Rita Ochoa
International PhD in Public Space and Urban Regeneration (University of Barcelona, 2011) with a grant from the Science and Technology Foundation, Portugal; MsC. in Urban Design (University of Barcelona, 2008); Post-Graduation in City Qualification (Portuguese Catholic University, 2003); Degree in Architecture (Technical University of Lisbon, 1997).
Scientific coordinator of CIAUD Research Center at UBI and member of the research group URBinLAB Urbanism & Territorial Dynamics. Associated researcher at Polis Research Centre (Cr Polis-University of Barcelona).
Her work has emphasised interdisciplinarity, and more recently has focused on temporary uses and sharing practices as a design tool to encourage more adaptable cities, by coordinating the exploratory project "Intermittent City. Temporary Uses and Sharing Practices to support an Adaptive Urban Space" (funding FCT (ref. 2022.01558.PTDC) and Embryo Projects CIAUD.ULisboa).
Author of several national and international publications. Lecturer and speaker in Portugal, Germany, Greece, Czech Republic, France, Spain, Netherlands, England, Slovakia and Brazil. Lecturer and speaker in Portugal, Germany, Greece, Italy, United States (Virtual) Czech Republic, France, Spain, Netherlands, England, Slovakia and Brazil.
Rita is also Assistant Professor at University of Beira Interior (since 2006), where she teaches Design Studio in the MsC. in Architecture. At UBI, she implemented the research line "Architectures of (inter)Action", by developing numerous design experiences in teamwork with local communities, and in partnerships with public and private institutions, resulting in pedagogical publications, public Exhibitions and packs of projects to be applied in real situations.
Co-founder of MA (Women in Architecture) and R3iAP (Research Network in Public Art). Co-founder and editor of Branca (Journal of Architecture, University of Beira Interior).
Scientific coordinator of CIAUD Research Center at UBI and member of the research group URBinLAB Urbanism & Territorial Dynamics. Associated researcher at Polis Research Centre (Cr Polis-University of Barcelona).
Her work has emphasised interdisciplinarity, and more recently has focused on temporary uses and sharing practices as a design tool to encourage more adaptable cities, by coordinating the exploratory project "Intermittent City. Temporary Uses and Sharing Practices to support an Adaptive Urban Space" (funding FCT (ref. 2022.01558.PTDC) and Embryo Projects CIAUD.ULisboa).
Author of several national and international publications. Lecturer and speaker in Portugal, Germany, Greece, Czech Republic, France, Spain, Netherlands, England, Slovakia and Brazil. Lecturer and speaker in Portugal, Germany, Greece, Italy, United States (Virtual) Czech Republic, France, Spain, Netherlands, England, Slovakia and Brazil.
Rita is also Assistant Professor at University of Beira Interior (since 2006), where she teaches Design Studio in the MsC. in Architecture. At UBI, she implemented the research line "Architectures of (inter)Action", by developing numerous design experiences in teamwork with local communities, and in partnerships with public and private institutions, resulting in pedagogical publications, public Exhibitions and packs of projects to be applied in real situations.
Co-founder of MA (Women in Architecture) and R3iAP (Research Network in Public Art). Co-founder and editor of Branca (Journal of Architecture, University of Beira Interior).
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Papers by Rita Ochoa
Working the idea of Architectures of (inter)Action, these initiatives have been applied in different scales and contexts, from Master’s orientations, to exercises in design studio, or open ideas contests with interdisciplinary juries. In parallel, a set of public exhibitions were held, inside and outside the university. More recently, teams of senior students were invited to intervene in vulnerable territories in the outskirts of Covilhã, through two proposals, “Pátio dos !à” and “Pontes”, funded by the Portuguese programme Bairros Saudáveis (Healthy Neighbourhoods).
Apart from Healthy Neighbourhoods’ experience, most of the resulting projects were not built. Nonetheless, we assume that just as important as the results are the dynamics generated. Students leave the comfort of the classroom, and the university opens its doors to the community.
Almost fifteen years after the first activities, we believe that a systematisation is required to improve and enhance future projects. Thus, we built this essay in two parts: first, a brief overview of the research programme and an atlas of the (inter)action initiatives; then secondly, a focus on the two ongoing projects that effectively will be constructed, under the collaboration with the Healthy Neighbourhoods Programme.
