.
In 2012, tourism it was included, for the first time, in the Outcome Document of RIO+20,
and as well is part of the agenda of G20 Leaders. It means that the importance of tourism
in all economies, is growing up faster and faster. In 2012, over one billion international
tourists travelled the globe, by 2030 the number of international tourists is expected to
reach 1.8 billion. [9]
Countries must use part of the money generated by this development, and apply it in the
reconstruction of all traditional cities, in some cases because they was destroyed by the
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war, and in other cases just because they are very old buildings, where it is necessary
reconstruct them with a traditional layout. That’s what tourists are looking for.
UID/AUR/04026/2013.
Summary
The higher value architecture and reconstruction of today is the cultural heritage of
tomorrow.
Cultural heritage is the essential compound of the nation. Preserving its tangible and
intangible legacy bounds all generations together creating the unique essence and spirit of
every nation. In its own terms, keeping authentic nature of every culture preserves the
diversity of the world, and the ability of every human being to learn from the other
nations and cultures. In the circumstances of globalization and rapid development of mass
tourism the preservation of historical sites and building, in my opinion, plays one of the
most important roles. For some people Tourism it is not, so, important to preserve the
local architectonic culture, however, as the time has changed, it is time to face the truth
and use digital gadgets to one’s advantage.
Destinations, developers and planners must understand the values and aspirations of
tomorrow’s consumers. They must make analyze and synthesize the importance of
historical places for a tourist. The investments in infrastructure and heritage conservation
that are advantageous for tourism development are also key elements of creating livable
cities-in other words, improvements that support tourism also enhance residents’
economic opportunities and standard of living. Moreover, if short-term crisis actions can
be aligned with the longer-term poverty and climate needs, the overall industry structure
may actually be strengthened.
Architecture is a means of expression for the cultural diversity and innovative potential of
a region, and tourism, as industry, directly helps to preserving of architectonic zones.
References
[1]
Kneafsey, Moya. Tourism and Place Identity: A case-study in rural Ireland, in:
Irish Geography, 31.2, 1998, pp.112.
[2]
Reinfield, Martie Ann. Tourism and the Politics of Cultural Preservation: A
Case Study of Bhutan, in: Journal of Public and International Affairs, 14, 2003, pp.3.
[3]
Stronza, Amanda. Through a New Mirror: Reflections on Tourism and Identity
in the Amazon, in: Human Organization, 67.3, 2008, pp.245
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[4]
Illes, Peter. (Re)Defining Regional Images: Visions, Perspectives and Rural
Places in Context of Intangible Cultural Heritage, in: Identities and the Production of
Local Cultural Heritage, 2004, pp.1.
[5] Cultural heritage & Local Development. A Guide for African Local Governments, in:
CRATerre-ENSAG/Convention France-UNESCO, 2006, pp.9.
[6]
Holland, Alyssa Gay. The Reconstruction of Historical Buildings: A Visitor and
Historical Site Study, in: Virginia Commonwealth University, 2011, pp.6.
[7] Kneafsey, Moya. Tourism and Place Identity: A case-study in rural Ireland, in: Irish
Geography, 31.2, 1998, pp.111-115.
[8] Kneafsey, Moya. Tourism and Place Identity: A case-study in rural Ireland, in: Irish
Geography, 31.2, 1998, pp.111-123.
[9] UNWTO. A Shorte History, in: World Tourism Organization, 2004, pp.1.
27. [Re]Place- an intervention proposal to Bemposta
Ivan Fernandes Geraldes, (MS Student)
geraldesivan@gmail.com
saraivaalexandra@gmail.com; achaves@por.ulusiada.pt
Key Words: RE-PLACE; RURAL DEVELOPMENT; TOURISM
Abstract: This paper addresses the problems of rural development in Portugal, especially
in the north-east, and specifically in Bemposta, in Mogadouro. Therefore, it is necessary
to explore the role that architecture has been playing in the rehabilitation and conversion
of uses as an intervention tool in depopulated rural centers. It is in this context that the replace term acquires greater importance, functioning as a set of approaches in rural areas,
enabling the reuse of old structures, reusing the existing materiality and, thus, seeking a
less invasive approach in the existing building - the ruin - respecting the past and its
historical and social value.
This article was elaborated from a wider research that coincided with my master’s thesis,
held at Lusíada University of Porto, under the theme
“[RE] PLACE: USANDO A MATÉRIA DO LUGAR - Bemposta”, guided by Professor
Alexandra Maria Saraiva, in 2013|2014.
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The conversion uses emerges as a highly important instrument for the maintenance of the
place memory. It is important to highlight the multi functionality of rural areas,
recognizing the potential of their resources as strategic elements for promoting balanced
and integrated territorial development.
The proposed project translates into an intervention that focuses on the reuse of local
architecture and targeted for tourism in rural areas (TER), along with the Cultural,
interpretive and Housing Center of Bemposta (CCIHB).
1. Introduction:
The subject of the present article explores the characteristics of rural areas and how
architecture can enhance this reality, through the strands of rehabilitation and reuse parts.
Therefore, after a first approach to the village of Bemposta, there was the need to restore
the vernacular buildings (once economic and socially active), respecting local traditions
and memories in order to transport them to the present, through economic and socially
sustainable structures, able to revive a village increasingly devoid of experiences.
The choice of re-place theme resulted essentially from the observation held to different
typologies and construction processes found in this rural environment and the awareness
that these models can contribute to valuing a forgotten territory, devoid of population
(mostly young). Despite the desertification that plagues not only the village of Bemposta,
but also the most rural areas of mirandês plateau, these spaces are carriers of historical
and cultural potential, with the ability to generate economic and environmental
sustainability and promote a comfortable return to the origins of who emigrated in search
of better living conditions, as well as the entry of new users looking for a sustainable
rurality.
The objective is to value the vernacular architecture of the Northern region of the country,
where the reinterpretation of new models preserves the relation with the pre-existence,
using and recycling materials inherent to the pre-existence and the place. This way, we
give rise to a few fundamental questions that need to be probed, trying to answer the
objectives outlined, such as to define the vocation of the pre-existence, to name the
implications of the reconversion of uses in the structure and image of the buildings and,
fundamentally, to reformulate the concept of place and to realize in what way does the
project intervention contribute to the maintenance of memory, culture and tradition of it.
This project intervention has, as a main objective, the definition of a set of general
intervention principles in the rehabilitation of small structures in the council of Bemposta,
specially through the conservation and preservation of vernacular architecture, using
techniques and materials adequate to the reality of the location, in such a way as not to
compromise the original outline nor the traditional values. The creation of a Cultural,
Interpretative and Habitation Centre of Bemposta (CCIHB) is proposed, one that
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incorporates the various aspects directed towards the enhancement of the village, namely
in regards to culture, interpretation, habitation and tourism.
2.
2.1. The problem of territory and possible solutions for the present | future
To preserve the memories of the location while intervening in the pre-existent, it was
necessary to investigate and acknowledge the premises inherent to the location, the
alterations made throughout the times, its process of evolution and, mainly, what currently
remains. A large part of the built-up areas in the north-eastern villages is currently
withoutuse and without life, left to abandon and transformed into ruin. This ruin works as
a passport that takes us to a faraway past and, in some cases, such premises remain
inherent to what was formerly considered a building.
According to Maria Veloso (2011), the respect for what exists, for the ruin, is the attitude
that should overcome to any other characteristic when approaching an edification to be
rehabilitated, in a space marked by its historic, architectural and monumental value. It is
necessary to respect the remains of the memories of the past that, instead of blackening
the memories of the built-up area, refines it with the justice of time. This enormous
respect, however, cannot become and obstacle to the creativity of the intervener, but a
positive factor in the approach to intervention.
The consequent state of abandonment and degradation of a lot of our architectural and
cultural patrimony demands different calls to awareness and action by those charged with
the responsibility to recover, protect and preserve the identity of the location. The
conservation, the rehabilitation and the reconversion are currently seen as operating tools
in the creation of architecture. Due to new economic realities, and to a change in political
attitudes in face of the national heritage, these approaches are currently considered
standard practice in architecture.
Regarding the primary factors of the decay of the rural spaces, of the landscape and of the
built-up area, they are the desertification and the depopulation, and they are consequently
at the source of the ruin of material and immaterial values.
In the specific case of Portugal, the biggest cause of the effect of desertification, and the
one with more expression, is the depopulation. With a special focus in the Northern
Region of Portugal and particularly in Trás-os-Montes, as the rural space occupies a place
of special importance in the territorial composition. From the 1950s onward, a large part
of these spaces have become fragile, unpopulated, empty and lifeless spaces. Since that
time, a series of social transformations and changes have occurred in the rural area, a
consequence of the negative and unbalanced demographic tendencies registered in those
rural spaces. This demographic change was mostly due to the bad quality of life in the
rural setting that, along with a feeling of uncertainty towards the future, forced most of the
population to immigrate to countries that could offer a different quality of life, and more
attractive financial conditions. The migrations towards the industrialized and urbanized
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centres led, mostly, to the abandonment of traditional agriculture and desertification, as
much physical as human. Consequently, unemployment and the diminishing of income
have crucially promoted the rural exodus. The European Commission itself, through
document The future of the rural world published in 1988, mentions that the rural space
displays vital functions for the whole society, it is indispensable for the ecological
balance, and is becoming a place of privileged welcoming for rest and leisure. In the same
document, it states that the rural world is affected by several problems, mostly due to the
pressure of economic evolution on the nearby agricultural regions and that the continued
and massive rural exodus does not permit a natural development of the rural world
(Cardoso, 2001).
Throughout the next decades, the rural world showed demographic tendencies
increasingly negative and unbalanced, combining a high mortality rate and a reduced birth
rate with the growing effect of immigration, both domestic and abroad. All these factors
have contributed to the desertification of many rural spaces and population centres.
According to Fernando de Sousa (2005), the rural spaces, especially in the Douro Valley
territories, "are struggling with a vast and complex set of blockages and frailties", arising
from several factors, namely a very reduced demographic dynamic, which translates in a
continuing ageing process in its population, a reduced cultural participation, a lot of it due
to a low level of education of the local populations, a feeble economy, characterized
mostly by the production of agricultural products; the deficient access to the region1, very
important to establish communication with the rest of the country, the lack of current and
global information, the reduced presence in terms of integrated tourism offerings2; the
inexistence of a common profit strategy for the historic and cultural patrimony.
1 Although currently there have been substantial improvements in this regard.
2 However, this sector is clearly developing in the region, especially through TER and
TN.
The decline of the population and of the economic activities in the rural world
accompany, in a certain way, the crisis in the country. The population, leaving their roots
in search of better conditions, leaves the land and production, causing a decrease in the
consumption of goods. Consequently, the land is no longer cultivated, leading to the
asphyxiation of the production structures that, totally deprived of human and financial
assets eventually disappear. Much in the same way, the population decreases, which also
diminishes the investment in basic infrastructures. All these processes of cause and
consequence intertwine, leading to a contagious and unstoppable process. The population
decrease is continuous, growing into a never ending cycle, which leads to the
desertification of the rural areas (DGDR, 1995).
Despite all these problems, the rural world must be looked at as a supplier of goods and
services. The desertification processes, together with the abandonment of agricultural
activity and production of goods, are elements that unite the local agents in search of
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solutions that allow to alter this scenario and to promote a sustainable rural development.
Currently, we are seeing a slight, but progressive, return of people to the rural areas. In
that regard, the tourism sector is an advantage to promote a sustainable development3 and
to propose activities related with the aspects of Rural Tourism (TER) and Landscape
Tourism (TN) that boost the rural areas.
As a reply to the increase and the diversification of the demand in the tourism sector, as
well as to the search of solutions for the continued decline of the rural areas and for rural
desertification, there has been, from the 1970s onward, a controlled development of
tourism and sporting and recreational activities in the rural world, which has appeared as
an important factor to recover and revitalize the economy, the society and the culture of
these territories.
Although this study is centred on the politics of rural development that had a direct impact
in the society of the rural world and, especially, on those connected to activities related
with the tourism sector (especially the TER and the TN), it is necessary to make a brief
capitulation of the main programs and politics directed towards rural development that
have been responsible in the creation of strategic documents, of rural territory planning,
and of solutions for the question of the rural world.
In the eyes of TER and TN, Program LEADER was significant in terms of the impact it
made, especially in the rehabilitation and requalification of the rural patrimony.
Considering that one of the biggest factors of tourist attraction (among others) for this
regions is their historic patrimony and the patrimonial values - edified, cultural,
environmental and landscape -, we must reference the importance that the financing and
the orientation of Program LEADER had in the recovery and also in the re-conversion of
lodgings and infrastructures that would prolong their physical and environmental
degradation through time. Although it is considered a broad plan, aimed at the sustainable
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development of the rural area, LEADER is more directed for the tourism sector, with a
particular emphasis on TER and TN, considering them more and more fundamental for a
safe, effective and sustained rural development.
