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Mário Martins, arquitecto licenciado pela Faculdade de Arquitectura da Universidade Técnica de Lisboa em 1988, colaborou com Manuel Graça Dias e Egas José Vieira em Lisboa. Em finais da década de 1980 regressa a Lagos, de onde é natural, para trabalhar em parceria com Vítor Lourenço. Desde 2000 em dedicação exclusiva a Mário Martins Atelier, Lda, desenvolve projectos de diferentes categorias de onde se destacam as obras de habitação unifamiliar. Este livro apresenta alguns desses casos que, ao longo dos seus vinte anos de trabalho, marcaram a paisagem do barlavento algarvio.

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  • Ttulo Title Mrio Martins Houses

    Editor Editor Jos Manuel das Neves

    Direco de Arte Art Director Gustavo Suarez

    Design Grfico Grafic Design Susana Villar (capa), Susana Monteiro

    Coordenao Editorial Editorial Coordination Virgnia Palma

    Coordenao Escritrio Office Coordination Paulo Baptista

    Retroverso English Translation Alexandra Andresen Leito

    Retroverso Tcnica Technical Translation Incubadora-id - Fernando Torres e Ana Antunes

    Reviso Revision Srgio Simes

    Paginao e Arte Final Pagination and Artwork Susana Monteiro

    Foto Capa Cover Photo FG + SG Fotografia de Arquitectura www.fernandoguerra.com

    Pr-impresso Pre-printing Uzina

    ISBN 978-989-8456-04-5

    Depsito Legal Legal Deposit 328 104 / 11

    Data de edio Publishing date Maio 2011

    Edio Edition Uzina Books

    Praa do Prncipe Real, n22 - 1

    1250-184 Lisboa

    Telef: 351 21 122 4100 Fax 351 21 122 4139

    [email protected]

    UZINA BOOKS, 2011

    Todos os direitos reservados. Todos os textos, imagens, ilustraes, fotografias, marcas e outros elementos contidos nesta publicao designados por o contedo esto protegidospor lei, sendo expressamente interdita qualquer cpia, reproduo, difuso ou transmisso, utilizao, modificao, venda, publicao, distribuio ou qualquer outro uso, total ou parcial, comercial ou no comercial e quaisquer que sejam os meios utilizados, do contedo desta edio, publicao e de contedos acedidos atravs desta mesma publicao.All rights reserved. No part of this publication may be reproduced in any form or by any means, graphic, eletronic or mechanical, including photocopying and recording by an information storage and retrieval system, without permission in writing from the publisher.

    PRINTED IN PORTuGAL

  • 217 palavras // 235 wordsJos Manuel das Neves

    as casas braNcas do Mrio // Mrios wHiTe Housespedro belo ravara

    procuraNdo sadas // seekiNg soluTioNsManuel graa dias

    casa ZZ // ZZ House

    casa ca // ca House

    casa kw // kw House

    casa eF // eF House

    casa vg // vg House

    casa Je // Je House

    casa aM // aM House

    casa JN // JN House

    casa sd // sd House

    casa cr // cr House

    casa FM // FM House

    casa Zi // Zi House

    casa Ja // Ja House

    casa lo // lo House

    casa ar // ar House

    FoTograFar para o Mrio // pHoTograpHiNg For MrioJoo Mariano / Fernando guerra

    casa ve // ve House

    casa ra // ra House

    casa Ng // Ng House

    FicHas TcNicas // TecHNical daTa

    biograFia // biograpHy

    8

    1 0

    1 6

    2 4

    3 4

    4 0

    4 8

    5 4

    6 2

    7 2

    7 8

    8 4

    9 0

    1 0 6

    1 1 8

    1 4 2

    1 5 2

    1 6 0

    1 6 8

    1 7 0

    1 7 8

    1 8 4

    1 9 0

    1 9 6

    N D I C E / / C O N T EN T S

  • 8217 PALAvRAS // 235 wORDS

    conheci a obra do arquitecto Mrio Martins, em 2008. de passagem pelo Baixa Atelier em lisboa, pedro belo ravara decidira oferecer-me um portflio desse seu colega e amigo de longa data.lembro-me de ter folheado o caderno do Mrio, na expectativa de encontrar por entre pedaos de imagens e esquios, de casas construdas e em projecto, uma aproximao.constru uma ideia mais ou menos esclarecida sobre um trabalho profissional, que parecia ter uma linguagem comum em muitos aspectos, mas tambm com variaes que faziam sobressair o compromisso com a diversidade do territrio, onde as casas se circunscreviam o barlavento algarvio.Quando lhe liguei, transmitiu-me o prazer de ter regressado a lagos, depois de ter acabado os estudos, na capital, onde teve a oportunidade de colaborar no atelier de Manuel graa dias, seu professor.a partir desse momento, fui percebendo nas suas palavras, uma simplicidade genuna, sem quaisquer pronuncios que fossem para alm de querer resolver os seus desgnios de contemporaneidade, aliados aos dos seus clientes.Numa urbanidade perifrica, por vezes difcil, ou junto ao mar com vistas privilegiadas, estas casas destacam-se no imenso panorama do sul, enquanto o Mrio se recusar a ficar preso a um arqutipo ou mesmo aquilo que designa como a sua insularidade a distante, livre e espontnea vontade de poder abrir novos caminhos.