In 1998, the Lisbon Universal Exhibition—Expo’98—led to an urban regeneration process on Lisbon’s waterfront. Following the example of other cities, this event was a pretext for rethinking and replacing a depressed area and for reconnecting it with the Tagus river through the creation of a set of new spaces for common use along the water. It was promoted as a public art program, which can be considered quite innovative in the Portuguese context. In view of this framework, this article aims to debate the relationships between public art and the dynamics of urban regeneration at the end of the 20th century. For that, it will analyse: (1) Expo’98’s public art program, comparing its initial assumptions with the final results; and (2) the impact of this program, through the identification of the placement of public art before (1974–1998) and after (1999–2009) the event. Although most of the implemented works did not (intentionally) explore aspects of space integration nor issues of public space appropriation, Expo’98’s public art program originated a monumentalisation of Lisbon’s eastern riverfront, later extended to other waterfront areas. At the same time, it played an important role in the way of understanding the city and public space that decisively influenced subsequent policies and projects. It is concluded that public art had a significant role in urban processes in the late 20th century, which is quite evident in a discourse of urban art as space qualifier and as a means of economic and social development.
Keywords: public art; Lisbon; Expo’98; urban regeneration; waterfront areas
This paper proposes a reflection on the existing research in fields such as Architecture and Urbanism, discussing the importance of specific methodologies for the analysis of territory. This discussion builds on an example of research about the connections between a city and its waterfront, the case of Lisbon.
Here, the main methodology is based on in situ observation and its subsequent systematization, finally configuring a graphic and visual approach to the study of public space. This methodology can be applied to other urban realities not only for the analysis of public space but also for its design.
However, the criteria for the placement of public art on those spaces are not always clear. In some cases, there are some thematic correspondences between the works and the places, namely with the theme of the water, the Discoveries and others like that. Nevertheless, we cannot observe a profound spatial integration, or a design with the context. In some cases, the artistic elements are produced with a logic of isolated work of art and later they are acquired and placed in some public space. In other cases, we assist to an unusual situation: a work is conceived in a strict relation with a place, but then, without any evident justification, it is dislocated to a completely different context. Or simply it is removed, disappearing from the public space. Although it seems a strange situation, such kind of dislocations often occurs in Lisbon.
On this framework, this research proposes a discussion about the processes of implementation of public art. We will analyze two cases of public art replacement:
1. The monument Primeira Travessia Aérea do Atlântico Sul (First Aerial Crossing of the South Atlantic), by Laranjeira Santos and Rodrigues Fernandes, 1972;
2. The public sculpture Ribeira das Naus, by Charters de Almeida, 1995.
Both works were designed to very specific and important places on Lisbon’s waterfront and both were later replaced to other locations on the inner city, quite far from the river. This kind of “(de)monumentalization” of a space originates the following questions: why is a work removed from a public space and why it is decided to give it another destination? What are the implications of those changes? Is public art removable?
Considering public art besides its purely aesthetic significance, this phenomenon seems to reveal that the physical and the social integration with the place are not always important, or, at least, they are only important in some moments. Also, we can see it from another point of view: a removal or a replacement of a work always reveals specific strategies for certain places, in certain moments. We can thus conclude that the processes of implementation of public art are clearly indicators of the policies and of the dynamics of the cities.
After the beginning of the course of Architecture, at 2003-2004, it started to be requested, by external entities, some proposals for solving architectural and urban problems. This suggestions began to be embraced by some teachers. With that, it was built a set of exercises, based in "real" problems, both in the city of Covilhã or in nearby villages. The exercises covered different scales of intervention, since the scale of urban furniture to the urban scale, going through small interventions, like projects as simple as the drawing of public stairs. But also more complex buildings, such as museums and interpretive centers, expansions of schools, sports centres, among others.
In addition to promote strategies of approach between the University and the community, these experiences have been developed with educational objectives. Using the model of "ideas competition", with mixed juries, it is intended to motivate the students and to stimulate their performance at the subject. The aim is also to instil in the future architects, from an early age, the importance of civic participation and of the interdisciplinarity in the profession,
Esta análise assume como base metodológica o contacto com o território e a observação direta do espaço, opção que mais eficazmente permite apreender o modo como a morfologia dos eixos de articulação determina aspetos relacionados com o uso do espaço, facilitando o acesso à frente de água, mas também a forma como a própria frente de água é visualmente percebida desde o interior da cidade.