2.2. Re-place – using the matter of the place
Approaching the concept of re-place, its importance in the relation with the pre-existence
and its connection to the rehabilitation and reconversion, be it material, immaterial,
functional and spatial, it can be inserted in the re-utilization processes in architecture,
comparable to concepts of reconversion, such as adaptive reuse or retrofit. Given its broad
and encompassing definition, it allows for many and different interpretations. However,
there is an underlying objective that the architectural reuse must be understood as an
evolution of process, that happens over time.
In the direct definition of re-place or retrofit, to execute this kind of operations in a
construction means to give it a new life, preserving original aspects and adapting it to
current demands and standards. These concepts are often mentioned together as "reform"
or "restoration", although there are substantial differences between them. Restoration
consists in the restitution of the edification to its original condition (that had in Viollet-leDuc the main defender of this practice), and reformation entails an upgrade, without
compromising the previous characteristics. The re-place or retrofit looks for the
harmonization of some concepts inherent to restoration and reformation, renovation and
maintenance, as it tries to maintain the original characteristics, adapting them to the
present day (Resende, 2013).
This concept is a good alternative to value old constructions and a good contributor for
sustainability, not only due to the recycling and reutilization of matter, but also due to the
insertion of sustainable technology. Re-place acts as a keeper of natural resources,
reforming the image of the space, its character, its function, and preserving the integrity of
the architectural space and of the place. In this approach to the re-place and, considering
that the identity of the edification comes from the place where it is inserted, the definition
of place is demystified, considering it as a physical, phenomenal and ontological process.
The concept of place has caused many discussions in contemporary architecture. It can be
understood as a phenomenal entity that encloses specific meanings and forms (able to
transform into an element capable of influencing or giving cause to an intervention).
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On the other hand, the importance of place as a significant element can also be
undervalued (in the perspective of a global society, mostly urban and technological, the
"standardizes" places) and its aesthetical importance may be underestimated due to the
simple fact that time has altered or vanished the form of the place (Neves, 2001). This
attitude towards the place is translated into a creation process, whose main objective is the
autonomy of the form, dictating their own directives and establishing itself as something
radical and innovative.
In the relation of the place with the re-place, it is considered fundamental to intervene
according to the concept that each place has its identity, its culture, its history. The
understanding and the interpretation of the place may contribute to generate an
architectural space, in the sense that it has the potential to generate spaces to organize and
maximize new uses. The pre-existent conformation of the natural terrain, its planimetry
and altimetry and also its morphological relation with the landscape and with the natural
aspects inherent to the place, allow for the identification of orientation lines in the
planning of the space and of the shape (Maciel, 2003).
This way, the re-place works as a set of approaches that, by stimulation or reformulation,
infuse themselves in the multi-faceted structure of the place. The factors of the culture of
a territory and the parameters that eventually characterize are limitations to an
intervention (Cruz et. al., 2010). This concept approaches the interventions of
rehabilitation and reconversion in the sense of maintaining the memories of the past that,
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in this case, consist mostly in the reutilization and recycling of the material of the preexisting in the current construction, maintaining the values of the culture and of the
vernacular patrimony of the place.
2.3. Project intervention
The implementation of the strategy comes during the visit to the rural centre of Bemposta,
and from the realization that the area surrounding the Church, strategically located, as
well as the area of the viewpoint, that establishes a direct and genuine relation with nature
in its purest form. This way, the orientation of the CCIHB, that encompasses fours sides
that are considered fundamental for rural development, connected with culture, tourism,
history and temporary lodging, allows the stimulation of the interchange among users and
the possibility of making use of the amenities of the place. In this sense, the aim is to give
incentive and to promote multiple income and economical sustainability that, through
culture, traditions, temporary lodging, TER and through the implementation of the tourist
circuits between several points in the village, whether through the promotion of the
traditional products (craft work, gastronomy, among others) and new products and
activities. It is this point, with an intervention aimed at the reutilization of the local
architecture and directed at TER, that the proposed CCIHB arises.
This enterprise (CCIHB) predicts its implementation on one of the oldest areas of the
village of Bemposta, the Church Square and all the area surrounding the viewpoint,
peripheral to the village. One of the main reasons to choose this location was the wealth in
examples of vernacular architecture in the area. Regarding the territory's intervention
plan, it was divided in two: general plan - macro scale (county and village) and specific
plan - micro scale (CCIHB). The general plan, directed towards the whole village,
predicts the creation of several circuits between several important points in the village,
culminating at the CCIHB and creating conditions that allow for the improvement of the
living conditions of those who live there. The county's rural development strategy places
great importance in the creation of new infrastructures and in the revision of existing
structures with the objective of promoting and giving a new lease of life to the rural areas.
In a micro scale analysis, to the county, it is clear the existence of several frailties, thus
proposing a structural plan on several levels, among them the rehabilitation of the
connection points (accesses) and the revitalization of important spaces in the village
(empty). The specific plan, planned on a more reduced scale, predicts the revitalization of
the area surrounding the CCIHB and the spatial organization of the public spaces that
compose this area. Considering the objectives outlined, the CCIHB will be an advantage
in terms of recognition of place, through its various designations - cultural, interpretive,
habitation, interactive, commercial, sporting - thus fighting some of the issues that this
area faces. The CCIHB comes from the addition of pre-existences, proceeding to its
rehabilitation and reconversion to the contents desired. With this enterprise, it is intended
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to offer the users various possibilities to enjoy and take comfort in the place, through
several program contents proposed for an expo area, a bar area with terrace, a store to sell
regional products, a front desk, a library, a space destined to sports, administrative
services, an office destined to TER and a space for temporary, low-cost stay. Exploring
the subject of the reconversion of uses, some setbacks arose like, for example, the
transformation of what used to be independent buildings into a unified whole, and the
internal connections that follow.
In terms of material, there was a need and a will to make use of the pre-existent in the
reconversion, the principle of the surrounding structural wall in granite masonry. The
objective of maintaining the language and the material of the constructions was achieved,
through the idea of making up the façade from the pre-existence. Most of the edifications
were maintained and rehabilitated, and only some of those walls and a roof were
demolished and rebuilt.
UID/AUR/04026/2013.
Conclusion:
In this article we analyse interventions in the vernacular architecture. specially in the
Bemposta county, and in which way can they contribute to fight the growing factors of
desertification, depopulation and consequent abandonment of the buildings and of the
land.
This way, it is essentially intended to answer the objectives outlined in the Introduction.
Regarding the first two questions, related with the calling of the pre-existence and the
implications of the interventions in its image, we realize that the interventions as
rehabilitation, reconversion and reconstruction are essential contributes for the
maintenance of the pre-existing buildings and also to increase its "life span". It is
necessary to respect the past, to combine the calling of the pre-existence with the
introduction of new program contents. All those alterations have implications in the
structure and in the image that should be current and, at the same time, connected to the
traditions inherent to the building and the surrounding area. Regarding the third question,
directly related with the place and with the maintenance of memory, culture and tradition,
it is concluded that when deciding to intervene, it becomes necessary to make a previous
study of all the characteristics inherent to the place so that it may be possible to create a
perfect dialogue between all the entities that intervene in the project. The proposal of the
project respects the characteristics of the place, it rises in relation to the place and
organizes its form and function, considering the appreciation of the local traditions and
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culture, in order to retrieve memories of the place and transport all its qualities to future
generations.
The importance of maintaining the memory of the place and of the pre-existence may
constitute an essential factor in the project interventions in the edification. With an
absolute fidelity to the vernacular and popular architecture of the Northern region, the
program was proposed considering not overlapping the pre-existing, and not altering its
physical space. This way, a careful programmatic choice was performed, taking advantage
of the parcels and of the dimensions of the pre-existing buildings, respecting the integrity
of the edification and the memory of the place.
References:
Cardoso, P.A.A., Dinâmicas do Mundo Rural no virar do século – O concelho de Sabugal,
Faculdade de Letras, Universidade de Coimbra, Coimbra, 2001
Cruz, J.; Trancoso, C.; Foyedo, C; Fernandes, R., Re-Place in Dédalo nº7, Maio a
Outubro, Faculdade de Arquitectura do Porto, Porto, 2010:17
DGDR, Do Despovoamento Rural ao Desenvolvimento Local, Edição DGDR- DirecçãoGeral do Desenvolvimento Regional/Programa de Artes e Ofícios Tradicionais, 1995:58
Geraldes, I.F., [Re-Place]: usando a matéria do lugar – Bemposta, unpublished M.A.
thesis, Universidade Lusíada, Porto, 2015
Maciel, Carlos A., Arquitextos – Arquitectura, projecto e conceito, resenhasonline,
vitruvius (electrónico). Disponível em URL: www.vitruvius.com.br/ revistas
/read/arquitextos/04.043/633; 2003
Neves, V., Sebentas D’Arquitectura, 3 – O lugar, Universidade Lusíada Editora, Lisboa,
2001:7-8
Reis-Alves, L.A., O conceito do lugar, Arquitextos, Vitruvius (electrónico). Disponível
em URL: http://www.vitruvius.com.br/revistas/read/arquitextos/08.087/225; 2007
Resende, N., Retrofit, a nova tendência das reformas. Disponível em URL:
www.blogdopetcivil.com/2013/03/22/retrofit-a-nova-tendência-das-reformas/; 2013
Sousa, F., O património histórico-cultural da região de Bragança/Zamora, Edições
Afrontamento, Porto, 2005:17-18
Veloso, M.A., Espaços recriados, Grupo Ascensores Enor, S.A., Espanha, 2011:9-12
----1 Although currently there have been substantial improvements in this regard.
2 However, this sector is clearly developing in the region, especially through TER and
TN.
3 Without neglecting the agricultural sector and cattle raising that, by themselves, do not
present viable conditions to structure solutions for rural development.
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28. Landscape Tourism- An Intervention Proposal to
Bemposta
Luís Filipe Tavares Monteiro da Gama, (MA.)
Key Words: NATURE, LANDSCAPE TOURISM, PIER
Abstract:
The purpose of this article is to show how the development of landscape tourism activities
and environmental education in a
rural location with a lower population density, in order to use their natural and cultural
resources, and its heritage and
landscape.
The geographical area, located in the Planalto Mirandês, a region in Trás-os-Montes, is
characterized by being a very rich
territory in natural and cultural resources as well as it has a strong touristic potentiality,
presenting a diversity of landscapes
and native species, privileged by their location, DINP, with also a vast tangible and
intangible heritage.
This article was elaborated from a wider research that coincided with my master’s thesis,
held at Lusíada University of Porto,
under the theme “Arquitectura e Paisagem - O Cais de Bemposta”, under the guidance of
Professor Alexandra Maria Saraiva,
in 2013|2014.
This strategy is supported by the organization of various programs and activities of
Landscape Tourism and environmental
education, such as the design and planning of a landscape observation route, as well as the
proposal of building a pier, in
order to support the local fishermen and to promote sporting activities, like nature tours
that will be focused on the
exploration of its natural, cultural and human resources thus seeking to transform and
enhance the site.
The proposed project has validated the importance of the intervention in the present
architectural heritage and landscape, with
the objective of keeping its identity, building up a strategic scenario that maintains the
intervention plan. It will be created a
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network of services and platforms, supported by landscape tourism and its relationship
with the Douro River as it still
presents itself as a strong enhancer of local attraction
Introduction:
The study area was limited to Mogadouro, specifically Bemposta, a territory with natural,
cultural, historical and social, wealth and varied, and it‘s also inserted at the PNDI. This is
a
region of the Planalto Mirandês, enriched by its landscape, which highlights it‘s river
system and its strengths and cliffs, natural elements of exception that whittle them.
Interest in the study of the place landscape, and it‘s relationship whit the Nature Tourism,
precedes the socio-economic difficulties currently experienced in Portugal, and the
undervaluing of the most remote areas in this territory, and parallel in the twentieth
century, where has seen a strong rural exodus, because people were leaving in search of
better living conditions in urban centers within and outside its borders.
The wealth of vernacular and cultural heritage, architecture and landscapes present in this
territory are factors whit great impact to consider in innovative rural development
strategies, contemplating the landscape tourism (LT) and a range of complementary
activities themselves contiguous, like hunting, fishing, hiking, climbing and canoeing.
The result shows the desire to value the tangible and intangible heritage, so that the
memories and experiences are not lost. The lack of interest on existing resources like the
river and it‘s relationship with nature and the surrounding landscape, are also the focus of
attention.
Thus, we studied and built a strategic scenario, which maintains the intervention plan, in
order to create a network of services and platforms, supported in LT, which will be the
protagonists paths / trails that snake through the landscape and the its relation to the
Douro River, strong enhancer element of the local attraction.
To do this, comes a proposal from a Pier and the development of a program of an
"Observatory of Landscape," a "Shelter", a "House of Boats" Showers and "Casa das
Canoas"
and / Coffee Terrace.