    I became acquainted with the work of the architect Mrio Martins in 2008. On a visit to Baixa Atelier in Lisbon, Pedro Belo Ravara offered me a portfolio of his long-time friend and colleague.I remember leafing through Marios notebook hoping to find an approach in the midst of the fragments of images and sketches of houses built and planned.What I got was a more or less informed idea of work that was professional, that appeared to have in many aspects a common language but that also had variations which underscored his engagement with the diversity of the territory - western Algarve - in which the houses were located.When I called him he said how happy he was to have returned to Lagos, after completing his studies in Lisbon, having had the opportunity of working in the studio of his professor, Manuel Graa Dias.From that very moment onwards I perceived in from his words a genuine simplicity, making no claims to anything except wanting to resolve his own plans of contemporaneity in conjunction with those of his clients.Constructed in occasionally difficult city outskirts or else overlooking the sea with magnificent views, these houses will stand out in the vast landscape of the south whilst Mrio refuses to become tied to an archetype or even what he calls his insularity the distant, free and spontaneous desire to want to open new paths.

    jOS MANuEL DAS NEvES

  • Casa RA // RA HouseEsquio //Sketch Mrio Martins

  • 1 1

    AS CASAS bRANCAS DO MRIO // MRIOS wHITE HOuSESPEDRO bELO RAvARA

    a casa unifamiliar desde cedo adquiriu uma importncia referencial na histria da arquitectura Moderna. desde as casas na pradaria de Frank lloyd wright, ou as de le corbusier, como a de poissy, passando ainda pela Farnsworth de Mies ou a Mairea de aalto, constituem, hoje, momentos iconogrficos que nos perseguem cada vez que somos chamados a exercer o acto do projecto. as casas da pradaria elevavam-se sobre a longa erva dourada ondulante, balanando at ao horizonte, pela vontade das brisas do illinois, do Michigan ou de indiana, dominando, estes objectos tectnicos, as vistas profundas e longnquas da paisagem do mid-west da amrica do Norte. a de poissy, assumido subrbio de classe mdia alta rica parisiense, poisa sobre pilares finos que se fazem desaparecer na penumbra do vazio trreo, sobre um lote de terreno generoso e largo, distanciando-se, qual construo capsular do lugar onde calhou marcar morada. Na sua aparente total transparncia, a Farnsworth, objecto inclume, flutua sobre um terreno enlameado, hmido e folhoso e descobre uma pequena clareira entre o bosque, onde se aconchega e demarca o seu territrio de influncia. ou a casa Mairea, em que aalto a concebe como momento interior mais recolhido, definindo-lhe um espao complementar ao seu interior, a zona da piscina e da sauna, inserindo-a maneira de mais um elemento natural ao pinhal. poderamos descrever outras mais, como a da cascata, algumas das Case Studies californianas ou a de vidro em brno, nas suas relaes ao local natural onde se implantam.

    c, em portugal, lembramo-nos ainda da do alto do lagoal, em caxias do Joo andresen, da de ofir, do Tvora, de algumas do vtor palla na encosta do restelo, da casa da famlia sande e castro em cascais, do athouguia ou ainda, mais recentemente a do Manuel vicente para o casal weinstein tambm em cascais ou a do srgio Fernandez em caminha.

    as primeiras, mais distantes e mais referenciais constituem exemplos de uma nova relao entre arquitectura e natureza a uma escala territorial, explorando

    In the history of modern architecture single-family dwellings have acquired significant importance from an early date. Frank Lloyd Wrights prairie houses, or those by Le Corbusier, such as the one in Poissy, the Farnsworth House by Mies or Villa Mairea by Aalto, are iconographic moments today that pursue us each time we are called on to the act of designing. The prairie houses rose out of the long golden undulating grass swaying as far as the horizon, blown by the breezes of Illinois, Michigan and Indiana, these tectonic objects dominating the distant and profound views of the landscape of the American Midwest. In Poissy, a wealthy upper middle-class suburb of Paris, the Villa stands on slender columns that fade into the shadow of the empty ground beneath, on a large generous plot of land, setting this capsular construction apart from the place where it is located. In its apparent total transparency Farnsworth House, an intact object, hovers above muddy, damp and leafy terrain, creating a small clearing in the woods where it settles and marks out its territory of influence. Villa Mairea, which Aalto conceived as a more secluded interior moment, defining inside it a complementary space with swimming pool and sauna, and integrating it as one more natural element in the pinewood. We could describe many more houses, such as Fallingwater House, some of the Californian case studies or the glass house in Brno, and their relation with their natural location.

    In Portugal we recall the house in Alto do Lagoal in Caxias by Joo Andresen, the house in Ofir by Tvora, and some by Vtor Palla in Restelo and the Sande e Castro family home in Cascais by Athouguia. More recently there was Manuel Vicentes house for Mr. and Mrs. Weinstein, also in Cascais, and Srgio Fernandez house in Caminha.

    The first named, more distant and more referential, are all examples of a new relationship between architecture and nature on a territorial scale, exploring the absence of an urban context so as to propose a new idea of modern urban living. It is possibly an expression of a discontinuous city, extended to the territory, enjoying the new mobility made possible by the motor car, the aspiration of a modern new generation that observes the world of the city from afar or the world of nature from close up through its capsular realities.

  • 1 2

    a s c a s a s b r a N c a s d o M r i o / / M r i o s w H i T e H o u s e s

    The second group, of Portuguese examples, does not necessarily represent this new conceptual aspiration but rather the acceptance of a new condition of wealthy suburb which began to appear in the more or less distant summits around Lisbon and Porto. Nevertheless, considering the tiny plots of land on which these houses were built when compared with the ones mentioned earlier, all these examples become autonomous and overtake the conceptual reality to create a new relationship with the territory around them. In other words, they are objects that enhance and enjoy the locality, becoming integrated by creating a distant or close relationship vis--vis what exists around them.

    These houses also represent moments of new urbanities or of a new urbanity which thus far had not become totally enshrined in Portuguese cities.

    So, the single-dwelling house has always represented a reality of distance and artifice in the face of a close reality from which it becomes autonomous. This autonomy from the contextual site will in the end integrate it in the cultural site, as in the case of the Portuguese houses mentioned. In other words, the gesture of the project is erudite and revalidates, contributes to and adds meaning to the context.