O artigo estrutura-se em quatro momentos principais. Primeiramente, será estudada a forma das estruturas de articulação e sua influência na visualização da frente de água (capítulo 2.1). Depois, será abordado o perfil transversal, como aspecto caracterizador das estruturas, que nos informa acerca de questões quantitativas (dimensões dos eixos), mas também qualitativas (tipo e utilização dos espaços que os constituem) (capítulo 2.2). Por definição, todas as estruturas articulam determinadas polaridades na cidade com a frente de água. Mas conquanto estabelecem estas conexões, estabelecem também determinado tipo de relações morfológicas com a sua envolvente urbana. Assim e finalmente, com base nos conceitos de town integration e site integration (Costa, 2002) propõem-se duas escalas para a análise da integração com a envolvente: integração com os tecidos confinantes (capítulo 2.3) e integração com a cidade (capítulo 2.4).
ISBN: 978-989-658-189-3
on the thesis "Vazios devolutos – reinterpretações arquitectónicas em quarteirões do centro da cidade de
Guimarães", held at the Master Degree in Architecture from the University of Beira Interior. From a
methodology strongly based on the contact with the territory, through both insightful observation in situ
and their respective experiences, as a rigorous analysis of urban morphology, later graphically
systematized, were carried into space: dubbed the "central block”. It was also investigated the current
needs of the space, upon which was developed a subversion draft of the interior structure thereof. After
parallel analysis of current shortcomings in the city, a program based on two fundamental assumptions
was built: i) increased parking lot space and; ii) the introduction of public green space in the urban
environment. The urban analysis will determine the resolution of the project, whether by the underground
floor (parking), that after a "cleaning" of vacant buildings inside the block, it presents itself as a negative
of the new configuration limit, transposed to a new level; either by the ground floor (public green space),
which sees in all its new extension a green flooring, occasionally marked by "carpets" of different
materials originated in the new areas of trade perimeter of existing buildings on the block, as conjugates
the memory of old servitude pathways.
processes and in the construction of social identities. Its placement on the public space raises several
questions: which spaces are elected for the implementation of public art? In those spaces, what kind of
relations are established between its morphologic characteristics and the new interventions? Finally, is it
possible to identify models of placement? Despite the lack of systematization of these themes, some
authors focuses on the interaction between urban space and public art, in a framework that positions it
across different disciplines. In Lisbon, the criteria for the placement of public art are not always evident.
Most of the times, there is not a true spatial integration. In this sense, this paper proposes an analysis of
two artistic interventions, on Lisbon’s waterfront: The intervention in a viaduct, by Eduardo Nery (2003);
The work Lisbon (a tribute to the builders of the city), by José de Guimarães (1999). By the way as they
dialogue with its context, both interventions are in the opposite attitude of an understanding of public art
as decorative objects on the public space. In fact, both contribute not only to the physical, visual and
symbolic enhancement of the place, but also to the monumentalization of the waterfront.
In this sense, it uses tree case studies of the teaching of Urbanism in Portugal, in the formation of architects and landscape architects, in three different faculties, both on the first and second cycles of studies of the 2013-2014 school year: (1) the 5th year project design studio on the Integrated Master in Architecture, with specialization in Urbanism, at the Faculty of Architecture, Lisbon University; (2) the Urbanism curricular unit of the 4th year of Landscape Architecture Master, in the Agronomy Higher Institute, at the same university, and; (3) the 1st year project design studio on the Integrated Master in Architecture, at the Beira Interior University.
Developing a practical exercise on concrete territories, the teaching of Urbanism is obliged to face urban problems with different disciplinary approaches. It certainly allows for the development of the disciplinary potentialities, as it should be the objective; but it also confronts the students with the need to interact with other areas of knowledge, in order to find the necessary tools to address these urban questions, some not being central ones on the course plan.
On a complex and multifaceted urban context, as it is the contemporary one, problems don’t have disciplines. In that sense, the role of the project design studio teacher becomes central to open interdisciplinary horizons, e.g.: (1) coordinating the practical exercise with other curricular units; (2) joining contributions by experts from other areas of knowledge, or; (3) reinforcing the amplitude of the problems students are addressing, both in classes and in the tutorial development of the exercise.
Working the idea of Architectures of (inter)Action, these initiatives have been applied in different scales and contexts, from Master’s orientations, to exercises in design studio, or open ideas contests with interdisciplinary juries. In parallel, a set of public exhibitions were held, inside and outside the university. More recently, teams of senior students were invited to intervene in vulnerable territories in the outskirts of Covilhã, through two proposals, “Pátio dos !à” and “Pontes”, funded by the Portuguese programme Bairros Saudáveis (Healthy Neighbourhoods).