Reset, recover and / or rehabilitate spaces and / or place objects, enabling a new
occupation
and / or use, exploring its potential, it is the strong point for the theme.
1. Landscape Tourism, an intervention proposal to Bemposta
1.1. Landscape Tourism:
Academically and according to the World Tourism Organization, United Nations,
Tourism is defined by a set of activities that people make during their travels and when
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they stay in different places than where they live, for a period of time less than one year,
for leisure and business, among others.
In the Portugal context, this is shown as an activity that currently has a truly strategic
importance to the domestic economy, having its ability to generate wealth and
employment (PENT, 2007).
The LT shows an activity that requires a natural and cultural physical space to develop. Its
implementation should be based on sustainability and thus be part of a set of international
and national policy guidelines aimed at sustainable development of these areas. It is
therefore proposed, recovery and conservation of natural and cultural heritage supported
by four main sectors: the conservation of nature, local development, the qualification of
tourism, diversification of tourism. So, this is considered a tourist activity that occurs in
hazardous areas or other with natural values that are recognized.
Through an analysis of the large international demand trends, PENT defines ten products
selected according to their market share and growth potential, and the ability and
competitive potential of Portugal, which they should lay the development and training
policies of our tourist offer. So with and support the study by THR for Turismo de
Portugal, the LT sector falls into two markets:
- Soft: the experiences are based on the practice of low-intensity outdoor activities
(hiking, excursions, hiking, wildlife watching, etc.), and representing about 80% of all
trips
(IGESPAR, 2000);
- Hard: the experiences relate to the practice of sports in nature, such as rafting, kayaking,
canoeing, climbing, among others, and / or activities that require a high degree of
concentration or knowledge, such as bird watching , accounting for about 20% of all trips
(IGESPAR, 2000).
As a rural development tool, the LT carries other risks and perversions, that may result in
conflicts of representations and practices that arise over the territory and the environment
(FIGUEIREDO, 2003). Thus, we see an inevitable diversification of cultural codes, as
well as representations of the countryside. On the one hand there is the temptation to work
the product on the tourist perspective, this usually urban and tend to enshrine the nature
and environmental values, looking at the countryside as a store of memories and
traditions, or a consumption of space, strategy resulting from the initiative of outsiders,
with minimal economic impact on indigenous peoples, exposing the rural dependence on
expectations that are external. On the other hand, an economic benefit perspective of rural
populations, linking rural areas to their productive skills, and a resource that remain
(FIGUEIREDO, 2003).
With this, we note that although there were criticisms about the evolution process of
Landscape Tourism in rural areas in Portugal, checked that policies present in your
source achieved some success and can hold up a positive balance of old attempts,
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particularly with regard to the rehabilitation of built heritage. This review led to the
development of policies for
the current phase as a phase of deepening more and more strict, linked to the constraints
of the management of environmental and heritage values of the landscape.
1.2. The Place:
According to Aristotles, the concept of place (topos) is understood as one, where a place
of belonging, proper positioning corresponding to any physical element (VEM, 1977),
referring that the place is not simply a something but a something who exercised some
influence, that
is, which affects the body that is in it, introducing a new greatness on the essential
elements of the classical theory of the place where this is neither the body nor something
entirely alien to the body (MORA, 1978), defending that the place, is something distinct
from the body, and the whole body is in a sensitive place.
Here is elementary refer Norberg-Schulz (1984), in the way it comprises the place and its
essence. This is so clear, that actions occur in places with more specific environments; do
not require the idealization of an event without any reference to a place. The place then
part of existence, so when we talk about place, we speak of something more than a
"simple" immaterial location because attach materials, shapes, textures and colors that are
close to them. Thus, this unit is determining and characterizing the environment essential
to the place mwhere it is characterized as a quantum phenomenon can not be restricted
with respect to their properties as well as the spatial relationship so as not to lose the
intrinsic nature herself .
Kevin Lynch (1972) concludes this idea, referring to the usefulness and interest of
protecting the history of cities in relation to human feeling, enlivening it is so important
coexistence of today and history, as the way occurs and the paths to be adopted, and
which are necessary for this relationship to reach a result. The creation of a place
presupposes the existence of a set of physical characteristics with its own identity.
(PIRES, 2011: 5).
In addition to all these factors, we have also, memory, and the many ways this is
expressed either in formal terms, as well as the participation and influence on the identity
of a place.
Thus analyzing the place, the village of Bemposta, we intend to address here, the
phenomena
of territorial occupation as expressed in its topography and geography, highlighted by its
physical space.
The Place, Bemposta, is thus, in the northeastern, translating this into a limitation because
it puts this small village in a remote location in relation to the structural axes in the north,
as well as the Spanish territory, creating some difficulties in mobility and accessibility.
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Over time, these conditions have improved, due to the structuring of new avenues of
accessibility infrastructure, and in particular IC5 (Mogadouro) and the N221-7 (Zamora
and Salamanca). This small and characteristic border village of the northeast, where the
native flora is characterized by the abundance of olive and almond trees, but also by the
oaks and vineyards.
This is a region characterized by its culture and religion, where the Douro river plays an
important and relevant role, with all its paths / trails / paths and spiked cliffs. Its roots go
further back to the Neolithic era, and the shelters and Castros, and abundant in its
territory. It is also a place marked by a spatial organization that grew organically and
spontaneously, establishing a link between the topography and the installment of the
territory. These physical aspects were decisive in irregular shapes that mark the village,
not forgetting also that their social structure was crucial in your organization. The fact that
an area be linked to traditions and customs, including fishing and hunting, led us to reflect
on this legacy and to understand how it could be revived.
The historical and cultural heritage of this small village transmontana covered by the
PNDI, offers a vast cultural wealth, such as mirandese language, one of the business cards
of this region and territory and with the pilgrimages, which in addition to being part of the
everyday experiences this people, are also a strong local attraction element.
The architectural level, Bemposta as the region to which it belongs, is characterized by its
religious architecture (church and chapels), popular (isolated buildings or band) and
traditional (mansions). It is also important to point out a vast archaeological heritage here
present, demonstrated in the rock art and forts, as well as the testimony of the Roman
occupation, the medieval castles and even the Iron examples of architecture, the late
nineteenth century (in stations and train lines ), where part of this heritage is already
ranked.
It should be remembered that the parish Bemposta has an enormous ecological
importance, equity, strategic and economic in the county, Mogadouro, marked by a
hydrographic channel of extreme importance, the Douro river.
In this place, the Douro river is assumed as extremely important element, partially
delineating the border between Portugal and Spain, once strategic place over 112 km, and
consecutively,
213 km in the country, and has been classified by UNESCO as Heritage in 2001. This is
also recognized worldwide for his famous port wine, and its strong natural and cultural
landscape.
In addition to its extensive river system, the village of Bemposta, is thus set in a territory
of unique features such as the history, customs, traditions, among many others already
cited above. All this, coupled with its climate, topography, occupation and use of land,
designed and draws the entire physical structure of the place, Bemposta.
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1.3. The Landscape:
Now directing attention to the landscape, it should be noted that the attitudes assumed by
the company in relation to the territory and its values from their perception as mental and
collective construction of landscape, which is likely to widen. This is a concept that
emerged in the West, as a representation of nature associated with art, where painting was
the field that contributes to define aesthetic codes of assessment and appreciation to you
implied. The landscape is assumed as an object of contemplation and aesthetic
appreciation, being associated with very notion of beautiful (BARATA, 2010).
As for the landscape of the place, Bemposta, observe here, some ecological, historical and
cultural buildings, past legacies. Today, these buildings are advertised as the product of
the new dynamics externalized by this diversity, where objects of production, land tenure,
the
inheritance systems, production structures, logic and production strategies as well as the
degrees and insertion conditions in the markets, balance.
So, as characteristic elements of this small rural areas, we have the vernacular
architecture, "abandoned" and degraded, which persisted due to the weak development of
the economy, and the migration of its people, allowing the "salvation" of this
characteristic architectural legacy, which in other cases and other regions.
We can not fail to mention the lofts, characteristic of this region and the landscape of this
transmontano territory. These, when they are building, were livelihood of these
populations, their intended functions for meat production (pigeons and doves), the
production of manure, as well as the display of power / wealth, or the aesthetic
improvement of the properties, and / or entertainment.
As the main defining characteristic of this landscape here, we have already mentioned
above,
PNDI, created based on the unique combination that exists in the area of the International
Douro and in order to value and conserve the natural heritage through sustainable use,
promote quality of living and enhance the architectural, historical and cultural heritage.
Theunique combination, and the importance of "guns" river valleys, cliffs strong, the
Mirandese plateau, fauna, flora and habitat, led to the limitation of the place of
Community relevance. A single set in which agriculture contributes to shaping the
landscape, the PNDI is part of the
Douro Region, which features unique cultural elements, such as festivals, among others.
2. Proposal, the Pier:
Addressing the case study, now an approximate scale, direccionamo us for the
relationship of place and landscape with LT, as well as their practices and customs, with
the architectural object as a means of communication and transmission of knowledge.
Thus, it was necessary to define the process of analysis and recognition of the place to
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intervene, which is a small bay near the Bemposta dam in full PNDI and paired with the
village, figured by their morphological and natural characteristics.
Thus, for a better understanding of the place in reflection, it is essential we address the
following questions: What is the place? And what sets?
The place then occupies a small bay downstream of the Bemposta dam, where the hits,
except by sea to a little harbor, they are in poor or inactive conditions. This factor also
contributed to this place of PNDI, it acts on the most restricted form of landscape,
especially for its environmental value. This small bay is well established, at first, the man
action, with the dam, changed radically the landscape, through higher and retention of the
river water level.
Combining this factor and adding the morphology and topography, established the place,
as if
by natural reasons, an application for use or restructuring of this.
The proposal has the objective to transform Bemposta a diffuser and a remote rural
transmitter. It searches thus promote the continuation of a traditional technique combined
with
new and innovative existing materials and design, making the connection with the current
rural world and future. The relationship between architecture and landscape, together with
the LT in order to promote this small transmontana parish, full of history, culture and
traditions.
The aim of this, stimulate and promote the LT this parish and also in this territory, seeking
the support of local people, through the interest of the passage of these concepts for future
generations, which together with the landscape and architecture of the place, transmit the
communication, revisiting stories and memories of the past. Thus, the focus of this
strategy focuses on nature tourism segment, without forgetting the heritage and cultural
tourism, which invites a reflection on the real reasons that lead tourists to visit this type of
territory, which stand out for their resources historical, heritage, cultural and
geographical, where we emphasize its characteristic landscape.
There was thus seek to develop new tourist flows Bemposta both as to the surrounding
area in order to achieve the LT international market. Task to be performed through a
demanding route and where everything will depend on how Bemposta, in its plurality,
wishes to project its architecture and landscape and culture, history and customs.
The proposal for the Bemposta Pier and routes Bordering arises aggregate to the
characteristic landscape of the Douro that surrounds it. So if assigned to the Bemposta
Pier, a program for
the practice of nature sports, but focused on water sports not motorized, such as canoeing,
among others, as well as other activities associated with them, such as fishing; without
neglecting the contemplation and observation of landscape / nature. This unit will thus
fulfill a functional program that includes a comprehensive social dimension,
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encompassing viewing areas and landscape contemplation, living and leisure,
competition, among others.
The pier is a proactive proposal, which basically tends to benefit the territory, and the
place as the people who interact with him and in him, directly or indirectly. Composed of
a care program, which comprises: a nature observatory, strategically deployed in the path;
a cafe / terrace; a ski for canoes or other, with a whiff of support; a workshop to assist
small vessels, storage and a multipurpose space; and a shelter up to eight people,
strategically deployed, integrated and inserted into the landscape. All these spaces in
addition to the landscape, assume also a strong relationship and interaction with water.
Thus, the implemented model is capable of generating sustainable development, through
proper horizontal integration throughout the local productive system, leveraging more
effectively the existing resources and capabilities, complementing and extending an offer
of differentiated services in the territorial framework where are resources to maximize.
UID/AUR/04026/2013.
Conclusion:
The pier was the starting point for this research work, materialized in the intervention
proposed for the area of Bemposta, Mogadouro, developed in the discipline of Project III,
in the 5th year of architecture at Lusíada University of Porto, in academic year 2013/2014.
To establish the importance of the pier in the context of Bemposta, was relevant to
understand how important and the character of this unique space as an integral part of
nature and landscape surrounding it, as well as their relationship with the local
communities, relating and applying these to LT and this tourism sector, as the means
promoter place.
The LT, arises from the intention of building a "tool" of development and dissemination
of this region transmontana "forgotten" that assigned to it, discloses and diversifies the
region, relying on the characteristics and potential of the territory in which it operates,
setting alternative tourism products.
The potential of this place, Bemposta, is based in the variety and peculiarities of its
resources, such as in image quality that has managed to disclose, weighing the obvious
limitations of qualification of human resources which support the work of the units.