    Perhaps that is why it is difficult to design a house on a forgotten plot of land in our cities suburbs. In Portugal these suburbs have grown in the last thirty years, vaulting the cliffs of Algarve and of our Atlantic coast, allowing most of us to aspire to a holiday home with views of the beach. It is no longer a question of a residence outside the city centre, of adopting a modern life where cars are obvious and essential; rather it is a dream about a possible country or beach house, shared with so many others with the same desires. These suburbs are not born of the same needs as industrial suburbs, or of the post-war cities of northern Europe and North America; like the others these suburbs are born of the desire for social aspiration, banishing urban responses. These are suburban neighbourhoods, new sections of the city that provide single-family dwellings on defined enclosed plots of land, often in developments with no shopping areas, no public equipments, no gardens or parks. They are the result of the indomitable will of real estate deals. They proliferated in Portugal

    a ausncia de urbanidade do contexto para propor uma nova noo de moderna urbanidade. Talvez como expresso de uma cidade descontnua, alargada ao territrio, gozando das novas mobilidades potencializadas pelo automvel, aspirao de uma nova gerao moderna que atravs das suas realidades capsulares observa, de longe, o mundo da cidade ou de perto o mundo natural.

    o segundo grupo dos exemplos nacionais, representam, no necessariamente esta nova aspirao conceptual, mas a aceitao de uma condio nova de subrbio abastado, que comea a aparecer nas coroas mais ou menos distantes de lisboa e do porto. No entanto, considerando a exiguidade dos lotes em que estas casas foram construdas, quando comparadas com as anteriores, todos estes exemplos se autonomizam e ultrapassam a realidade contextual para criarem uma nova relao com o territrio que lhes prximo. ou seja, constituem-se como objectos que potencializam o lugar e que o desfrutam, integrando-se pela criao de uma relao de distncia ou proximidade relativamente ao que existe em seu redor.

    Tambm estas casas representam momentos de novas urbanidades, ou de uma nova urbanidade, no totalmente consagrada, at quela altura, nas cidades portuguesas.

    assim sendo a casa unifamiliar representou sempre uma realidade de distanciamento e artifcio face a uma realidade prxima da qual se autonomiza. essa autonomia ao lugar contextual, acaba por a integrar, como ser o caso das casas portuguesas mencionadas, no lugar cultural. ou seja o gesto de projecto erudito e revalida o contexto, contribui para este ltimo e acrescenta-lhe significado.

    Talvez por isso seja difcil desenhar uma casa num lote esquecido dos subrbios das nossas cidades. estes ltimos, em portugal, cresceram muito nos ltimos trinta anos, galoparam as falsias do algarve e da nossa costa atlntica e permitiram que todos aspirssemos a uma casa de frias com vistas sobre a praia. J no se trata de uma residncia fora dos centros das cidades, da adopo de

    Darwin Martin House, Frank Lloyd wright villa Savoye, Le CorbusierEsquio //Sketch Pedro Ravara

  • 1 3

    H o u s e s M R I O M A R T I N S

    and in some cases appeared in the guise of good architecture (examples being the Bom Sucesso development in bidos or Vila Utopia in Oeiras), designing a fragmented and disperse constructed landscape.

    In Algarve this trend stripped it of its golden dunes, privileged sites over natural coastal zones which were absorbed by the heedless advance of these peripheral developments, of no particular type, of the golf resort type or even of the Quinta something or other type. Some are in gated condominiums, others are open and follow on from the urban structures of existing towns or cities, which are then considered the rustic part of the development, where often you only find shops with local and often rustic crafts (usually belonging to foreigners...).

    Often these houses are the first or second residences of foreigners who saw in Algarve the right substitute for the no doubt overcrowded Costa Brava in Spain. They settled in Algarve for practically the whole of the year. They are one of Algarves most dynamic and significant sources of income. Blessed are our friends whom we need so much and let us ensure they have everything they might need to make them stay forever or even just for a while. Even if to do so we have to build three houses where only one (or even none at all!) would reasonably be expected to exist.

    Mrios white houses appear in this context. In a context of formal density. The density is due to the reduced size of the plots of land considering what can be built there, considering the proximity between constructions, between what the urban codes establish as the minimum distance between plot limits, imposing one single construction in the centre, freeing up or leaving the fringes as residual areas. The formality is because all these constructions represent personalities who wish to assert themselves through the representation of their chalet: the one with the ochre wall, the one with the round stairs jutting from the faade, or the one with the tall, wide chimney with the red turrets. They are the calling cards of the individual success of each owner.

    Mrios white houses are for demanding clients in their quest for representation. Mrio treats these aspirations and formalises them with the ever-present wish to contribute to a

    uma vida moderna em que o transporte automvel se torna evidente e necessrio; trata-se sim de um sonho para uma casa de campoou praia possvel, partilhado com tantos outros que aspiram ao mesmo. estes subrbios no nascem das mesmas necessidades dos das cidades industriais, nem das cidades ps-guerra do norte da europa ou da amrica do Norte, estes nascem, como todos ou outros, de desejos de aspirao social, relegando as respostas urbansticas. so bairros de subrbio, novas seces de cidade que respondem habitao unifamiliar em lote definido, fechado nele prprio, muitas vezes urbanizaes sem zonas comerciais, sem equipamentos pblicos, sem jardins ou parques. surgem das vontades indmitas dos negcios imobilirios. em portugal cresceram, surgindo alguns destes bairros a coberto da boa arquitectura (exemplos disso a urbanizao do bom sucesso, em bidos, ou a vila utopia em oeiras), desenhando uma paisagem de construo fragmentada e dispersa.