Apart from Healthy Neighbourhoods’ experience, most of the resulting projects were not built. Nonetheless, we assume that just as important as the results are the dynamics generated. Students leave the comfort of the classroom, and the university opens its doors to the community.
Almost fifteen years after the first activities, we believe that a systematisation is required to improve and enhance future projects. Thus, we built this essay in two parts: first, a brief overview of the research programme and an atlas of the (inter)action initiatives; then secondly, a focus on the two ongoing projects that effectively will be constructed, under the collaboration with the Healthy Neighbourhoods Programme.
In 1998, the Lisbon Universal Exhibition—Expo’98—led to an urban regeneration process on Lisbon’s waterfront. Following the example of other cities, this event was a pretext for rethinking and replacing a depressed area and for reconnecting it with the Tagus river through the creation of a set of new spaces for common use along the water. It was promoted as a public art program, which can be considered quite innovative in the Portuguese context. In view of this framework, this article aims to debate the relationships between public art and the dynamics of urban regeneration at the end of the 20th century. For that, it will analyse: (1) Expo’98’s public art program, comparing its initial assumptions with the final results; and (2) the impact of this program, through the identification of the placement of public art before (1974–1998) and after (1999–2009) the event. Although most of the implemented works did not (intentionally) explore aspects of space integration nor issues of public space appropriation, Expo’98’s public art program originated a monumentalisation of Lisbon’s eastern riverfront, later extended to other waterfront areas. At the same time, it played an important role in the way of understanding the city and public space that decisively influenced subsequent policies and projects. It is concluded that public art had a significant role in urban processes in the late 20th century, which is quite evident in a discourse of urban art as space qualifier and as a means of economic and social development.
Keywords: public art; Lisbon; Expo’98; urban regeneration; waterfront areas
This paper proposes a reflection on the existing research in fields such as Architecture and Urbanism, discussing the importance of specific methodologies for the analysis of territory. This discussion builds on an example of research about the connections between a city and its waterfront, the case of Lisbon.
Here, the main methodology is based on in situ observation and its subsequent systematization, finally configuring a graphic and visual approach to the study of public space. This methodology can be applied to other urban realities not only for the analysis of public space but also for its design.
However, the criteria for the placement of public art on those spaces are not always clear. In some cases, there are some thematic correspondences between the works and the places, namely with the theme of the water, the Discoveries and others like that. Nevertheless, we cannot observe a profound spatial integration, or a design with the context. In some cases, the artistic elements are produced with a logic of isolated work of art and later they are acquired and placed in some public space. In other cases, we assist to an unusual situation: a work is conceived in a strict relation with a place, but then, without any evident justification, it is dislocated to a completely different context. Or simply it is removed, disappearing from the public space. Although it seems a strange situation, such kind of dislocations often occurs in Lisbon.
On this framework, this research proposes a discussion about the processes of implementation of public art. We will analyze two cases of public art replacement:
1. The monument Primeira Travessia Aérea do Atlântico Sul (First Aerial Crossing of the South Atlantic), by Laranjeira Santos and Rodrigues Fernandes, 1972;
2. The public sculpture Ribeira das Naus, by Charters de Almeida, 1995.
Both works were designed to very specific and important places on Lisbon’s waterfront and both were later replaced to other locations on the inner city, quite far from the river. This kind of “(de)monumentalization” of a space originates the following questions: why is a work removed from a public space and why it is decided to give it another destination? What are the implications of those changes? Is public art removable?
Considering public art besides its purely aesthetic significance, this phenomenon seems to reveal that the physical and the social integration with the place are not always important, or, at least, they are only important in some moments. Also, we can see it from another point of view: a removal or a replacement of a work always reveals specific strategies for certain places, in certain moments. We can thus conclude that the processes of implementation of public art are clearly indicators of the policies and of the dynamics of the cities.
After the beginning of the course of Architecture, at 2003-2004, it started to be requested, by external entities, some proposals for solving architectural and urban problems. This suggestions began to be embraced by some teachers. With that, it was built a set of exercises, based in "real" problems, both in the city of Covilhã or in nearby villages. The exercises covered different scales of intervention, since the scale of urban furniture to the urban scale, going through small interventions, like projects as simple as the drawing of public stairs. But also more complex buildings, such as museums and interpretive centers, expansions of schools, sports centres, among others.