Bemposta, shows up as an aggregator countryside of an entire business universe, that by
sharing their resources can sustain their community. Its architectural richness, its cuisine,
its traditions and its culture as well as the characteristic landscape are also a reality and an
undeniable mark of their identity.
Under the intervention proposal is intended to create an intervention model that brings
together up the landscape, the place and the building (object). Beyond that belongs to its
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people, this articulate between them and the world, through an innovative and quality
program retrains the surrounding in terms of defining new paths. We tried to thus
characterize, define and frame the place, a small bay, next to the dam, almost in its pure
state. Despite the primitive forest paths and the poor use of the place, the pier, there
deployed as a precarious solution, are the topomorfológical characteristics that define it.
The recovery of the spirit of the place is decisive, looking up with this, rescue principles
of the past, as their relationship with the river, now almost nonexistent. Thus, the spatial
and functional structure of the proposal for the small bay, the Bemposta pier, includes an
implemented and capable of generating sustainable development model, with proper
horizontal integration throughout the local productive system, with bases on existing
capabilities and resources, extending the offer of services in the territory where are the
resources to maximize.
References:
DDR, Diário da República, 1.a série, Nº 170, (2007). Lei n.o58/2007, Anexo: Programa
Nacional da Política de Ordenamento do Território (PNPOT).
FIGUEIREDO, E. (2003) - Quantas mais “aldeias típicas” conseguimos suportar? Alguma
reflexões a propósito do turismo como instrumento de desenvolvimento local em meio rural, IN
SIMÕES, O. & CRISTÓVÃO, A., TERN – Turismo em Espaços Rurais e Naturais.
Edições IPC, Instituto Politécnico de Coimbra.
ICNF (2007) - Instituto de Conservação da Natureza e Florestas, disponível
em:www<:URL:http://www.icnf.pt/ICNPortal/vPT2007-APDouroInternacional/O+Parque/Valor es+Naturais/Flora/>.
IGESPAR (2000) - Instituto de Gestão do Património Arquitectónico e
Arqueológico,disponível em: www<:URL:http://www.igespar.pt/>.
INE (2009) - Instituto Nacional de Estatistica, disponível em: www<:URL:http://
LYNCH, Kevin (1972) - What Time is this Place? - Linguistic Inquiry Monographs.
Reimpressão. MIT PRESS LTD.
MORA, José Ferrater (1978) - Dicionário de Filosofia. Publicações Dom Quixote Lisboa.
NATURAL.PT, à descoberta de áreas protegidas, disponível em: www<: URL:http://
natural.pt/portal>.
PDR (2007) - Politica de Desenvolvimento Rural (2007-13), disponível em: www<:URL:
http://www.ec.europa.eu/>.
PENT (2007) - Plano Estratégico Nacional do Turismo, para o Turismo de Portugal, I.P.,
disponível em:
www<:URL:http://turismodeportugal.pt/Portugu%C3%AAs/conhecimento/planoestrategiconac
ionaldoturismo/Anexos/PENT_VERSAO_REVISTA_PT.pdf>.
PEREIRA, José (sd.) - Bemposta, disponível em: www<URL:http: //bemposta.net/pt>.
PIRES, Amílcar de Gil e. (2011) - O entendimento poético do Lugar como um PequenoCosmo.
Ciaud. Fevereiro.mPNDI (1998) - Parque Natural do Douro Internacional, disponível em:
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SCHULZ, Christian Norberg, (1984) - Genius Loci : Towards a Phenomenology
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em:www<:URLhttp://www.turismodeportugal.pt/Portugu%C3%AAs/AreasActividade/Produto
seDestinos/Documents/Tur ismoNatureza.pdf>.
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empreendimentos turísticos, disponível em: www<:URL:http://portaldolicenciamento.com
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org/archive /convencion-pt.pdf>.
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http://www.paisajesensorial.com>
29. The Influence of the Audiovisual In Contemporary
Architecture
Antonio Polainas, PhD – CITAD, Research Center
Luis Pinto, PhD – CITAD, Research Center
Abstract: We live in an age where communication becomes of major importance and
where the boundaries between different languages used in communication are blurred
and co-related.
The objective of this work is searching for common ground between architecture (as
communication) and audio-visual language (in television), namely:
Finding links between contemporary architecture and the audiovisual, analyzing their
areas of convergence and intersection.
Comparing the evolution of Architecture according to cultural, social and economic
movements with the gradual and determining influence of audiovisual universe.
Developing a historical sequence of past decades regarding architecture as
communication and trying to find common points with the audiovisual.
Contextualizing the importance of television in the consumer society as the ideal
means of disclosure to a global scale.
Understanding the connection of contemporary society with new Technologies,
through the relationship between man and image.
Considering these results, we also intend to identify the basic concepts of
communication which become common denominators, not only for these areas of
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knowledge but also to other areas of communication. The Influence of the Audiovisual
In Contemporary Architecture
(In the Communication Perspective)
Introduction
The study of audiovisual impact on contemporary society is essential to understand
society itself. Its influence is global and affects almost all human activities, including
architecture. The architecture and the audiovisual naturally develop practices and
autonomous and independent theories, however, there are a number of factors that bind
them and or intersect. The aim of this study , looking to see if there is a line of
continuity in the history of recent architecture , showing the progressive and constant
concern in the universe architecture with the image and as a result , find points of
connection between contemporary architecture and the language audiovisual identifying
these connections and how they manifest themselves.
For a general context, there is also the need to establish a relationship with the social
environment (the characteristics of the consumer society and information) and the
communication universe (in particular the audiovisual).
The social and economic order and the present based on consumption are gradually
changing the habits and behavioral characteristics of man, influencing it in their
activities. As a direct and indirect result, the practice of architecture has undergone
profound changes, so over the past few years we have seen changes in its basic
concepts.
The current concept of communication is inserted in the logic of contemporary social
reality essentially based on the information. Communication has been one of the support
legs and existence of social media more connected to information. The use of
communication and image as selling a product factor has also been an important rule in
an increasingly widespread consumerism in contemporary society. For this reason, the
communication architecture is assumed increasingly as a process of structural design of
the vehicle and excellent transmission concepts.
The issue of audiovisual comes naturally, since the information society, the goal of any
vehicle messages, you try to be efficient. Currently, the television the most powerful
means of communication and the audiovisual language to its most efficient tool, of
course, to seek to establish a relationship with this language. Over time, the architecture
has always had a special relationship with the image areas and the new technologies
associated with them. Cinema is one of the most recent examples known and studied. A
relationship that arises from the very onset of the so-called seventh art, and it develops
throughout the century. XX. However, the architecture of the connection with the
television is not as clear and obvious. Even in the relationship between television and
the cinema, where the existence of television sets was banned by age 50, only the last
two decades it was assumed that the strength and efficiency of audiovisual language
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would be an asset to the film. The study of the audiovisual is essential to understand
their integration in contemporary as well as the global influence in many of the
activities of man, in which is included the architecture. The current power of the
audiovisual is not only as a result of technological change but also as a result of social
and economic development of society.
Architecture Evolution in Perspective of Communication
This was witnessed during the twentieth century to undo the traditional structures and
the development of a new economy.
The world wars, revolutions, and social movements will end with the aristocratic elites
and empires. New political maps are drawn; new countries are formed, and new
technological systems, social, economic and cultural rights are developed.
The mass production, the result of industrialization will popularize the products
reducing their costs and allowing their sale in bulk. The combination of industrial
production with the growth of a new society with purchasing power will generate a
middle class that will grow and flourish until the twenty-first century.
It is the mass consumption and the consumption of the masses globally. The masses for
the first time in history represent the power, the power to consume and thus the ability
to drive the market according to your will or need taking your power for the first time in
human history, the so-called "power of masses'.
This new class only needs, therefore, a means of communication, on the one hand, to
attach but, on the other hand, to advertize on a global scale and to diffuse its principles.
Television appears as the ideal means of communication. It is something new and
efficient. It is something that people invite to your home and is also the means that
naturally connects people to the world and each other, but more than that we believe in
television. We believe because television has an odd and powerful handling capacity, its
audio features, video, sensory and behavioral (in short for its audiovisual language)
Consequently the audiovisual being the language of television becomes the reference
and communication handling throughout society and in all areas of knowledge
obviously including architecture.
The relationship between architecture and is, therefore, a specific visual and
undeveloped area. If the phenomenon of television (audiovisual) is easily accepted its
influence in the architecture of the universe implies, for better understanding, a
historical context from the end of the nineteen century. The nineteen century was the
time of industrialization that culminated later with series production. In the late
nineteenth century to the twentieth century the great fairs World are the wonders of the
new bourgeois. The locomotive and the car are the icons of an era surrendered to
machine. The film develops as a representation of reality, as a storyteller and an advent
of a world of illusions and images 'live'.
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With the two great world wars are witnessing the end of empires and a whole current
aristocratic structure. The society and the economy begin its industrial phase. Draws up
the present world, it creates new countries, new economic solutions and new social
patterns.
The structures and principles of the past no longer give answer to these new realities.
We must find other solutions.
The world is becoming and from the years 40/50 everything will be called into question.
In 1951, the 8 CIAM (International Congress of Modern Architecture) in Hoddesdon cold and rational architecture, usually built of blocks and housing estates, was strongly
criticized. It was proposed, alternatively, the study of a city that would add meaning and
symbols to new public spaces to a study located and custom history and local culture.
In the United States in the 40, 50 and 60 developed a cheerful and upbeat style with a
commercial that illustrated another culture is also flourishing in Southern California: the
Californian Car Culture: The Googie architecture. This was a humorous classification,
but futuristic connotation, vernacular style that developed on par with a commercial
concern. The Googie architecture featured a set of cultural trends that were also known
as: Jet Age, Pop Luxe, Doo Wop, or Space Age How generator of its projects, used and
abused the architectural meta-language, mainly through an extremist language in its
irony or metaphor that created an intense image, different but simultaneously
disconcerting. These movements led to many of the classic conventions were
abandoned the attempt in the search for something new and different for architecture.
In 1961, Gordon Cullen, in the book Townscape, attempted to demonstrate the
recognition of the needs and requirements of the new city, increasingly focused on the
social and consumption.
Other movements, such as the American Robert Venturi begin to develop in the 60s
looking for another language that opposed the functionalist and dull rigidity of Bauhaus.
The world evolved and emerged new trends in art and society. The multifaceted and
expressive opening of the company opened new horizons to man, particularly in its
spirit and its creativity. The experience and the art of everyday life have become the
following icons.
In the 50s, the atom, nuclear energy, and the atomic bomb occupied a leading role in
popular culture and intellectual debate generating a diversity of movements that hatch in
the 60 A time where shaking all areas of society (the Revolution youth, women's
empowerment, anti-racial movements) and appear and / or develop in new economic
and technical realities (television, cinema, etc.).
In 1966, Venturi with his book Complexity and Contradiction in Architecture argued
that architecture had to find the complexity of modern life. Venturi defends architecture
as a reflection of everyday actions and outlines the first ideas of one of the most
important objects of contemporary: The construction of the image.
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Andy Warhol promotes advertising as an art and breaks the myth of an elitist art. The
evolution of advertising provided that Andy Warhol could see your concept be elected
as art, architecture influences from the 70s increasingly the image invades the everyday
consumer and citizen. Thousands of images and / or visual signals are distributed by our
cities along the route our daily lives. Signs advertising, billboards giants, thousands of
lights dominate the landscape of the city. Begins a rapid assimilation of a special way of
being, that by the end of the century will dominate Western civilization. Increasingly,
the image invades the everyday citizen.
The traditional and conventions in architecture began to be called into question. In this
perspective starts the policy over the coming decades will be predominant: the
consumption strategy. The objectives of advertising and marketing techniques aim to
concentrate the focus of the viewer, the consumer man, to sell more and more.
Accordingly, the above concepts are called into question. In fact, it is a time when
everything was called into question. On this basis, several architects and workshops
investigated different ways of looking at architecture, especially its role as permanent
and constructive immobility. Also in the 70s, the American An architecture group
Matta-Clark and Austrian Hans- Rucker -Co, were the most far advanced the earliest
times, with the experimental creation of architectural spaces in permanent changes.
Transform the architecture, adapting it to any social or cultural situation and exploring
new concepts as empty, the intervals and the metaphorical spaces.
In the 70's, the Best Supermarket chain radically broke with the usual design stores. It
was designed to an unusual set of buildings with sloping walls that seemed to crumble
full of stacked bricks. There was a goal, to draw the attention of potential customers and
thus increase sales. The architecture was used as a marketing and advertising tool.
The architect Bernhard Tschumi in the 80s based their studies on the importance of
architecture in the materialization of movement in space. One of his most famous
works, the redevelopment project La Villette Park in Paris, and concentrated translated
these principles: The disintegration of traditional architecture, stable, classical,
structural and coherent space fragmentation, making it a route where there is a whole
initially noticeable and where the whole is not a direct and logical relationship of all its
constituent parts; time, pace and sequence are the foundations of this new structure. The
new language of architecture, according to Tschumi, was based on a concept of reactive
architecture where space ceases to have a static weight to be dynamic and with a
permeable building. The symbolic representation of an object would give rise to the
concept that is behind this object or action, the experience or effect it has on those who
lives or travels.