    No algarve esta mole conquistou-lhe as suas dunas douradas, lugares privilegiados sobre reas naturais costeiras, que foram absorvidas pelo avano cego destas urbanizaes perifricas, de tipo nenhum nomevel ou do tipo golf resort, ou ainda do tipo Quinta do qualquer coisa. umas fechadas em condomnio, outras abertas e em continuidade com as estruturas urbanas de vilas ou cidades pr-existentes, que vm a ser consideradas como a rea rstica da urbanizao, onde s coexistem, muitas vezes, lojas de artesanato local e tambm rstico (normalmente da pertena de no nacionais).

    estas casas so muitas vezes primeiras ou segundas habitaes de estrangeiros, que viram no algarve a alternativa certa j sobrelotada costa brava espanhola. instalam-se no algarve durante praticamente todo o ano. esta permanncia constitui uma das economias mais dinmicas e importantes do algarve.

    benditos sejam estes nossos amigos, dos quais precisamos tanto e garantam-se todas as condies por eles exigidas sua instalao definitiva ou temporria. Nem que para isso tenhamos de construir trs casas onde

    Kaufmann House, Frank Lloyd wright Farnsworth House, Mies van der Rohe

    Esquio //Sketch Pedro Ravara

  • 1 4

    A S C A S A S b R A N C A S D O M R I O / / M R I O S w H I T E H O u S E S

    culturalisation of this new typology, the peripheral villa. As an architect Mrio operates by working hard to understand the reality of commissions in western Algarve. He continues to look for inspiration at the horizon of heroic modernism and believes that there will still be something left over to allow him to design the house for his client. His modernity lies in his resistance to gratuitous and immediate formalisation, in the reinterpretation of the technical possibilities, of the advantages of sustainable constuction or yet the integration and significance of the outside space adjacent to the construction as a built continuity, redesigning the initial trivial programme supplied by his clients.

    The book opens with an extension for a house on a small property in Bensafrim, Lagos (1994-95), an old village house as Mrio calls it. Of all his work, this is a special project, it represents a link with a constructed and cultural heritage recreating an atmosphere which he admits is the atmosphere of the village. The limited space is built on itself and outlines a small outdoor patio from which start all trajectories and from which one can also read the relationship between the existing and the new buildings. What is symptomatic is that this more regionalist desire will not be repeated in the following works, which are included in this book. The other houses, all more recent, are built on virgin plots of land and the projects are based on the possibility of dominating a vast territory where vistas are endless and extend to the spectacular horizons of the sea.

    The selection of the eighteen houses along in this publication reflects the desire to embrace a more extensive territorial reality. The site is therefore just a physical contextual fact. The site is constituted up to the limits of the horizon, reneging close reality, the white architecture becomes internationalised and autonomous of the so typical Algarve houses. There is no rusticity in any of the remaining seventeen houses. His architecture mentions contemporary modernism, structural technology, the innovation of the systems and networks that are complementary to the base concrete construction. In that sense, although born and bred in Algarve, the architect of these white houses is also a citizen of the rest of the world. His houses are designed through constructive strokes that are wider than

    razoavelmente s deveramos ter construdo uma (ou mesmo nenhuma!).

    as casas brancas do Mrio aparecem neste contexto. Num contexto de densidade formal. densidade pela dimenso exgua dos lotes face ao que neles possvel construir, face proximidade entre construes, ao que no cdigo civil normativo para a distncia aos limites do lote, obrigando por isso a uma construo nica no seu interior libertando, ou deixando as suas franjas como reas residuais. Formal, porque todas estas construes representam personalidades que se querem afirmar atravs da representao do seu chal, aquela da parede ocre, da escada redonda que sobressai da fachada ou a da chamin alta e larga com o coruchu vermelho. so cartes de visita do sucesso individual de cada proprietrio.

    as casas brancas do Mrio so para clientes exigentes nas suas demandas de representao. o Mrio trata estas aspiraes e formaliza-as com o desejo, sempre presente, de contribuir para uma culturalizao desta nova tipologia, a da vivenda perifrica. sobre o esforo de trabalho e entendimento e sobre esta realidade da encomenda no barlavento algarvio, que o Mrio se move enquanto arquitecto. continua a olhar o horizonte do modernismo herico, de onde se inspira e acredita sobrar ainda algo que o permita desenhar a casa para o seu cliente. a sua modernidade reside na sua resistncia a uma formalizao fcil e imediata, na reinterpretao das possibilidades da tcnica, das vantagens da sustentabilidade da construo ou ainda da integrao e significao do espao exterior e adjacente construo como de continuidade construda, reconstruindo o trivial programa inicial fornecido pelos seus clientes.

    o livro abre com a adio a uma casa de pequena quinta em bensafrim, lagos (1994-95), velha casa de aldeia, como lhe chama o Mrio. este projecto especial em toda a sua obra, representa um momento de relao com um patrimnio construdo e cultural recriando um ambiente que ele admite ser o da aldeia. espao limitado construdo sobre si prprio e desenha um pequeno ptio exterior, a partir do qual

    Casa OL // OL HouseEsquio // Sketch Mrio Martins

  • 1 5

    H o u s e s M R I O M A R T I N S

    the often smaller plots of land on which they are sited, for their aspirations largely exceed the limits of his apparent training as an Algarve architect living in Lagos.

    He builds a legacy of contemporaneity, dotting a territory characterised by urban and architectural greyness with his works. His white houses testify to the resistance of someone who believes in architecture as a form of expression that not only tries to redeem the qualitative vacuum proposed by these new developments but also to overcome the more contextual civilizational (and cultural) limitations.

    These white houses represent the heroic act of an architect who will always continue to believe in the redeeming quality of his architecture.

    se iniciam todos os percursos bem como a partir do qual se l a relao entre os corpos novo e existente da construo. sintomtico que no mais se repetir este desejo mais regionalista nas obras seguintes e que constituem os contedos deste livro. as restantes casas, mais recentes, so construdas sobre lotes virgens e o gesto de projecto assenta sobre a possibilidade de domnio sobre um territrio vasto, em que as vistas so infinitas e se alargam aos horizontes espectaculares martimos.

    a escolha das dezoito casas que preenchem as pginas deste livro, reflecte a aspirao de abraar uma realidade territorial mais abrangente. o lugar acaba por isso por ser apenas um dado contextual fsico. o lugar constitui- -se at ao limite do horizonte, renegando a realidade prxima, a arquitectura branca internacionaliza-se e autonomiza-se do so typical algarvio. a rusticidade no existe em nenhuma das restantes dezasseis casas. a sua arquitectura nomeia o moderno contemporneo, a tecnologia estrutural, a inovao dos sistemas e redes complementares construo de base em beto. Nesse sentido, embora algarvio de nascena, o arquitecto destas casas brancas tambm cidado do resto do mundo. as suas casas desenham-se a partir de rasgos construtivos mais largos do que os, s vezes pequenos, lotes onde se implantam, porque as suas aspiraes extravasam em muito os limites da sua aparente formao, de arquitecto algarvio residente em lagos.

    constri desta forma um legado de contemporaneidade, polvilhando com as suas obras um territrio caracterizado pelo cinzentismo urbano e arquitectnico. as suas casas brancas so por essa razo um testemunho de resistncia de quem acredita na arquitectura como uma forma de expresso que no s tenta redimir o vazio qualitativo proposto por estas novas urbanizaes, como a ultrapassar as condicionantes civilizacionais (e culturais) mais contextuais.