In addition to promote strategies of approach between the University and the community, these experiences have been developed with educational objectives. Using the model of "ideas competition", with mixed juries, it is intended to motivate the students and to stimulate their performance at the subject. The aim is also to instil in the future architects, from an early age, the importance of civic participation and of the interdisciplinarity in the profession,
Esta análise assume como base metodológica o contacto com o território e a observação direta do espaço, opção que mais eficazmente permite apreender o modo como a morfologia dos eixos de articulação determina aspetos relacionados com o uso do espaço, facilitando o acesso à frente de água, mas também a forma como a própria frente de água é visualmente percebida desde o interior da cidade.
O artigo estrutura-se em quatro momentos principais. Primeiramente, será estudada a forma das estruturas de articulação e sua influência na visualização da frente de água (capítulo 2.1). Depois, será abordado o perfil transversal, como aspecto caracterizador das estruturas, que nos informa acerca de questões quantitativas (dimensões dos eixos), mas também qualitativas (tipo e utilização dos espaços que os constituem) (capítulo 2.2). Por definição, todas as estruturas articulam determinadas polaridades na cidade com a frente de água. Mas conquanto estabelecem estas conexões, estabelecem também determinado tipo de relações morfológicas com a sua envolvente urbana. Assim e finalmente, com base nos conceitos de town integration e site integration (Costa, 2002) propõem-se duas escalas para a análise da integração com a envolvente: integração com os tecidos confinantes (capítulo 2.3) e integração com a cidade (capítulo 2.4).
ISBN: 978-989-658-189-3
on the thesis "Vazios devolutos – reinterpretações arquitectónicas em quarteirões do centro da cidade de
Guimarães", held at the Master Degree in Architecture from the University of Beira Interior. From a
methodology strongly based on the contact with the territory, through both insightful observation in situ
and their respective experiences, as a rigorous analysis of urban morphology, later graphically
systematized, were carried into space: dubbed the "central block”. It was also investigated the current
needs of the space, upon which was developed a subversion draft of the interior structure thereof. After
parallel analysis of current shortcomings in the city, a program based on two fundamental assumptions
was built: i) increased parking lot space and; ii) the introduction of public green space in the urban
environment. The urban analysis will determine the resolution of the project, whether by the underground
floor (parking), that after a "cleaning" of vacant buildings inside the block, it presents itself as a negative
of the new configuration limit, transposed to a new level; either by the ground floor (public green space),
which sees in all its new extension a green flooring, occasionally marked by "carpets" of different
materials originated in the new areas of trade perimeter of existing buildings on the block, as conjugates
the memory of old servitude pathways.
processes and in the construction of social identities. Its placement on the public space raises several
questions: which spaces are elected for the implementation of public art? In those spaces, what kind of
relations are established between its morphologic characteristics and the new interventions? Finally, is it
possible to identify models of placement? Despite the lack of systematization of these themes, some
authors focuses on the interaction between urban space and public art, in a framework that positions it
across different disciplines. In Lisbon, the criteria for the placement of public art are not always evident.
Most of the times, there is not a true spatial integration. In this sense, this paper proposes an analysis of
two artistic interventions, on Lisbon’s waterfront: The intervention in a viaduct, by Eduardo Nery (2003);
The work Lisbon (a tribute to the builders of the city), by José de Guimarães (1999). By the way as they
dialogue with its context, both interventions are in the opposite attitude of an understanding of public art
as decorative objects on the public space. In fact, both contribute not only to the physical, visual and
symbolic enhancement of the place, but also to the monumentalization of the waterfront.
In this sense, it uses tree case studies of the teaching of Urbanism in Portugal, in the formation of architects and landscape architects, in three different faculties, both on the first and second cycles of studies of the 2013-2014 school year: (1) the 5th year project design studio on the Integrated Master in Architecture, with specialization in Urbanism, at the Faculty of Architecture, Lisbon University; (2) the Urbanism curricular unit of the 4th year of Landscape Architecture Master, in the Agronomy Higher Institute, at the same university, and; (3) the 1st year project design studio on the Integrated Master in Architecture, at the Beira Interior University.
Developing a practical exercise on concrete territories, the teaching of Urbanism is obliged to face urban problems with different disciplinary approaches. It certainly allows for the development of the disciplinary potentialities, as it should be the objective; but it also confronts the students with the need to interact with other areas of knowledge, in order to find the necessary tools to address these urban questions, some not being central ones on the course plan.