The architecture is no longer seen as a whole in a classic sense, to pass to be formed by
a series of live, interactive fragments and experienced by people. People, life,
sensations, and society, went to their core values. Two moments were characteristic of
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that period: The Venice Biennial 1980 and 2000. The first, entitled La Strada Brand
new, presented in its scenic street a kind of caricature of its ideals, and symbolically
marking the most characteristic movement. The second represents the end of the
movement. This biennial, entitled: "More ethics, fewer esthetics", the movement proved
its inefficiency and its lack of response to changes in society, new technologies and
global movements such as globalization. At the end of the twentieth century, at the
height of the image of society, architecture takes its role as a communication process,
idealizing their buildings as vehicles of ideas and concepts. Bruno Zevi, in Paisaggistica
conference and Linguaggio Grado Zero dell 'Architecture Modern (1997), supports the
idea that architecture has to stop being something that is part of the social and economic
context in which it operates, to universalize contemporary as a type or concept of
general and comprehensive landscape.
On another side, there is an explosion in the known artistic territory. The concept of art
volatilized up. There are, as is the assumption of this work, breaking down barriers and
artistic intersection of all universes and technical fields and to create new fields where
the boundaries are almost indistinguishable. New concepts, new strategies, new forms
of communication combining all areas (architecture, advertising, film TV, painting etc.).
Authors such as Hans Belting and Arthur Childbirth also advocate the end of the
classical concept of architecture. The center architecture as an autonomous discipline
ideal representation is giving way to a new and different field.
Duchamp anticipated this idea and argued that an esthetic universe that sets the
architecture should be the function and not the substance. Substance which in concept is
something more and more undefined and slight nowadays. In this current paradox, we
are faced with the dissolution of the classical concept of architecture and its integration
into a broader concept of the social landscape. A new concept based on the composition
of new languages that mix and intersect art and technique. These new languages are
based on concepts such as speed, mergers, globalization and the hybrid, which
advocates as Luigi Prestinenza coexist in a theorical meltdown worldwide and are the
very reality of contemporary and new worlds of knowledge.
Concepts Contemporary Architecture
The connection of architecture with the visual concept is verifiable in a series of
principles, concepts, and practices. We may distinguish the following:
The characteristics of the new concepts of contemporary architecture
a) New concepts
In the course of the twentieth century witnessed the development of mass consumption
and, therefore, the emergence of new areas such as tourism, shopping centers, the
growth of new transport routes such as highways and airports.
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Are new and different concepts and in the world of architecture have been designated as
'non-places'. These new "non-places" become for the contemporary man the new living
centers, experienced, but not inhabited.
b) Space as Well Consumption
The consumption of the engine of contemporary society will influence all areas,
including the very concept of space.
Spaces are no longer just places where there is consumption from them to be
consumable spaces and attraction. By taking up space as a commodity, it is accepted as
a logical consequence, this is likely to be manipulated like any other consumer good,
through audiovisual techniques.
The 'non-places' as the shops and shopping areas are imaginary extensions created and
generated by what is seen on television and magazines, as such, are part of business
logic / audiovisual and their tricks and manipulation strategies must be known and
understood in this architecture to be effective.
c) The audiovisual architect perspective
In 1983, Gilles Deleuze reference was made to the importance of the image in
contemporary society and, consequently, architecture, arguing that the architecture and
the image contained common features. Currently, Nouvel compares the architect with a
film director. Both play with the concept of space in the magical or conceptual sense.
And, because the architecture and space are also things we perceive ourselves and
become aware through our senses, are also likely to manipulate in order to achieve the
proposed objectives. The architect can, therefore, have recourse to procedures similar to
those of the director to get the desired effects.
d) The architecture of the imaginary representation
The audiovisual technologies through the virtual development, allow the man in general
and architects, in particular, explore, create and, above all, represent new imaginary
worlds, new concepts, new or existing materials have not even invented. Today, with
virtual reality, we can not only see these imaginary worlds but also live them and feel
them.
Conclusions
It can be concluded that the frontiers between the architecture and the Audiovisual
longer rigid and boundaries increasingly expand and intersect and mingle. Generate up
common areas with concepts that share and explore as seen in the examples shown. But
these concepts are concepts that define contemporaneity. There is a kind of
globalization principles that cut across the whole of society and with which modern man
is identified, these principles or concepts are interdisciplinary links between the various
contemporary activities and the success basis of the market, as they represent the tastes
and appetites of the new consumer:
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Atmosphere: - It is increasingly important to the ambiance of a place. A qualified space
must translate and communicate an intention, be treated with light materials and
producing sensations that enhance the senses, taste the experience and where necessary
consumer desire.
Consumption: -You want to eat, and you want to be eagerly "led" by marketing to the
consumer. The new consumer never seems to be satisfied or satisfied. Expresses its
power in a gradual requirement, will want to "here" and "now", "what you want" and
"when you want." Consumption has become part of our daily lives. Whether and like to
consume.
Speed: -Everything is speed nowadays and wanting to have it all without waiting. Live
to run. Like up to watch television three, four, five or six series simultaneously.
Consume up the images, in the same way, to consume the holidays, the food and even
life itself, all very fast and without stopping.
Interactivity: -The current television entertainment programs ask what you want and
how you want. Play up the games on the net with half the world interacting with us.
Architecture is interactive, dynamic and changeable. Command to the computer each
time with less physical effort. Today it is key, tomorrow will be enough talk. Today has
been a television command to choose channels, but tomorrow will be a pre-computer
programmed to choose the ideal program according to our state of mind at the time.
Hybrid: -A space can be a shoe today, but tomorrow it could be a bank counter. The
success of a space has to do directly with their ability to adapt to the future, according to
the market. The success of a space or a professional success of a person is often
conditioned to his attitude' 'adaptation' to 'new' realities and or changes. Novels change
according to the market. The Fashion is increasingly hybrid, and even people of the
features seem to change according to the "trend".
Entertaining: -Everything is a spectacle. Everything has to be a sight to be excited. The
architecture has to make us wonder, the program to be a good show, we have to wonder
if love it that surprises us and excites us, is a vacation, a program or a visit to a museum.
Audiovisual language: -Consumption has to manipulate through the audiovisual
language to be more efficient. These live audiovisual and everything associated with it,
that is, almost everything around us. All areas who want to flourish, sell and succeed
has to master this language and its manipulation. If we are in a society, then the image
of our language is the audiovisual language. Some examples of works that explore new
concepts within a sensory logic and audio-visual:
Building Spots in Berlin.
The facade of this building is a mega screen with about 1800 light bulbs, fluorescent
and circular, on which artists design their work with artistic images in motion.
L'Hospitalet de Llobregat.
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Enric Ruiz Geli, is a Spanish architect whose disparate sources of inspiration figures
such as Mozart, Oscar Wilde, Forrest Gump or Luke Shywalker. Plays in architecture
your experience as a set designer, developed through technological solutions for shows.
As designed this building still defy the rules of architecture, the building moves, alters
and shines like an organic or a science
fiction product and has the particularity that the daily change its unique exterior
image.In this particular case with time, it reflects the interactivity that can be established
between the architecture and the environment. Every night, its image changes in order
to reflect the time it will be felt during the day. The glazed facades are covered by an
'artificial skin', composed of about 6500 electronic and computing devices that operate
according to a pre-programmed automatic sensitive to climate change and the seasons.
Whispering Garden or "Garden of Sighs" is an installation in Rotterdam by Edwin Van
der Heide.
It is a work that recreates the landscape through architecture, a complex organic whole
in which the sound is the reference factor. The entire assembly is controlled by a
computer system that recreates an almost infinite number of sounds, according to the
intensity and direction of speed. A constructive surrounding structure, steel and green
faceted glass, is like a giant emerald that lets you play with different lighting and
reflections, as the movement of the sun.
National Swimming Center in Beijing
Known as Water Cube, exemplifies a new world of architecture. The design concept has
as a starting point, the water, and develops from the soap bubble structure. Water walls
are giant screens that receive the visitor at the entrance, which filter natural light and are
also the basis for light projections, forming a living wall and a lively and interactive
wall. It is an interactive building, and reacts to three program modules corresponding to
three types of effects - summer, winter and mid-season, which change their resistance to
temperatures, ensuring a more efficient way a constant temperature. It's a project that is
ready to be "seen". It’s studied to enhance the TV capture techniques. Has a general
lighting control for the impact of its special lighting effects do not cause interference,
including negative reflections in the lenses of television cameras.All the inside is with a
pre-installation wiring to ensure that anywhere can be a television camera. The main
areas for television producers are specially designed according to the best pickup
camera angle. There is, therefore, an almost perfect symbiosis between architectural
design and the needs of the audiovisual.
Konic Theatre.
The basic concept of the Catalan theater company, Konic Theatre in Barcelona, is
interactivity. Combining technology with the performing arts, the Konic Theatre
developed experiments in artificial intelligence research, which capture systems in the
theatrical motion applied to dance. His actors and dancers work
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with sensors in your body that, according to their movements, will be designing sound
effects, light and image in scenography projections. The scenery becomes interactive,
live and directly linked to the act of representing. The actors 'create' with its ambiance
"living" and dynamic performance.
The installation Philippe Rahm
Philippe Rahm architect can control the ambient temperature inside and simultaneously
be an environment generator by creating a controlled atmosphere, by the way,
temperature, light and esthetics. The installation consists of two horizontal metal planes
mounted at different heights. The lower plane is heated to 28 degrees Celsius, and the
top is cooled to 12 degrees. The positioning movement generates air via convection.
Thus, the hot air rises, and in contact with the cold surface drops, creating a constant
heat flux. Concert Hall for Danmarks Radio
The building of the Concert Hall for Danmarks Radio's architect Jean Nouvel is a
cobblestone conceived as a gigantic three-dimensional screen, live, mutable and
interactive, which changes constantly and turns, producing a perfect harmony between
the images, the environment and the inner life of the building. Are spaces that disappear
and appear again, interactive relationships according to the route and the user
experience? The building is no longer the physical and property support to support
projections, and becomes itself a construction screens and screens.
UID/AUR/04026/2013.
Bibliography
BAUMAN, Zygmunt, Vida de Consumo. Fondo de Cultura Económica de Argentina,
Buenos Aires 2007.
BAUMAN, Zygmunt, La Sociedad Sitiada. Fondo de Cultura Económica de Argentina,
Buenos Aires 2004.
BACHELARD, Gastón, La poética del espacio. FCE, México 1965.
CAMPO BAEZA, Alberto, A Ideia Construída. Colecção Pensar Arquitectura, Editora
Cadeiloscópio, 2004.
DORFLES, Gillo, El intervalo Perdido. Ed. Lúmen, Barcelona 1984.
DORNBURG-JULIA Schulz, Arte y Arquitectura: Nuevas afinidades. Editorial
Gustavo Gil, GA, Barcelona 2002.
DUARTE, Fábio, Arquitectura e Tecnologias de Informação, da Revolução Digital.
Editora Unicamp, FAPESP, S. Paulo 1997.
EISENMAN, Peter, Feints. Skira Editore S.p.A., Palazzo Casati Stampa, Milão 2006.
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ITO, Toyo, Arquitectura de limites difusos. Colección GGmínima, Editorial Gustavo
Gili, Barcelona 2006.
KOOLHAAS, Rem, Contents. Brendan MacGetrick, Simon Brown, Jon Link, Taschen,
Colónia 2014.
LEACH, Neil, A Anestética da Arquitectura. Antígona, Editores Refractários, Lisboa
2005.
MITCHELL, W. J. T., The language of images. 4 ed., Chicago, The University of
Chicago Press, Chicago 1980.
MUNTAÑOLA, Josep, Arquitectura e Interpretación dialógica. Ediciones UPC,
Universitat Politècnica de Catalunya, SL, Barcelona 2001.
PRESTINENZA PUGLISI, Luigi, New Directions in Contemporany Architecture. John
Wiley & Sons, Ltd, West Sussex 2008.
30. BIOCLIMATIC SOLUTIONS IN VERNACULAR
ARCHITECTURE: TRANSITION SPACES
Jorge Ferreira Vaz (Architect, PhD)
Sílvia Fernandes (Civil Engineer, MA)
Eduarda Luso (Civil Engineer, PhD)
Débora Ferreira (Civil Engineer, PhD)
Instituto Politécnico de Bragança,
Escola Superior de Tecnologia e de Gestão, Portugal
Abstract: The traditional architecture is founded as a defining element of the
identity of a region, and its essence should be preserved and conserved by means of
maintenance and recovery actions. Thus, the best solutions and
proposals for intervention should be looked for but this doesn’t imply a back to back
innovation and at construction progress. This work includes the description of
techniques for maintenance and conservation of bioclimatic solutions found and
inventoried in the north of the Iberian Peninsula, with special focus on a unique
bioclimatic solution known as Transition Spaces
(from the interior to the exterior of the buildings and vice-versa), whose main purpose is
to ensure protection from the elements when entering or exiting buildings, to contribute
to the improvement of the buildings thermal performance and to create sheltered
interior/exterior living spaces. This architectural characteristic is based on the building’s
solar exposure, predominant winds and geographical and topographic conditions. It is
important to recover the historical heritage in a sustainable manner, allowing it to
become an engine of development for both urban and small rural centres that exist in the
periphery of the bigger cities.