    Neste sentido, estas casas brancas representam o herosmo de um arquitecto que continuar sempre a acreditar na possibilidade redentora da sua arquitectura.

    Casa ZI // ZI HouseEsquio // Sketch Mrio Martins

  • 1 6

    PROCuRANDO SADAS // SEEKING SOLuTIONSMANuEL GRAA DIAS

    as dezoito casas que Mrio Martins mostra neste livro so todas iguais? at certo ponto, sim.

    a envolvente fsica do barlavento algarvio, primeiro, uma paisagem de falsias e formaes rochosas a deslizarem amarelas lentamente para o mar ou de vrzeas, subindo ao interior, antes da serra e do barrocal avermelhados; depois, os stios (reais e periurbanos) dentro dessa envolvente (loteamentos, arredores de provncia, terrenos beira da estrada, pequenas quintas retalhadas por construo sem histria); depois, ainda as limitaes dos programas, moradias unifamiliares to isoladas quanto possvel, com promessas de jardins e piscinas, dois pisos, salas em baixo/quartos em cima, alguns terraos a propsito das vistas, palmeiras existentes ou a plantar em volta; finalmente, a prpria personalidade do arquitecto, o seu percurso, as influncias que lhe interessam e escolhe, as influncias dominantes, o discurso cultural, as suas memrias do mundo. Muito depois, ainda, a reunio em livro destes materiais, o desejo de unidade nos esquemas que nos elucidem para l das fotos: plantas, cortes, alados redesenhados para o efeito.

    entre terrenos apertados parecidos e programas idnticos de sonhos forados, as casas acabam por ficar semelhantes.

    Que sei eu do Mrio?Que foi meu aluno na escola, meu colaborador

    no atelier, que um bem disposto, um pouco naif, s vezes, com tendncia para choro, e que se farta de trabalhar em lagos, ou nas terras em volta, l, onde agora vive e nasceu.

    Mrio Martins foi meu aluno na Fa/uTl no ano lectivo de 1987/88, no 5 ano do curso de arquitectura da FauTl, na disciplina de projecto.

    a propsito de um dos primeiros exerccios que propus aos alunos (desenhar plantas, cortes e alados, rpidos e esquemticos, a partir de imagens bidimensionais abstractas, advindas de outros contextos e exigncias),

    Are the eighteen houses that Mrio Martins shows in this book all the same? Well, yes, up to a point.

    For a start, the physical surroundings of western Algarve, a landscape of cliffs and rocky yellow formations sliding into the sea, or heaths rising to the interior, before the reddish Serra and Barrocal; then the (real, peri-urban) sites within those environs (parcels of property, rural outskirts, tracts of land by the roadside, small quintas dotted with featureless buildings); then, also, the limitations of the programmes, single-family dwellings set as far apart as possible, with promises of a garden and a pool, two storeys, living areas below, bedrooms upstairs, a few terraces because of the views, palm trees there already or to be planted; finally, the architects own personality, his career, the influences that engage him, that he chooses, his dominant influences, his cultural discourse, his memories of the world. Much later, of course, gathering these materials in this book, the desire for unity in his sketches to enlighten us: plans, sections, elevations, in addition to the photographs.

    Between crammed and similar plots of land and identical programmes of forced dreams, the houses end up looking the same.

    What do I know about Mrio?That he was my student that he worked with me in my

    studio, he is affable, slightly naive at times with a tendency to being plaintive, and that he works very hard in or around Lagos, down there where he was born and now lives.

    Mrio Martins was my student in project at the Arts Faculty of Lisbon Technical University (FA/UTL) in the 1987/88 academic year during his fifth year.

    One of the first exercises I set my students (drawing rapid, schematic plans, sections and elevations, from abstract two-dimensional images from other contexts and requests) I listed the answers I had considered most interesting in the one submitted by Mrio Martins:

    The spiral staircase is enough; whilst it reminds me of the couple from France in the Viana sunshine I can

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    escrevi, em lista de respostas que me pareceram as mais interessantes, referindo-me de Mrio Martins:

    chega-me a escada espiralada; e se me lembra o casal de Frana ao sol de viana, tambm posso pedir ao nu que desceu tantas escadas para nos divertir. ser um corrimo onde no vais querer historicismos.rude, o lpis; diferente da outra rudeza, a dos rudes pedreiros.Faz a primeira casa algarvia, lio de f; sei que olhars sempre atravs do buraco do quarto da ajuda. lendo, comendo po e procurando, procurando.1

    Mais tarde, j depois de ter trabalhado connosco em lisboa, reencontrei o Mrio. convidou-me, a propsito da cor em arquitectura, a participar nuns colquios que organizara2.

    pelo meio, mostrou-me alguns dos seus trabalhos construdos poca. eram coisas inocentes, muito alegres, com tiques de desenho directamente importados de um certo optimismo de 1950; diziam bem com o Mrio, com o seu sentido de humor, com a sua bonomia. Queixou- -se-me, sobretudo, dos clientes, das dificuldades de quem deixa a escola e tarda em compreender a rudeza do mundo fora dos prembulos tericos.