On a complex and multifaceted urban context, as it is the contemporary one, problems don’t have disciplines. In that sense, the role of the project design studio teacher becomes central to open interdisciplinary horizons, e.g.: (1) coordinating the practical exercise with other curricular units; (2) joining contributions by experts from other areas of knowledge, or; (3) reinforcing the amplitude of the problems students are addressing, both in classes and in the tutorial development of the exercise.
Na sua génese, o exercício propunha uma reflexão acerca do tema da memória, em contexto pós-catástrofe, na sequência dos incêndios que ocorreram em Portugal, em 17 de Junho de 2017 nos concelhos de Pedrogão Grande, Figueiró dos Vinhos e Castanheira de Pera e em 15 de Outubro, na Guarda, Fornos de Algodres, Seia, Oliveira do Hospital, Lousã e outros municípios da Beira Alta e Interior. O trabalho foi desenvolvido em parceria com a Câmara Municipal de Castanheira de Pera, um dos municípios mais afetados pela tragédia.
O trabalho tem como ponto de partida a identificação de um sistema territorial subjacente à malha urbana: a estrutura em pente, constituída por duas lógicas morfologicamente distintas mas interligadas: a lógica horizontal (eixos urbanos paralelos à frente de água) e a lógica vertical (eixos urbanos transversais à frente de água).
Neste sistema, o espaço público desempenha um importante papel, pelas suas propriedades articuladoras e pela forma como permite relacionar – física mas também visualmente – a cidade interior com a sua frente de água. Este é também um sistema simbólico; as diferentes formas de relação física e visual estão ligadas a um factor fundamental: a presença de arte pública nas estruturas de articulação.
Assumimos como base fundamental o contacto com o território e a observação directa do espaço, pois apenas desta forma consideramos ser possível compreender as realidades urbanas nas suas múltiplas dimensões. Mediante esta opção metodológica, a articulação com a frente de água é interpretada a partir de diferentes vertentes.
A investigação recai primeiramente nas características morfológicas dos eixos transversais de articulação, debruçando-se depois na forma como essas mesmas características determinam aspectos relacionados com o uso do espaço, tais como a visualização da frente de água ou algumas particularidades dos percursos pedonais de acesso.
Finalmente, a investigação centra-se na relação entre a arte pública e as estruturas de articulação, procurando compreender – como questão de fundo – a forma como a arte pública e a sua colocação são encaradas, na cidade de Lisboa e se o entendimento que defendemos neste trabalho – de arte pública integrada no seu contexto e não como objecto estético isolado – é ou não aplicado no espaço público.
Palavras-chave: Lisboa, arte pública, espaço público, frente de água
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This research consists on understanding the relationship between the inner city and the waterfront, based on the case of Lisbon, by means of the urban structures that link these two realities, called structures of articulation with the waterfront.
The starting point is the identification of a territorial system underlying the urban structure: the comb structure, consisting of two logics, morphologically different but interconnected: the horizontal logic (urban axes parallel to the waterfront) and the vertical logic (urban axes transverse to the waterfront).
In this system, the public space plays an important role, because of its articulating properties and of the way it physically and visually allows the connection with the waterfront. This is also a symbolic system. The different ways of physical and visual connection are related with one key factor: the presence of public art in the structures of articulation.
Because we consider that the better way to understand the urban reality in its multiple dimensions is the contact with the territory and the site observation, we assume it as the main basis of the research. With this methodological approach, the articulation with the waterfront is interpreted according to different aspects.
First, the research focuses on the morphological characteristics of the transverse axes. Then, it inquiries on how those characteristics define the use of the space, in aspects such as the visibility of the waterfront, or the speed in the pedestrian access routes.
Finally, the research focuses on the relationship between public art and the structures of articulation, trying to understand – as an underlying question – how public art and its placement are seen in Lisbon and if the understanding that we stand for – of public art integrated into its urban context rather than as an isolated aesthetic object – is present or not in public space.
Keywords: Lisbon, public art, public space, waterfront
A partir de uma interpretação de estudos de caso contemporaneos, precedentes históricos e reflexões teóricas, são estudadas duas estratégias para alcançar a flexibilidade arquitetónica - a multifuncionalidade e a polivalência.
A análise termina com a hipótese de uma terceira estratégia/mecanismo operativos na arquitectura, no qual são as relações contextuais – isto é, não a procura da flexibilidade nas unidades funcionais mas sim entre as funções – que baseiam a flexibilidade espacial.