Keywords: Vernacular; bioclimatic; architecture; transition spaces
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Introduction
Popular wisdom related to the construction is a huge legacy in the history of vernacular
architecture. The culture, history and traditions of the people of each region were
continuously portrayed in buildings that are today part of our beautiful landscapes,
constituting a heritage that needs to be preserved and appreciated.
The vernacular architecture has developed instinctively bioclimatic concepts that are
nowadays scientifically valid. Given the lack of resources, the simplicity combined to
the rationality resulted in the application of techniques and solutions which, although
rudimentary, maximize the use of materials and available energy. The adaptation to
local environmental conditions implied that buildings have assumed an identity that
characterizes the architectural image of each region.
The use of basic local materials like wood, earth and stone has evolved to more complex
solutions built with huge negative impacts on the environment. In recent decades, the
sustainable construction concept has been developed based on the principles of
recycling and maximizing resources, protecting and stimulating the creation of healthy
environment leading to the reduction of the environmental impact of the construction
sector. In order to support the agents in the construction sector, research projects and
knowledge transmission have been developed on sustainable development construction.
This work is part of the BIOURB project, a cross-border project between Portugal and
Spain, which intended to contribute to the change of the current constructive model
towards a more sustainable bioclimatic
model, both environmentally and economically, reducing the energy
consumption of buildings and raising the value of bioclimatic heritage along the border.
In order to achieve the studies objectives, a survey has previously
been conducted on the bioclimatic solutions along the border, more specifically between
the areas covered by the municipalities of Bragança,
Miranda do Douro, Vimioso, Mogadouro, Salamanca, Zamora and, in particular, areas
of the natural park of "Los Arribes del Duero" and "El Sayago"[1].
Main Text
Identification and description of the bioclimatic solutions found in the region
In the context of the assessment of regional bioclimatic solutions, the most prevalent
were identified: inertia wall, gable roof, transition oriented spaces, geothermal energy,
green roof, evaporative cooling process, and sunspace.
All of the above bioclimatic solutions were described in a previously published paper
[1]. Current work is dedicated to the transition oriented spaces (Figure 1) solution which
is based on seizing the optimal use of solar incident radiation. On winter solar radiation
is used to heat the building’s
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envelop inertia walls and the glass surfaces (that act like thermal energy conductors),
situation that is inverted on the hot seasons when solar incident energy is not wanted
and solar radiation gain is to be minimized, particularly on the glass surfaces.
Figure 1. Transition oriented spaces from the cross-border region.
To prevent solar exposure radiation from heating the glass surfaces and the inertia stone
walls (which have widths between 60cm to 1,40m) there are several architectural
construction techniques used such as sheds, occlusion devices (shutters) and trees or
other types of vegetation. Transition oriented spaces as balconies, porches, arcades and
others offer shelter from the meteorological elements when entering or exiting a
building, offering “in between” multi-use livable spaces that are the heart of the
settlement’s social interactions (Figure 2).
Figure 2. Transition oriented spaces examples.
The constructive system
The transition oriented spaces constructive system is normally based
on local stone vertical elements that have high resistance to compression
loads) and wood horizontal elements that have good behavior in bending
imposed by horizontal loads such as wind, snow and the constructive
elements self-weight.
These constructive elements roofing structure most frequently
consists on a two-level or three-level frame of wooden beams with
increasing cross-section area from level to level. The space between the
wooden beams decreases from one level to another so that the ceramic tiles
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fit on the last level in a matter that avoids being taken away by the wind.
They are frequently topped with ceramic roofing tiles (that prevent water for
entering and damaging de wooden structures) with internal wood finishing or
unlined.
In what concerns the maintenance of these elements, the verification
and substitution of damaged ceramic tiles is the most important aspect to
consider. Also, painting the ceramic tiles with waterproof paint can be
considered to provide roofing tight protection against water and to make
them water resistant.
When placed on the street level transition spaces provide shelter from
wind, rain or snow and when on higher levels they serve as display cabins
for “street seeing” and are commonly used when religious events happen or
when the village fiestas are celebrated. On summer, these spaces offer a
cooler exterior sheltered space where people gather around on the end of the
day. Balconies (Figure 3) are an important architectural element as they are
responsible for the horizontal distribution, working as an internal/external
distribution corridor. Two storey buildings often have no interior stairs
which means both horizontal and vertical building’s distribution is made
throughout the interior/exterior balconies.
Figure 3. Balcony/horizontal distribution.
Passive solar constructive solution
An efficient integration of transition spaces on the building’s envelope implies
understanding annual and daily solar incident radiation variation caused by the sun’s
journey. Flaps, overhanging eaves, porches, galleries and the balconies roofs, among
other transition spaces, should all take part on the building are shading strategy from the
beginning of the design process, optimizing the window opening’s size, configuration
and orientation, providing them with movable shutters according to the building’s
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heating or cooling necessities. The implementation site is also an important factor as
neighbor existing or future buildings, topographical conditions, retaining walls or even
vegetal growing elements such as trees can over time change the shading conditions of
the building which will, therefore, change its energetic performance and its interior
comfort conditions.
Transition oriented spaces are often strategically placed on the building’s south façade
in other to take advantage of solar incident radiation all over the year (Figure 4). On
winter, when the sun’s angle is lower, solar radiation hits the inertia walls and the glass
windows, providing heat and light to interior spaces. When compared to modern
buildings vernacular architecture buildings have very few wall openings, interior natural
lightning which results on very little daily temperature increase due to solar incident
radiation. This means that on summer traditional constructions have little solar gains
during the day, reducing the building’s cooling needs. The shade on walls and window
openings provided by transition oriented spaces
Figure 4.Transition oriented spaces and solar position over the year.
On summer, window openings placed on the East quadrant (in the morning) and on the
West quadrant (in the end of the afternoon) will receive almost perpendicular solar
beams that will transmit a high thermal load to these openings. In other to avoid
overheating, vertical flaps are a good msolution, especially on the west-oriented
elements shading.
This kind of spaces takes advantage of the thermal inertia of the walls and its
configuration (being the transition spaces most common configurations I, L or U) that
protects the users from the winds, harsh frosts and from the large daily temperature
variations frequently felt in the region under study. When designing transition spaces
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dominant winds should be taken in consideration in other to provide shelter from the
cold autumn and winter winds.
The traditional architecture: an inspiration for the future
Traditional architecture compiles a long term over the decades trial and error process
that optimized the use of local material resources such as stone, earth or wood, but also
“immaterial” resources as geographical orientation, deployment site, climate conditions,
and deciduous vegetation, among others. This grandpa-to-father-to-son knowledge
passed from one generation to another is of great value and consists on a valuable
cultural and technical heritage that has great potential either on a rehabilitation or new
construction scenario.
Today’s buildings are getting more and more airproof because of the quest for
enhancing thermal interior comfort imposed by energy efficiency regulations and by
tenant’s will and environmental conscience. Although they enter on the building energy
performance calculations, interior/exterior spaces are often left out of the picture as they
are a source of non-heated or cooled air which increases or decreases the interior spaces
temperature and are considered second class areas in what concerns prize/square meter.
On the other hand fresh air renewal is mandatory concerning interior air quality which
is, in new buildings, often made mechanically using central airconditioning systems and
for that, is a source of respiratory diseases.
The building’s ecological footprint is related to its non-renewable energy consumption
and with the balance between renewable and nonrenewable energy consumption,
pointing architects and engineers to solutions based on passive energy solutions when
designing a building.
Conclusion
The use of transition oriented spaces is very common on vernacular architecture of the
northeast cross-border between Portugal and Spain region and it is one of the most
important architectural characteristic of this traditional buildings. Its major goal is to
provide a “thermal buffer” within the interior-exterior and exterior-interior transitions,
improving the buildings thermal performances and the interior thermal comfort
conditions. In what concerns the drawing process, balconies, porches, sheds and other
similar solutions should be south geographically oriented in order to take advantage
from the sun position either on the could seasons and on the hot seasons (on behalf of
the diurnal and annual variation of solar incident radiation).
Other important aspect of transition oriented spaces respects the extension of the
building from the interior to the exterior that these architectural elements offer and the
social interaction between neighbors and with the passing by inhabitants.
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References:
Vaz, A.J.F, Ferreira, D.R.S.M, Luso, E. C. P, Fernandes, S.M.A, “Bioclimatic Solutions
Existing in Vernacular Architecture Rehabilitation Techniques”, SB13 Contribution of
Sustainable Building to Meet EU, pp.
639-645, 2013.
Vaz, A.J.F, Ferreira, D.R.S.M, Luso, E. C. P, Fernandes, S.M.A, “Manual
BIOURBManual para a conservação e reabilitação da diversidade bioconstrutiva” –
ISBN 357489/13, 2013.
Gonçalves, H. (1997). Edifícios solares passivos em Portugal, INETI.
Gonçalves, H. & Graça, J. (2004). Conceitos Bioclimáticos para os Edifícios em
Portugal, DGGE / IP-3E, Lisboa.
Olgyay, V. (1998). Arquitectura y Clima - Manual de Diseño Bioclimático para
Arquitectos, Barcelona: Editorial Gustavo Gili.
31. HEALTHY PLACES: THE RELATIONSHIP BETWEEN ARCHITECTURE
AND NURSING
Mário Cardoso, (RN, FAAN)
Helena Presado, (RN, FAAN, MSc, PhD)
Escola Superior de Enfermagem de Lisboa, Portugal
Tiago Nascimento, (RN, MSc)
Santa Casa da Misericórdia de Lisboa, Portugal
Keywords: Architecture, nursing, environments, health, outcomes
Abstract
Objective: To identify the contributions that the nursing profession can make to the
architecture of the health spaces in order to make them the most appropriate and
sustainable as possible. Methods: Systematic review of the literature. Used the Nursing
& Allied Health Collection databases:
Comprehensive, CINAHL Complete, Library, Information Science &
Technology Abstracts; & MedicLatina. The articles were selected with the following
criteria: 1. Full-text articles; 2. Peer-reviewed articles. 3. Articles published between
1994 to 2014. We selected 10 of the 117 articles presented. Results: Nurses can provide
valuable contributions in accordance with its practice and holistic view of the patient
that may lead to health outcomes, not only for patients and their families but also for
multidisciplinary teams working in the various contexts of care such as acute care,
primary care and long-term care, improving the work satisfaction and reducing the
turnover. Healthy healthcare environments are associated not only with better health
outcomes but also with better management of human and financial resources.
Conclusions: it should be promoted a partnership and coordination between architecture
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and nursing, to promote healthy environments for patients and professionals, working
together to eliminate architectural barriers and investing in financial and ecological
sustainability of spaces. Further studies are needed to support this evidence.
Introduction
Over time, structures have been created that are intended to be a place for the provision
of health care. These structures are based on principles of sustainability and
accessibility, although principles are not always consistent with those that are the real
needs of users and professionals who work there.
Nurses represent the largest share of professionals in health, are present throughout the
twenty-four hours a day among users and it is in these spaces that are designed and
built, that they carry out their activity. We considered relevant to assess how nursing
profession can help the give the architecture tips for designing the best spaces and aim
to create value especially when it comes to effective health gains not only for users but
also to the professionals who work there which conditions should also be preserved. We
assume the principle that this interdisciplinary work can be effectively added value to
health.
Methodology
We conducted a systematic review of the literature. We used the
Nursing & Allied Health Collection databases: Comprehensive, CINAHL Complete,
Library, Information Science & Technology Abstracts; & MedicLatina. The articles
were selected with the following criteria: 1. Fulltextarticles; 2. Peer-reviewed articles. 3.
Articles published between 1994 to
2014. We selected 10 of the 117 articles presented.
Results
In this sense we prepared a summary table of the studies considered more relevant to the
development of theories. These studies are structured in the following table taking into
account aspects impacting on analysis to be undertaken, including the purpose, the type
of study, the population, the instruments and the respective results. This analysis type,
similar to that used in the process of systematic review of the literature, allows a crossreading and summarized the characteristics of the studies.
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Discussion
The articles selected and presented before, can validate that architects play a real value
and very important role in the design and construction of adequate spaces for the
provision of health care. It was also possible to validate that the nurse plays an
important role in building spaces and whose input must be assessed. The training of
nurses should be directed also to be able to nurse assess and give consistent
contributions to this partnership work so this training should be conducted from the
beginning of the course.