    agora o Mrio amadureceu. um arquitecto algarvio. No sei se ganhmos ou se perdemos. gostaria de ver at onde chegariam os exageros mais juvenis que os primeiros projectos ritualizavam como uma etapa necessria de morte do pai (de algum modo presente na vulgata ps-moderna que o rodearia sada da escola).

    o Mrio mais disparatado, o Mrio que me lembrava o Nu descendo uma escada de Marcel duchamp (1912), o Mrio a quem augurei toda a recusa ao historicismo, o Mrio que, j no final, imaginei, lendo, comendo po e procurando, procurando, parece ter desistido

    also ask the nude who descends so many stairs for our enjoyment. This is a handrail where you will want no historicism.The pencil work is rough; different to the other roughness, that of stonemasons.Make your first Algarve house a lesson of faith; I know you will always be peering through the keyhole of the room in Ajuda.Reading, eating bread and always seeking.1

    Later, after he had worked with us in Lisbon, I met Mrio again. Because of colour in architecture he invited me to take part in some meetings he had organised2.

    At the same time he showed me some of the works he had already built. It was innocent, very joyful stuff, with tics in his drawing imported directly from a certain 50s optimism; they sat well with Mrio, with his sense of humour and his bonhomie. The, he complained mainly of his clients, of the difficulties graduates experience after leaving school as it takes them time to understand the roughness of the world outside theoretical overtures.

    Now, Mrio has matured. He is an Algarve architect. Im not sure if it is our loss or our gain. I would like to have seen how far his youthful excesses as ritualised in his initial projects as a necessary stage, like the death of ones father (to some extent present in the ordinary post-modern people that surrounded him when he left school).

    The more nonsensical Mrio, the Mrio who reminded me of Marcel Duchamps Nude Descending a Staircase (1912), the Mrio whom I augured would reject historicism, the Mrio who, at the end, I imagined Reading, eating bread and always seeking , seems to have given up the search. It may be temporary; I would like it to be a crisis in his growth. For I still see in his tired inventiveness, in all his houses, glimpses of wanting to do shining out.

    (It was Tvora who stated that we could never do everything we wanted in each project; in each case, then, we should select one part, elect a preference, designate an element

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    de procurar. pode ser temporrio; gostaria que fosse uma crise de crescimento. porque na inventiva cansada, vejo ainda a brilhar, em todas as casas, bocados de querer fazer.

    (Foi Tvora quem ter afirmado que nunca se conseguiria fazer tudo o que quisssemos em cada projecto; e ento, que para cada caso, haveria que escolher uma parte, eleger uma preferncia, nomear, do todo, o elemento para o qual reservaramos o desvelo, a actuao maior, dentro da obra: aqui, nesta, uma escada! ali, umas janelas especiais, os pormenores dos seus caixilhos; ali, um telhado com outra inclinao).

    lembrei-me desta reflexo quando via as casas de Mrio Martins em detalhe, as suas fotos publicadas, as explicaes desenhadas que acompanham cada projecto.

    em todos encontrei momentos desses: situaes bem resolvidas, pequenos sucessos, traos fortes e determinados. s vezes, o ambiente interior, densificado por paredes de pedra, contrastando com a aparente elementaridade que construa a casa fora; ou a variao dos nveis sinalizadas por degraus; ou escadas atrevidas, soltas, paralelas no acesso aos terraos; geometrias torcidas, tambm, ainda; o enfatizar dos tectos em beto vista sobre cobertos exteriores; muros enquadrando pedaos de paisagem; gesso cartonado expressivo situando inteiros lanos verticais; laterais fortes segurando as pontas dos les balanados; palas generosas em dilogo com as vistas; palmeiras aprisionadas nos ptios.

    depois de analisar assim as partes, os bocados de espao solto - vocbulos necessrios -, comecei a reunir outros significados, os volumes de fora (Mrio Martins sempre mais descontrado, mais abstracto, quando anda por fora, fora do discurso domstico).

    aparecem planos, partes em desequilbrio, vos recortados na pedra ou no beto, recortando exteriores que deixam de ser desmazelados.

    H recantos de sombra no modo como dobra o til em frases no precisamente entendveis, como franjas, o

    from the whole to which we would devote ourselves, our major work within the work: Here, right here, a staircase! There, some special windows, the details of their window frames; over there, a roof with another inclination).

    I recalled this reflection when I saw his houses in detail, the photographs published and the detailed drawings explaining each project.

    I found moments such as these in all the projects: well-resolved situations, minor successes, strong determined strokes. Sometimes the inner environment, made dense by stone walls contrasting with the apparent elementarity that built the house on the outside; or the variation in levels marked by steps; or bold unfettered staircases, parallel accesses to the terraces; or even some twisted geometry; emphasised bare concrete ceilings over external roofing; walls framing pieces of landscape; expressive plasterboard siting complete vertical stretches; strong laterals holding the ends of balanced L-shapes; generous canopies dialoguing with the view; palm trees imprisoned in the patios.

    Having thus analysed these parts, the pieces of loose space the necessary terms I began to collect other meanings, the outside volumes (Mrio Martins is always more relaxed and more abstract when he is outside, outside the domestic discourse).

    I saw plans, unbalanced parts, spaces cut into stone or concrete, shaping exteriors which stop being untidy.

    Shady corners appear in the way he folds usefulness into places that are not exactly comprehensible, like fringes, hard, to subdivide the sun; the way he opens patios and covers, encircles and girdles them with trees, encompassing the existing houses; and how he bends the wall Ls and Us to contain the shade with which he always faces strong dry vistas.

    With mediocre surroundings and small spaces for large programmes Mrio Martins follows a constant and apparently rigid manual of rules, materials, forms and finishings that assemble the multiple variants of a unique architecture: his architecture for Algarve houses.

