Unknown Porto -the use of azulejos in the modern architecture of the northern Portuguese town (original) (raw)

The integration of azulejos in the Modern Architecture of Portugal as a unique case in Europe

Intangibility Matters International conference on the values of tangible heritage, 2017

With the increasing international appreciation of Portuguese azulejos, spurred not only by the acknowledgement of their integration in Baroque architecture as a unique heritage, but also by the continued use of painted tiles that spans to this day, azulejos have been a subject of interest and research. The technology of manufacture, the forms of decay and the materials and techniques for restoration have been studied for pre-20 th century azulejos. However, such studies did not encompass modernist azulejos, manufactured after the second world war, which must be understood and conserved now, so that they will be available for future appreciation. Understanding the relevance of modernist azulejos in Portugal as cultural heritage and the raison d'être of their integration, not only in Portuguese, but also in Brazilian architecture is important to discuss their preservation. The aim of this paper is to discuss and attempt to assign values to modernist azulejos in Portugal as an unique regional trend in the modern movement in Europe.

The many questions raised by the 16th-century Sevillian azulejos in Igreja de São Roque in Lisbon

Studies in Heritage Glazed Ceramics Nr. 2, 2019

In the interior of Igreja de São Roque (St. Roch Church), in Lisbon, can be seen linings of azulejos attributed to the productions of Seville. These form two very distinct groups of panels: one, with tiles painted over a yellow background, is in the nave, near the entrance to the church; and a second one, painted over a white background, is set in the transept, against a lining of punta de clavo patterned tiles. In this paper, the authors identify the sets that make up each group, point to their peculiarities, present the results of an analytical study and discuss their possible common provenance and chronology. It is also wondered: why buy from Seville what could be acquired in Lisbon?

THE DECAY OF PORTUGUESE FAÇADE AZULEJOS – A COMPARISON BETWEEN SOUTH BRAZIL AND LISBON

The wealth of tiles in Portugal is made of more than the early patterned and the blue on white pictorial panels that cover the interior walls of churches, monasteries and palaces throughout the country and its former possessions. In the first half of the 19 th century azulejo workshops found a new market in the owners of recent urban constructions, producing façade tiles widely used subsequently not only in many Portuguese towns but also in Brazil, to where they were exported in large numbers. The new urban look was not unanimously liked at its heyday but as time goes by, the old streets with shiny and often lively coloured façade walls are slowly gaining their place in the lists of municipal heritage worth preserving. However, many of those façades are showing clear signs of degradation. Whenever tiles are falling off from the façade, the overall state of disrepair can be noticed from a distance and totally detracts the aesthetic value of the site. These cases are evident. In many ...

The decay of portuguese facade azulejos: a comparaison between south Brazil and Lisbon

The wealth of tiles in Portugal is made of more than the early patterned and the blue on white pictorial panels that cover the interior walls of churches, monasteries and palaces throughout the country and its former possessions. In the first half of the 19 th century azulejo workshops found a new market in the owners of recent urban constructions, producing facade tiles widely used subsequently not only in many Portuguese towns but also in Brazil, to where they were exported in large numbers. The new urban look was not unanimously liked at its heyday but as time goes by, the old streets with shiny and often lively coloured facade walls are slowly gaining their place in the lists of municipal heritage worth preserving. However, many of those facades are showing clear signs of degradation. Whenever tiles are falling off from the facade, the overall state of disrepair can be noticed from a distance and totally detracts the aesthetic value of the site. These cases are evident. In many other instances, however, decay is only apparent on closer inspection and these are the cases that will be addressed by this communication. We present a comparative study of the most frequent types of physical decay found in 19th century facade walls in towns of the Rio Grande in southern Brazil and the district of Lisbon, in Portugal, taking in consideration the similar weather conditions in both regions.

17th century patterned azulejos from the Monastery of Santa Marta, in Lisbon

Journal of Science and Technology of the Arts, 2012

This article is about the Portuguese tilemaking of the former Monastery of Santa Marta de Jesus, currently Hospital of Santa Marta, still in situ. The main goal is the study of the patterned tiles from the 17th century, exploring the documentation as well as the ideas and solutions invented by the tile-layers that applied the tiles on the walls. Also, the authors aim to introduce the new information system for the Portuguese azulejos’ inventory, named Az Infinitum - Azulejo Indexation and Reference System, available online.

Portuguese Azulejos and Other National Arts

ARTis ON

In this article I intend to link the identity appropriation of the azulejo to a source common to most artistic discourse in the nineteenth and twenty-first centuries. I am convinced the national assumptions concerning the azulejo followed six phases which I have linked to different identity mutations that could be summarized as unceasing historicist approaches, which are characterological and long-term. Historicism prevailed until the end of the nineteenth century. A passion for characterological principles followed, which was conveyed by Reynaldo dos Santos with unsurpassable strength. However, when the Estado Novo’s identity pattern started to decline, art historians focused on researching unchanged structures. First, traces of Portuguese originality, though ephemeral, were sought after. Second, researchers attempted to show that the azulejo is an expression of Portuguese sensibility which, with its ups and downs, remained throughout the centuries. Third, by inventorying and analy...

The forms and places of the contemporary azulejo

Pop Galo / Rooster, 2016

[about the work "pop Galo / Rooster" by Joana Vasconcelos] This essay presents Pop Galo as a sculpture that opens new perspectives for the use and exploration of one of the types of art that most characterizes the collective imaginary and the Portuguese patrimonial heritage – the azulejo [glazed tile].

Portuguese Baroque Art in Colonial Brazil: the Heritage of 18th-Century Azulejos

Europe and the world in European …, 2006

The volume is solely the responsibility of the Network and the authors; the European Community cannot be held responsible for its contents or for any use which may be made of it. Europe and the world in European historiography / edited by Csaba Lévai (Thematic work group) 940.072 (21.

History of Portuguese Architecture

Joelho Revista de Cultura Arquitectonica, 2016

The subject of History of Portuguese Architecture (HAP) originated in the School of Fine Arts of Oporto, more than three decades ago, under mastership of the Professor and Architect Alexandre Alves Costa.At the Architecture Course of FCTUC – Faculty of Sciences andTechnology of the University of Coimbra, HAP has been present from the very beginning. It started in 1992-93, as a subject of the 5th year, under the same Alexandre Alves Costa, then member of the Installing Commission of the course. Other professors who have ensured the subject in the last decade were Walter Rossa and the late Paulo Varela Gomes in addition to Rui Lobo, lecturer for the past five years.History of Portuguese Architecture, which now operates withinthe 4th year of the Architecture Course, has always had an essential practical component. By carrying out practical group work on concrete case studies, students are expected to learn how to investigate, how to search for and collect information and how to disting...

Gian Giacomo Azzolini (1723-1791): a Bolognese architect between Lisbon and Coimbra (2017)

Sabine Frommel, Micaela Antonucci (Eds.), Da Bologna all'Europa: artisti bolognesi in Portogallo (secoli XVI-XIX), Bologna, Bononia University Press, 2017

was one of the multitude of eighteenth century Italian architects who left their home country in search of better working conditions abroad. Demand for these qualified personnel was high all over Europe since Italy had been a major cultural production center throughout the entire Baroque and Late Baroque era, both in architecture and in theatre and opera scenography, two areas in which our artist would accomplish important work. Trained at the Accademia Clementina in Bologna, he belonged to a broad second rank of architects which, though not outstanding, well-achieved along an extensive professional career.