Architects must also support this training allowing the nurse to have the best possible
knowledge of the items to be addressed and taking into account the perspective of the
drawing and construction. This partnership will bring as referred, capital gains on two
important areas: in the professional point of view, the nurses and the other professionals
will have better working conditions which in itself increases the indices of satisfaction
and motivation, reducing turnover rates and promoting the stability of teams bringing
economic benefits for the institution. In the customer's point of view, this association
will be even more useful because it is described that better spaces reduce the incidence
of adverse events, improves communication and promotes the patient recovery. All
these points are effective health gains that also have to be converted into quality
indicators that are measurable so you can make an effective assessment of the changes
that are implemented. These changes will also be possible decision-makers and
administrators are involved, explaining the added value of this joint work.
Conclusion
This review showed that there are benefits in getting the contributions of the nursing
discipline in the construction of health buildings or providing health care, especially
with regard to health indicators. We believe that there is still a long way to perform for
nurses and architects to work together in promoting better spaces, and spaces that have
objectively health gains. We believe that this partnership is a complementary
partnership because both professions, however distant they are, have a point of
convergence and respect to continuous quality improvement, and the best citizen access
to better care and better living conditions. Studies are needed with sensitive indicators
and the indicators reflect these gains in a reliable and scientifically way.
References:
Castro Molina, F. J., Castro González, M., Megias Lizancos, F., Martin
Casañas, F. V., & Causapie Castro, Á. (2012). Arquitectura hospitalaria y cuidados
durante los siglos XV al XIX. Cultura de Los Cuidados. Revista de
Enfermería Y Humanidades, 16, 38–46. doi:10.7184/cuid.2012.32.05
Cesario, S. K., & Stichler, J. (2009). Designing health care environments:
Part II. Preparing nurses to be design team members. Journal of Continuing
Education in Nursing, 40(7), 324–328. doi:10.3928/00220124-20090623-02
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Connellan, K., Gaardboe, M., Riggs, D., Due, C., Reinschmidt, A., &
Mustillo, L. (2013). Stressed spaces: Mental health and architecture. Health
Environments Research and Design Journal, 6, 127–168.
Council, M., Nmc, T., Caulfield, H., Jenkinson, A., Cases, C., Commission,
R., … Forbes, B. (2004). Incompetence an employer issue Bad hospital design leads to
poor staff performance. Nursing Standard.
Doff, S. D., Jackson, E. R., Lendrum, J. T., & Grobe, W. C. (1965). Orienting the
architect to nursing home design. Public Health Reports
(Washington, D.C. : 1974), 80, 1077–1082.
Duffin, B. C. (2006). Computerised cabinet will allow staff to keep better
tabs on drugs Nurses invited to help design buildings for improved care,
20(24).
Johansson, M., & Brunt, D. (2012). The Physical Environment of PurposeBuilt and Non-Purpose-Built Supported Housing for Persons with
Psychiatric Disabilities in Sweden. Issues in Mental Health Nursing,
33(2007), 223–235. doi:10.3109/01612840.2011.647254
Knibbe, J. J., & Waaijer, E. (2012). Designing the care environment in
hospitals and nursing homes: A pilot for a new and reliable method for
determining the optimum space to live in and work in. Work, 41, 5650–5651.
doi:10.3233/WOR-2012-0907-5650
Lamb, G., Zimring, C., Chuzi, J., & Dutcher, D. (2010). Designing better
healthcare environments: interprofessional competencies in healthcare
design.
Journal
of
Interprofessional
Care,
24(July),
422–435.
doi:10.3109/13561820903520344
McCarthy, M. (2004). Stress and noise in cramped hospitals can make
recovery slow for bed-bound patients. The Lancet, 364, 403 – 405.
McMahon, B. (1994). The functions of space. Journal of Advanced Nursing,
19(1961), 362–366. doi:10.1111/j.1365-2648.1994.tb01093.x
Olsen, R. V, Hutchings, B. L., & Ehrenkrantz, E. (1999). The physical design of the
home as a caregiving support: an environment for persons with dementia. Care
Management Journals : Journal of Case Management ; The
Journal of Long Term Home Health Care, 1(2), 125–131.
Outdoors, T. G. (n.d.). Nursing homes : Now healing from the outside in. October.
Rabig, J. (2009). Home again: small houses for individuals with cognitive
impairment. Journal of Gerontological Nursing, 35, 10–15. doi:10.3928/0098913420090706-04
Regnier, V., & Denton, A. (2009). Ten new and emerging trends in
residential group living environments. NeuroRehabilitation, 25, 169–188.
doi:10.3233/NRE-2009-0514
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Rendering, M. C., & Cme, C. V. (n.d.). Evidence-based DESIGN,
(November 2013).
Rollins, J. a. (2004). Evidence-based hospital design improves health care
outcomes for patients, families, and staff. Pediatric Nursing, 30(4), 338–339.
Sasse, B. Y. R. (n.d.). CoNDm AsSESSMi in nursing homes, (June 2007).
Stichler, J. F. (2013). Healthy work environments for the ageing nursing workforce.
Journal of Nursing Management, 21, 956–963.
doi:10.1111/jonm.12174
Tye, J. (2011). Designing the Invisible Architecture of Your Hospital.
Creative Nursing, 17(3), 126–129. doi:10.1891/1078-4535.17.3.126
Wang, C.-H., & Kuo, N.-W. (2006). Zeitgeists and development trends in long-term
care facility design. The Journal of Nursing Research, 14(2), 123–
132.
32. THE ENERGETIC PERFORMANCE OF OLD BUILDINGS: HOW TO
IMPROVE IT?
Ana Ferreira Ramos, PhD MSc. Arch.
Civil Engineering Department, Superior School of Technology,
Polytechnic Institute of Castelo Branco, Castelo Branco/PORTUGAL
José Mendes da Silva, PhD MSc. Eng.
Civil Engineering Department, Faculty of Science and Technology,
University of Coimbra, Coimbra/PORTUGAL
Keywords: Buildings Thermal Behavior, Old Buildings, Thermal Simulations
Abstract
Along the years, in Portugal, the built environment was left behin and the straights were
devoted for new buildings, creating new urban area sometimes unattached from the
existing city. The construction before the
80’s is compromised by its thermal quality if we consider that the thermal codes and the
worry about thermal buildings behavior only came up around
90’s. In this work, the buildings from old city centers and its characteristics were studied
as well as some intervention actions accurate for this construction and its results in terms
of thermal performance. For this study a simulation tool was used, namely the Design
Builder, and the results of these simulations were presented in order to understand the
improvement in its thermal behavior when compared with its original conditions.
It is possible to improve considerably the interior comfort and buildings thermal behavior
with respect by architectonic characteristics and keeping constructive solutions and
material with interventions actions that are compatible with existing structures.
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Introduction
The built environment is only one of the axes of development that can be found in the
complexity inherent in sustainable development. The construction and use of buildings is
an important factor in the global arena.
The buildings and structures use raw materials, some of which are nonrenewable; energy
is use to extract these materials and to manufacture instruments / machines / technology
and, once on the structure, they affect the heating and cooling of interior space. The way
people use space can also affect energy requirements (Graham, 2003; Kibert, 1994; 2002).
The environment determines the human need for a certain type of housing, and the built
environment is largely determined by the communities that inhabit them and the buildings
reflect the needs of individuals and groups, culture and location of structures (Newman &
Jennings, 2008).
The quality of housing is a need that must be met without compromising the existing
ecosystems, demanding that firms adopt an ethic of valuing the environment. The quality
is qualified from the definition of demand, possible to notice in the constructive project
through the fulfilling of social, economic and environmental aspects.
Until the 70’s, Portugal has promoted some policies that didn’t reverted to the
preservation of urban areas, it was a time marked by the search for the "original design"
involving the destruction of parts of the urban fabric, without respecting the process of
transformation of the city, a process with high state and centralized costs.
The null increase of rents in rented property in Lisbon and Oporto, beginning in the 40’s,
made it impossible to preserve buildings by the owners due to low incomes. In the 70’s
starts the transition between the isolated safeguarding of buildings to a perspective of
urban intervention, considering concerns at the planning level. During this period some
legal instruments to safeguard are provided and some funding programs are created. In the
80's are designed Protection and Valuation Plans, specific to historical centers and
regulations are made in the field of buildings intervention in these areas.
In the 90’s a Thermal Code came up with new developments about the interior comfort
and the envelope exigencies. Along the last years it has evoluting with the implementation
of an Energetic Certification System as a result from a European Directive transposition.
So, nowadays, the thermal rehabilitation have been facing as a strong aspect to conduct
interventions in old buildings, guiding interventions and defining actions.
Case Study
The old town of Coimbra, better known as the Lower Town, was studied in detail using
the database at the University of Coimbra that holds information about the general
characteristics of this area, including aspects related to engineering and architecture, and
considers: architectural and photographic survey, constructive characterization of the
building, pathologies and other relevant information to a systematic knowledge of this
urban space.
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With all these data was possible to study the buildings characteristics and analysing its
thermal comfort before and after interventions towards an building energetic performance
creating more suitable comfort conditions, besides improving the economy and the
rational consume of energy. It’s possible to classify the interventions in this area
according to four types of actions: increasing of thermal resistance (reducing U value);
controlling air infiltrations; using passive solar technologies and improving the efficiency
of energetic equipment and systems. These actions can be implemented according to
several solutions which are following presented as well as contributes to the elaboration
of an analysis about its application in old buildings. (Aguiar et. al., 2001)
Using two landmark buildings, as an example of the type existing in old urban areas, it
was possible to apply the model and define the performance graph of each one. One of
these buildings is illustrated in Figures 1 and 2.
According to Figure 1 it’s possible to understand the type of organization of spaces, as
well as the volume of construction. The buildings are mostly side by side, which means
that only two facades are free and possess glazing (usually in the lower facade). In some
cases there are interior compartments without lighting or natural ventilation. This housing
is an example of the type of buildings located in old areas: although there are features and
materials specific to certain regions of Portugal, the shape and internal organization are
similar.
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Analysing the results from simulation
The simulations were done in the Design Builder software and taking into account
different situations:
• Situation A – Buildings isolated considering its original characteristics (exterior walls
with limestone; interior walls with “tabique” – light wood structure with mortar; walls
among between buildings with “frontais” – wood structure with small pieces of stone and
brick, finishing with mortar; floor with wood structure; roof with wood structure and
ceramic tiles).
• Situation B – Building with the surroundings, but considering the other buildings as
surfaces in the Design Builder.
• Situation C - Building with the surroundings, but considering the other buildings with
the same constructive characteristics as the original one.
In a second moment, considering the situation A, were done the following improvements
in the exterior facade:
• Change A-PI – Applying thermal insulation in the exterior walls, but in its interior
surface.
• Change A-PI CD – Applying a double frame, with double glass and keeping the original
wood frame with simple glass, besides the use of thermal insulation in the exterior wall as
the previous change.
In Figure 1 we can observe the model designed and used for thermal simulation.
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With the change A-PI we can observe an improvement of less 16% of losses in 1st floor
and less 44% in 4th and 5th floors, but when are considered the two proposed changes
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these values increased to 20% in the 1st floor and it remains around the same value in the
last two floors (from 44,1% to 44,7%).
The results are dynamic and intervention on an element causes the variation of another.
For example, in the case of differences between the application of thermal insulation in
the masonary, it causes an increase of losses in the glazing surface.
Reinforcing thermal resistance on glazed surfaces after improving the opaque surface will
not reverse in significant benefits due to the above effect. It is also important to mention
the small size and lack of glazing areas which also contributes to the results expressed by
those factors are not significant in the overall housing performance.
The Table 3 compares the results for each solution and according to three mains aspects:
the losses through the walls, the heating needs and the solar gains through the glazed
surfaces. The changes will contribute in different ways according to each element
analysed. The changes on the walls will contribute with very similar results for each
situation defined (A, B and C), but the heating needs will be higher in solution A than in
solution C, maybe it can be explained by the thermal inertia in the area and the heat island
effect.
The solar gains will present the higher variation in the results, with higher values in
Solution C, when the simulation was done considering the buildings in the surroundings.
It might be explained by the solar incidence and reflexion that will improve the amount of
solar radiation that reach the building and its glazing surfaces.
Conclusions
Given the need to reduce energy consumption as a way to decrease the impact of human
activity on the environment, the analysis of this part of the built environment is
fundamental when considering the needs arising from the quality of these buildings. The
built environment has to be improved in order to contribute for a better thermal
performance of the urban areas, decreasing the production of green gas emissions as
results of processes to produce energy.
The present work shows that traditional buildings, which show adverse construction
characteristics in face of the techniques and materials available today in the construction
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industry, have a poor indoor environment quality. Is important to mention that this work
did not consider the significant degradation of the buildings which affect negatively the
initial results (considering the existing building).