    I am pleased to have foretold his success, although in another form; I mainly understood that he could not have

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    duro de modo a subdividir o sol; no modo como abre ptios e os cobre e os envolve e rodeia de rvores e engloba casas existentes; e como dobra os les de parede e os us de maneira a guardar dentro a sombra com que encara as sempre fortes vistas secas.

    com uma envolvente medocre e espaos pequenos para programas grandes, Mrio Martins vai seguindo uma cartilha constante e aparentemente rgida de regras, materiais, formas e acabamentos que montam as mltiplas variantes de uma arquitectura nica: a sua arquitectura de casas algarvias.

    gostei de lhe ter prenunciado o sucesso, se bem que de outra maneira; compreendi sobretudo que no podia ter ficado s, a fazer atrevidas palas curvas moderando as vistas sobre as falsias de luz (como na casa ar), para sempre.

    Teria que tentar outras sadas. das sadas que Mrio Martins anda procura que trata este album.

    lisboa e praga, abril 2011

    1 Mgd. 1989. Provas de aptido pedaggica e capacidade cientfica [edio policopiada]. lisboa: Fa/uTl: 552 Arquitectura, cor e territrio. lagos: centro cultural de lagos. 16 de abril, 1994

    remained alone, producing daring curved canopies to moderate the vistas over the light-filled cliffs (as in the AR house) forever.

    He would have to try other solutions. And this book is about those solutions that Mrio Martins is seeking.

    Lisbon and Prague, April 2011

    1 MGD. 1989. Provas de aptido pedaggica e capacidade cientfica [photocopied edition]. Lisbon: FA/UTL: 552 Arquitectura, cor e territrio. Lagos: Centro Cultural de Lagos. 16 April, 1994

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    H o u s e s M R I O M A R T I N S

    caro Manuel graa dias,

    o meu amigo consegue sempre surpreender-me com essa hilariante criatividade, que da arquitectura extravasa para os seus textos. aqui est mais um digno exemplo.gostei muito da frontalidade com que fala de mim, evitando os lisonjeios de ocasio . muito gratificante verificar que aps estes anos, com tantos alunos e colaboradores, ainda recorda pormenores com essa clareza.ainda continuo a ser tal como me descreve (apenas deixei de ser choro).Foi com o Manuel que aprendi a sentir um prazer natural pela arquitectura, sem preconceitos ou esteretipos.Nunca mais esqueo de, com o meu juvenil entusiasmo ir mostrar-lhe projectos dos primeiros anos de actividade. e o Manuel diz-me que um projecto engraado qualquer arquitecto pode fazer.Mrio traz-me mas fotografias de obra feita.Que bela lio, que s depois vim a perceber melhor.o Manuel continua a ser uma importante referncia, e desde sempre o meu mestre.prometo que no me vou acomodar.Quero continuar a procurar outras sadas. e principalmente, continuar a sentir prazer em ser arquitecto.ao meu amigo muito o devo.obrigado por tudo e especialmente por esse belssimo texto que ontem enviou.

    um abrao,Mrio Martins

    My dear Manuel Graa Dias,

    You always surprise me with that exhilarating creativity that spills over from your architecture into your writing. This is yet another good example.I like how straightforward you are when talking of me, avoiding needless flattery.It is gratifying to see that after all these years, all those students and co-workers, you still remember details so clearly...I am still just as you describe me (but no longer plaintive).With you I learnt to feel a natural pleasure in architecture, without prejudices or stereotypes.I shall never forget in my juvenile enthusiasm showing you my initial projects. You always said that any architect can produce an amusing project.Mrio, show me photographs of work you have completed.It was a great lesson, but it took me some time to understand it.You are still an important reference to me and will always be my teacher.I promise I wont become lazy.I want to seek other solutions. Mainly, I want to continue to feel pleasure in being an architect.That and much more I owe to you. Thank you for everything and especially for this wonderful text you have sent.

    Best wishesMrio Martins

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    a casa foi desenhada sobre uma envolvente incaracterstica, mas com uma vista deslumbrante sobre o recorte oeste algarvio, com forte incidncia solar de poente.o projecto assenta em solues tecnicamente evoludas, privilegiando a sustentabilidade energtica, o recurso a geotermia e a um sistema integrado de domtica.Foi a partir da ideia de leveza que se desenhou um edifcio, pousado sobre o embasamento em beto aparente, balanado sobre os socalcos ajardinados e os planos de gua (piscina e lagos). a cobertura ajardinada, acentua este conceito. sobre um passadio suspenso, em beto, descobre-se a entrada. Quando se acede ao piso superior, percebe-se a fluidez do espao que contm a sala, cozinha e a ampla zona de duplo p-direito, ocupada por um espelho de gua.

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    This house was designed in featureless surroundings but with a fabulous view over the west Algarve coast, which receives the westerly sun in abundance.The project is based on technically evolved solutions, with the emphasis on energy sustainability, the use of geothermal power and an integrated domotics system.The building was designed on the basis of lightness and it rests on an exposed concrete base, balanced over landscaped terraces and the water features (swimming pool and lakes). The gardened roof accentuates this concept. The entrance is over a suspended concrete walkway. On reaching the upper storey we grasp the fluidity of the space containing the sitting room, kitchen and the large double height area, where a reflecting pool fills the entire space.

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    PORMENOR DETAIL

    1 Laje em beto armado 2 Enchimento com beto leve e betonilha de regularizao para formao de pendentes (inclinao 0.5 a 1%) 3 Impermeabilizao com membranas polyplas 30 e polyxis R50C da imperalum ou equivalente 4 Isolamento trmico com 50 mm de espessura 5 Membrana de drenagemisola platon de 25 da imperalum ou equivalente 6 Feltro geotextil (impersep 250 da imperalum ou equivalente) 7 Terra vegetal com relvado 8 Zona de drenagem junto da periferia em seixos rolados 9 Revestimento a fibra de vidro com resina hisofetlica e acabamento a areia silica e pintura 10 Caleira para drenagem de guas pluviais com ligao a tubos de queda 11 Isolamento trmico com 30 mm de espessura 12 Impermeabilizao com membrana polyplas 30 da imperalum ou equivalente 13 viga em beto armado 14 Impermeabilizao 15 Revestimento exterior (reboco areado fino) 16 Isolamento trmico com 40 mm de espessura 17 Elemento em beto armado 18 Estrutura metlica em perfis zincados 19 Revestimento em placas de viroc negro com 16 mm espessura 20 Espao para estores interiores elctricos com 20 x15 cm 21 Mvel superior em MDF folheado a madeira de nogueira 22 vo em alumnio 23 Mvel inferior em MDF folheado a madeira de nogueira 24 Impermeabilizao 25 Peitoril em pedra mrmore com 20 mm espessura 26 Elemento em beto armado 27 Perfil metlico u com 40 mm 28 viga em beto armado 29 Tecto falso em gesso cartonado tipo pladur hidrofugo para pintar 30 Laje em beto armado 31 Enchimento com beto leve para passagem de instalaes tcnicas 32 Isolamento trmico e tubagens de pavimento radiante 33 betonilha de recobrimento com aditivo 34 Pavimento 35 Sanca para iluminao

