A Casa de Chá da Boa Nova: a fotografia de arquitetura na perceção do edifício
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2022
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No final do século XIX a arquitetura e a fotografia deram início a uma relação de
cumplicidade que, adotando vários contornos, chegou até aos nossos dias. Analisando esta
relação do ponto de vista da arquitetura, a cumplicidade com a fotografia tornou-se de tal modo
essencial que, imaginar a arquitetura sem a presença da fotografia, seria uma experiência
mental difícil de resolver.
Foi este cenário que contextualizou o nosso trabalho, no qual tomámos como objeto de
estudo a Casa de Chá da Boa Nova de Álvaro Siza. Perceber como este edifício foi “captado”
pelos olhares de vários fotógrafos; saber refletir sobre o que ficou captado, no sentido de
compreender se desoculta ou descobre dimensões que moravam na obra construída pelo
arquiteto; colocar em diálogo olhares diferentes; e construir uma narrativa que se constitua
como um “meta-olhar” sobre a obra e as suas representações fotográficas, são objetivos que
pretendemos atingir com o nosso trabalho.
Para concretizar os objetivos acabados de referir desenvolvemos uma metodologia que
passou pela análise documental, mas também por uma vertente experimental. Com base na
primeira elaborámos três narrativas sustentadas em três reportagens fotográficas sobre a Casa
de Chá da Boa Nova. Posteriormente, na vertente experimental, realizámos a nossa promenade
visual da Casa de Chá da Boa Nova, que acompanhámos da respetiva narrativa. Tendo como
referência fotografia de arquitetura, posteriormente colocámos em diálogo as narrativas
construídas a propósito das três reportagens fotográficas e a narrativa por nós construída.
Partindo do pressuposto de que a fotografia é, em si mesma, um signo pudemos
concluir que as narrativas produzidas com base no olhar do fotógrafo e a narrativa construída
a partir da nossa promenade se constituem como olhares com uma natureza diferente. Esta
diferença deve ser assumida como um sinal da riqueza polissémica do edifício arquitetónico,
revelada pela fotografia.
Palavras-Chave: Arquitetura, Fotografia de arquitetura, Promenade, Narrativas visuais
At the end of the XIX century, architecture and photography began a bond of complicity whilst taking numerous paths, reaching todays state. Looking into this bond from the architectural point of view, the complicity with photography became utterly essential that thinking about architecture without it would be a mental task hard to achieve. It was this setting that created the context for our thesis, in which we took the Casa de Chá da Boa Nova, of Álvaro Siza, as the study object. Understanding how this building was “captured” from the eyes of countless photographers; reflecting on what was captured, to understand whether it unhides or enables dimensions from the work of the architect; create dialogues between the different narratives; build a narrative that founded as a “meta-eye” over the work and its photographic representations are objectives meant to be achieved with our work. To achieve these objectives, we developed a methodology that began with a documental analysis followed by an experimental side. With this in mind we created three narratives supported by three different approaches about the Casa de Chá da Boa Nova. Later, on the experimental side, we created a visual promenade about the Casa de Chá, which was sided by its narrative. With the architectural photography as reference, a dialogue was created between the three narratives and the one created by us. Assuming that photography is a sign, we were able to conclude that the narratives produced based on the photographer’s eye and the narrative created from our promenade represent views with a difference stance. This difference must be taken as sign of polysemic value of the building, revealed by the photography. Keywords: Architecture, Architectural photography, Promenade, Visual narratives
At the end of the XIX century, architecture and photography began a bond of complicity whilst taking numerous paths, reaching todays state. Looking into this bond from the architectural point of view, the complicity with photography became utterly essential that thinking about architecture without it would be a mental task hard to achieve. It was this setting that created the context for our thesis, in which we took the Casa de Chá da Boa Nova, of Álvaro Siza, as the study object. Understanding how this building was “captured” from the eyes of countless photographers; reflecting on what was captured, to understand whether it unhides or enables dimensions from the work of the architect; create dialogues between the different narratives; build a narrative that founded as a “meta-eye” over the work and its photographic representations are objectives meant to be achieved with our work. To achieve these objectives, we developed a methodology that began with a documental analysis followed by an experimental side. With this in mind we created three narratives supported by three different approaches about the Casa de Chá da Boa Nova. Later, on the experimental side, we created a visual promenade about the Casa de Chá, which was sided by its narrative. With the architectural photography as reference, a dialogue was created between the three narratives and the one created by us. Assuming that photography is a sign, we were able to conclude that the narratives produced based on the photographer’s eye and the narrative created from our promenade represent views with a difference stance. This difference must be taken as sign of polysemic value of the building, revealed by the photography. Keywords: Architecture, Architectural photography, Promenade, Visual narratives
Descrição
Orientação: António Sérgio Koch ; coorientação: Isabel Clara Neves
Palavras-chave
MESTRADO INTEGRADO EM ARQUITETURA, ARQUITETURA, ARCHITECTURE, FOTOGRAFIA DE ARQUITETURA, ARCHITECTURE PHOTOGRAPHY, NARRATIVA VISUAL, VISUAL NARRATIVE