The simulations shown that small interventions can have significant results at the level of
the indoor environmental conditions and of the energy consumption in these buildings to
achieve minimum levels of comfort (being used the standards parameters defined by the
software). The thermal enhancement of the vertical opaque surrounding, in particular by
thermal walls and glazing strengthening, can contribute to about 16 to 44% of reduction in
overall losses of the building.
The heat island effect is an aspect that need to be deeply approached in this urban area.
The buildings characteristics, with stone walls and strong thermal inertia, and the urban
mesh, with narrow streets almost without public or private green spaces, give us the idea
that a microclimate can be created through the solar radiation absorption by the
surroundings, so a specific study in this area should be developed in the nearest future.
The improvement of these buildings is a key strategy for recovering degraded urban areas
to control the spreading out of the city. The paradigm of sustainable development has
imposed a fundamental condition for human existence: the control over the occupation
and the impact on the environment. This occupation has been characterized by the
destruction and excessive consumption of resources. The contribution of these urban areas
could be significant if the society assume its recovery as an alternative to new
construction.
References:
Graham, Peter (2003). Building Ecology – First Principles for a Sustainable Built
Environment. Oxford: Blackwell Science Ltd.
Kibert, Charles (1994). “Establishing principles and model for sustainable construction”.
Sustainable Construction - Proceedings of the 1st International Conference of CIB TG 16,
November 6-9, Tampa, Florida, pp.
3-12.
Kibert, Charles J., SENDZIMIR, Jan (2002). Construction ecology: nature
as the basis for green buildings. London: Spon Press.
Aguiar, José; Cabrita, António Reis; Appleton, João. “Guião de Apoio à
Reabilitação de Edifícios Habitacionais”, Vol. 2, Lisbon: Laboratório
Nacional de Engenharia Civil (LNEC), 2001.
Newman, Peter and Jennings, Isabella (2008). Cities as Sustainable
Ecosystems – Principles and Practices. Washington: Island Press.
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33. MULTIFUNCTION IS NOT ENOUGH -AN APROACH TO A NEW CONCEPT IN
URBAN SPACE LE TERROIR
Ana Paula Parreira Correia Rainha
Professora Associada, ISMAT
Francisco Ferreira de Lima Araújo Ogando, Architecture Student
Introduction
As you travel along two spaces of a noble area in the city of Lisbon,
Largo do Chiado and Largo do Carmo, you realize that multifunctionality per se is not
enough to transform an ordinary space into a special place. We introduced a concept used
in winery, as the similarity of the concept upstream and downstream of the principles at
stake, seemed curious.
I.
With the end of the 60’s, and with the last meet of the CIAM
(International Congresses of Modern Architecture) and Team X or, in other words, with
the end of the Modernism, it was noted that zoning, the magic word of Modern Movement
in what concerns urbanism, didn’t solve the problems of the city, and didn’t give them
vitality nor a life at the human scale. Even if the european context was very specific (postwar, economic and social crisis), the truth is that it wasn’t a success; the people in Brasília
prefer their city today, than sixty years ago because, in fact, more that the people adapting
to the city, it was the city who adapted to its inhabitants; however, today, Brasília still is
the paradigm of city for the car, the macro block, and the “zoning”.
The reaction that arose in the late 60’s and during the 70’s was fast and lavish in theories
that meant to apply the return to the bourgeois city of the XIX century, as a opposed to the
“industrial city” towards a city for the people, versus a city for the car. If zoning was the
keyword for modernists in what concerns urban space, multifunctionality was the
watchword for post-modernists.
After the Athens Letter others appeared, achieving the apology of revisiting the city,
redrawing the street, applying the concepts of renovation, rehabilitation, recuperation, but
mainly, of reintroducing the human scale and multifunctionality, becoming the urban
space the centre of an investigation and of a multidisciplinary practice.
Nowadays, there seems to be no doubt about it. All the practice and theoretical
investigation around this topic is unanimous in concluding that multifunctionality is a
fundamental principle for the requalification and life of a space.
Inhabitation, work and leisure can coexist in perfect harmony for the happiness of those
who live, work, and have fun there. The city is no longer
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a space without a soul to become a space of joy. However, not all multifunctional spaces
have amongst themselves the same charisma. There are spaces that have an energy and a
vitality that sets them apart form others, regardless of the common factors between them,
namely habitation, commerce, services, public spaces, etc…
We can then say that multifunctionality, in itself, is not enough to turn a space into a
special place.
A lot has been written about the elements that qualify the space, even if that is not the
specific objective of this reflection. Not all spaces have the same life, or in another way,
the same ability to attract us or to charm us.
Let’s see the paradigmatic case of Largo do Chiado and its neighbour, Largo do Carmo.
Despite being both very specific and noble places, they have different intensities in the
way they interact with people. This is where the concept of terroir comes in, usually used
for wines.
TERROIR in the Caminho de São Mamede, Winter 2015
To the World Congress of Wine and Vine (annual congress in 2010 in Georgia, USA) the
vinicultural terroir is a concept that refers to a space in which a collective knowledge of
identifiable physical and biological interactions is developed, and to the vinicultural
practices applied that confer different characteristics to the products coming from that
place.
It is a complex concept used in oenology, perfectly integrated in the
French culture, having its etymological origin in classical Latin in the word territorium
and in vulgar Latin in the word terratorium.
According to Larousse: a group of land of a certain region known for its agricultural skills
and providing one or more characteristic products, for example a wine, and explored by
village inhabitants; a territory considered as a habits refuge, typical flavours of a region,
for instance a terroir writer.
However, in Le Nouveau Petit Robert: it means a limited extension of land defined from
the point of view of its agricultural skills related with wine; a terroir produces a grand
cru.
While in the XIX century in France the concept was associated with the production of a
nonnoble wine (cru), said to have a terroir flavour, and
to be drunk by rural people, in the 60’s the word gathers the expression of
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European Scientific Journal March 2015 /SPECIAL/ edition ISSN: 1857 – 7881 (Print) e ISSN 1857- 7431
219 the interaction between the natural environment and the human factors in a certain
territory. Therefore, the concept of terroir reveals itself in the wine by the savoir-faire of
Men (choices and costumes, affection and care) in the
natural environment (geomorphology, climate, etc.).
Despite the word existing only in French, it has been used in other languages, for
marketing purposes and also by ONU and UNESCO, as it is considered of great
importance for the sustainable development of some world regions.
But what makes this concept interesting is the fact that a certain cast in different territories
– even if close together or contiguous – worked in different ways, originates different
wines. These human relations and identities are what constitute cultural diversity.
To Bruno Gomes, from Quinta do Gradil: “There are three fundamental things: sun,
weather and plant, where the only thing controlled by Men is plant. Even in terms of
pruning, it can be mechanical, which is never the same as manual. In plant care there is a
special energy and poetry.” There are wines resulting from moon harvests, in nights of
full moon and even the pruning and harvesting instruments are decisive.
The secret lies in the love that you put into everything that is created and, for that, the
poetry is the biggest tool to transform a territory in a terroir. Why use this concept in
urban space? Controlling the way to add value to a space by the terroir concept can bring
an overflow of people to a space, inclusively in a touristic level.
Since the definition of tourism is precisely the flow of people that move in a territory
interacting with it, we are improving the tourism that respects the local cultural heritage
and the identity of that place, contributing to a sustainable development of the territory,
cultural bonds, and its preservation.
It’s in the transformation of the trivial in exceptional that we find
Art. On the other hand, it’s not by cataloguing heritage that we boost it; it’s
Art that has the force of bonding feelings and the power to bring us what once existed in
History, making us travel through time.
The fact that the people that occupy a terroir participate actively in working the land
implies a close relationship between the object of creation and the final result. The same
happens in Architecture in all projects where the population will take pleasure from the
projected space, participating in its creation, construction, or just feeling as part of it,
originating not only a more successful project for use and satisfaction, but also a greater
emotional engagement.
In order to transport this concept from oenology to urban space, we chose two similar
neighbour territories: Largo do Chiado and Largo do Carmo. century where the
aristocracy lived, we come across two churches that face each other, virtually creating an
entrance to Largo do Chiado and calling upon the old western door of the Fernandine
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wall. Largo do Chiado is a place for wakling by and for meeting people. The subway
entrance that exists is a consequence and not a cause of this fact. It’s a place whit many
references gather. It has always been very attractive, from its fine grocery stores, high-end
commercial stores, coffeehouses like Brasileira, and the Havaneza tobacco shop, to the
barbershops where you could find the cultural elite of that time (XIX century and
beginning of XX century). This built heritage, particular and objective, is associated to an
immaterial heritage coming from the collective imaginary and from its own identity, set
by the life and work of authors like Eça de Queirós and Fernando Pessoa, impossible to
dissociate from this space
Life in Largo do Chiado, 2015
The same cannot be said about Largo do Carmo. Contrarily to Largo do Chiado
(essentially a place meant for walking by), you either go to Largo do Carmo, or you don’t.
Ironically, in terms of built heritage, Largo do
Carmo has greater importance, located at the contour line of the level 42, in half hillside,
that may have been the trace for the roman aqueduct. It’s localization (on a cliff) made it a
privileged spot, specially chosen by Dom Nuno Alvares Pereira to build a convent facing
the city of Lisbon. Today, its ruins/museum determine the kind of people that go there,
which results in a much smaller flow of people than in Largo do Chiado. The existence of
a church, a school and a military fort reinforce that this is a more domestic area and place
for staying. In terms of collective memory, it is associated with the Carnation Revolution,
for being the set of the revolution in April 25th, 1974, contributing for its political identity
that, for itself, is not enough to attract or create affection and heritage in time, to those
who never heard about it.
Largo do Carmo is a heritage that has all the parts, but lacks the whole, which is present in
Largo do Chiado, making it more attractive, even for tourists.
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Life in Largo do Carmo, 2015
It's in the affection, that is not lost in time, that a connection with a place is established.
With this transmission arises a material and immaterial heritage. From this men/place
interaction, in which affection makes a difference, an old vineyard inherited from several
generations originates a final product of higher quality, a wine that is distinguishable.
If, in a terroir, time transforms old vineyards in the main character, also in a space
imagination (affection and heritage) gives more detail to the immediate, and, out of the
blue, the show begins (largo do Chiado).
Conclusion
And if, as architects and urbanists, more than simply creating spaces we create affection
towards these places, in ourselves and in others, maybe we can make Architecture and Art
by transforming what is vulgar in extraordinary, bringing us closer to a real terroir.
References:
Cavicchioli, Marina Regis, “O terroir e a identidade cultural”, Revista Adega, 2006
Tonietto, Jorge, “Afinal o que é um terroir?”, Bon Vivant, Flores da Cunha 2007
Robert, P. , Le Nouveau Petit Robert, Paris, 2006
Larouse, http://www.larousse.fr
Conversas com Luís Conceição, Professor Doutor em Arquitetura
Conversas com Bruno Gomes, Quinta do Gradil
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Agradecimentos
Este livro resume um comjunto de textos, de vários autores,
onde alguns textos são originais, mas outros já foram
publicados em Jornais Cientificos Internacionais, mas que
revelaram, do ponto de vista do autor desta compilação,
serem de interesse e motivo de destaque. Optou-se por
incluir textos em língua Inglesa e outros em língua
Portuguesa, dadas as características expecificas de cada
autor e tema.
Na generalidade os textos foram escritos em conformidade
com o novo acordo ortográfico.
Ficamos gratos a todos os investigadores, professores e
alunos, pelo interesse demonstrado e pela elevada qualidade
científica dos textos que escreveram.
Todo este trabalho, vém no seguimento da realização da
International Conference on Tourism Vs Heritage, que se
realizou em Torres Vedras e em Lisboa, durante o mês de
fevereiro de 2015, com o apoio direto do CITAD, Centro de
Investigação em Territorio, Arquitetura e Design, da
Universidade Lusiada de Lisboa, com a coordenação do
Professor Doutor, Alberto Cruz Reaes Pinto, a quem
devemos toda a sua dedicação, e à equipa técnica e logística
que pôde contar com o apoio da Dra. Ana Paula Passos, do
Arquiteto Luís Santos da Empresa Find & Choose, Lda, e da
Designer Rita Cardoso. O apoio imprescindível dos
Professores Doutores Ana Ramos, Mário Cardoso e António
Sérgio Araújo de Almeida, e ainda com o apoio de várias
entidades públicas e privadas, não esquecendo a
participação dos investigadores de vários países e diferentes
áreas científicas.
288
An international Point of View
Julho 2015
Depósito Legal Nº 395831/15
ISBN: 978-989-20-585-0
Autor – Luís Pinto
Revisão – Os textos dos vários capítulos são da
responsabilidade de cada autor
Imagens – As imagens dos vários capítulos são da
responsabilidade de cada autor
Capa – Luís Pinto
Impressão e acabamento – Várzea da Raínha Impressores, S.A

[in Old Ruins] and

Transcription

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