    1 Reinforced Concrete Slab 2 Filling with lightweight concrete for pendant formation (0.5% to 1% inclination) 3 Waterproofing with Polyplas 30 + Polyxis r50c membranes by Imperalum ou equivalent 4 50 mm thick thermal insulation 5 Drainage membrane, isola platon 25 by Imperalum or equivalent 6 Geotextile Felt (impersep 250 by Imperalum or equivalent) 7 Soil with grass 8 Drainage area near the perifery in soft pebbles 9 Covering in fibreglass with isoftalic resin with a silica sand finish and paint 10 Gutter for water drainage connected to drain pipes 11 30 mm thick thermal insulation 12 Waterproofing with polyplas 30 membrane by Imperalum or equivalent 13 Reinforced Concrete beam 14 Waterproofing 15 Exterior Finishing (fine sand finish plaster) 16 40 mm thick thermal insulation 17 Element in reinforced concrete 18 Metallic structure in zinc coated beams 19 Covering in 16mm thick black Viroc boards 20 20x15 cm space for interior electric blinds 21 Upper cupboard in walnut veneered mdf 22 Aluminium window frame 23 Lower cupboard in walnut veneered mdf 24 Waterproofing 25 Window sill in 20 mm thick marble 26 Reinforced concrete element 27 40 mm metallic u beam 28 Reinforced concrete beam 29 False ceiling in hydorufuge plaster board, painted 30 Reinforced concrete slab 31 Filling to allow passage of electrical instalations 32 Thermal Insulation and radiant heating pavement piping 33 Covering layer with additive 34 Pavement 35 Cove for lighfitting

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    H o u s e s M R I O M A R T I N S

    Architecture is born of dedication, knowledge and the provocation of the senses. Ideas are born from sensations which are vital when practising architecture. The ideas flow from life and the family environment where we seek the courage and the pleasure with which to exercise this activity.In the first place, given her incomparable importance, I would like to thank my wife and partner, Maria Jos Rio. With firmness and sincerity she manages the studio and my heart, advises us and encourages our taste for architecture and for life. Throughout the years she has at all times been generously and unconditionally by my side. I look for words with which to thank her, but cannot find ones that suit. This book is also hers and for her in particular.It is a complex task to thank all those who over the years have contributed to or collaborated on projects, works or producing this monograph. Over a long period of time many people have been involved and it is quite likely that I may inadvertently leave out someone I should have mentioned. To all those I apologise in advance.I must express my sincere thanks to the following:- All the people who work for me or, rather, the wonderful work team who are extremely dedicated and in particularly hard times do not give up the practice of architecture: Rui Duarte, Paulo Baptista, Jos Furtado, Jos Cabrita, Pedro Barbudo, Rita Rocha, Antnio Caapo, Filipa Santos and Snia Fialho.- All those who have worked for this studio over the years and who for one reason or another have gone their different ways.- The architect, Vtor Loureno, business partner until 2000, for the friendship, for the good time and ideas we shared.- All the project experts of the various specialities whose knowledge and team spirit are decisive.- Our clients, whose works reveal their respect for the project.- The contractors who helped carry out the works. - The municipal teams and experts or other bodies, mainly those who show an understanding and respect for architecture and architects.To all those who worked or contributed directly to this monograph:- Jos Manuel das Neves, for all he has done from the very first and for his crucial importance in this publication. I was already familiar with his extensive body of work, but was nonetheless impressed by his enormous talent, professionalism and sensitivity.- All those at Uzinabooks who worked hard on this publication: Susana Villar, Susana Monteiro, Virgnia Palma, Sandra Batista, Joana Falco, Miguel Neves, Virgnia Ferreira and Pedro Cores.- Pedro Ravara, architect, school and studio colleague, for his friendship and the interest he has shown in my work. The quality of his text reveals his intelligence, his perspicacity and his distinguished architectural culture.- Manuel Graa Dias, acknowledged architect, professor and master. With him I discovered pleasure in architecture without prejudices or stereotypes. He is always ready to answer my queries. The text he has just written is one more example of his great quality and exhilarating creativity.- Fernando Guerra and Srgio Guerra. One took photographs, the other edited them and with their unique look on architecture produced magnificent photographs. I am grateful to Fernandos personal and touching text which does justice to the incomparable beauty of his photographs. I did not know him, but in the most unexpected cases empathy generates friendship.- Joo Mariano, photographer and lifelong friend, with whom I have had the pleasure of working on several occasions. Like me, he decided to live the world from his home town. His text reveals his outstanding work as fotographer and the unique way in which he looks at architecture and life.- Paulo Baptista, for his photographs and his tireless work on the production, collection and selection of the material for the book.- All clients who anonymously contributed to this monograph. - The sponsors mentioned, part and parcel of the works constructed, who have made it possible to publish this book.Finally, I would like once again to thank my wife and my children, Pilar and Simo, who are the raison dtre for my existence, my life and all this. They are wonderful.

  • n o v aatitudep r o j e c t o s e remodelaes, lda

    mrio martins atelierw w w . m a r i o m a r t i n s . c o m