Waching daily Oct 3 2017

Lousinha Arquitectos is a natural consequence

of my career as a liberal professional.

If I think of what interests me as an architect

I think that it's how to tell a story well.

I think that architecture's main challenge still is

to make clear what our role in the process is.

People don´t know what service the architect provides.

What the function of an architect is.

There is a didactic component of explanation of the profession that remains a challenge for us here.

3D is a natural communication process

as was the physical model

or the rigorous sketches in conical perspective.

From the moment the concept is established

it is an excellent tool to communicate the project,

and also very fast,

because it allows us to quickly simulate a reality,

to make an insertion in a real context, on top of a photograph...

Therefore, it allows us to, more effectively, communicate the project.

This is a project for a residential building for two brothers.

It had the challenge of the context in which it is inserted,

which is a context of an attempt to standardize architecture.

"Costa Nova" has a brand image that is the striped houses.

There is the idea that everything you do nowadays has to have stripes

and that is has to be traditional

and that it must have a sloped roof

and a series of constraints.

Therefore, this project appears in a difficult context

because, to do a house

for two families

in a plot of 300 square meters

without being a vulgar thing is a hard thing to do.

The first approach to the project was a very conventional one:

we leaned the house to one of the extremities of the plot in to have more free space,

we raised the ground-floor with columns again to have more outdoor space

which forced the house to gain volume and height,

in terms of expression,

which did not seem to us to be a licensing problem

even because there was an example here in this area.

All this was put aside, and it was refused by the municipality.

The technical advice rejecting the proposal stated

we cannot forget that we are in an environment of traditional architecture in which we have to dialogue with the surroundings.

How does a person create traditional architecture in the middle of the XXI century?

I think architecture represents its time.

I don't want to design a house today that looks like a house from 50 years ago.

That gave me the idea,

- one of the things that paper and sketches sometimes give us -

to design a house like all the other houses in Costa Nova:

a house with a sloped roof and the stripes.

Since this house is in a corner

when I had to design the sloped roof, I asked myself: "now what?".

So, this is not more than a thing that formally looks very complex

and that everybody says it is an imitation of Koolhaas in Porto (Casa da Música),

but the truth is that this is not more than a house

with a square plan and a two-slope roof in which the ridge rotated 45 degrees to be aligned with the corner.

Then, there is the small "bow" in the edge to mark the corner.

Suddenly the houses gains the shape that allows the dialogue with the surroundings

because the house picks the lower west elevation

raises itself to dialogue with the tallest building

and then, in the other street, descends once again to pick up the lowest elevation.

For me, it is unthinkable to conceive architecture with a pre-configured manual of details

from a former project that I use in another one and then replicate to a third one.

Each project has its particularities that manifest themselves in a very clear way

in how we do the detailed project.

The idea that architecture can be seen through photographs

and not on its location, not experienced, not felt, is an atrocious thing.

I fear that architecture becomes a plastic thing.

Architecture is not an image, it should be lived

It is lived space, felt space, physical space.

For more infomation >> Portugal's Vision for Contemporary Architecture - Lousinha Arquitectos - Duration: 5:11.

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Jes Stein Pedersen: Libraries are a Place to See Things for Oneself - Duration: 2:52.

It is very surprising that libraries are now concerned with the Arctic – And then again, not at all.

To me the libraries have always been a place to see for myself what has happened in the cold north.

The best reading experience ever was when Jesper Düring Jørgensen

from Royal Danish Library in Copenhagen showed me the tiny diary,

Jørgen Bjørnlund wrote as he was dying in 1908 during the tragic Denmark Expedition.

I live in the same house the painter Aage Bertelsen had built after the expedition – he survived.

So, to me the library has always been a place I could go to

and get even more information about specific polar expeditions about heroic men

– it was always men –

– but the exceptional and also terrifying and important thing is

that today the library in a completely new way challenges

and takes due account of the issues the Arctic poses

I think it is a scary but very exact expression of the threat we await from the Arctic that libraries,

as cultural institutions are the ones to take up this enormous assignment of communicating information.

There is a climate change denier in The White House, whom, as we know, does not like facts.

However, I trust that the people know better.

I find consolation in knowing that we live in a time where people know better and who know more than ever.

That is actually how it is.

So instead of being overwhelmed by the Arctic coming towards us

– which is happening these years –

we need to trust this knowledge, the planetary consciousness will prevail,

also in regard to the threat of a new and more tremendous climate.

The libraries can most definitely

– as they have always done –

help preserve our cultural heritage, but also proactively fight for culture

to not be transformed and threatened by relentless nature

So Arctic Imagination ... We genuinely need it,

and we are already working on it: Lots of people are already thinking about

what will happen when the Arctic is no longer the same as it used to be, at least in our present consciousness.

For more infomation >> Jes Stein Pedersen: Libraries are a Place to See Things for Oneself - Duration: 2:52.

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Portugal's Vision for Contemporary Architecture - Pedro Domingos Arquitectos - Duration: 6:40.

Our office was established in 2002,

in the model we have now.

We are a team,

a small team,

interested in making projects with the highest quality possible.

In reality, this office

evolved from a natural process;

a journey of mine,

which begins after school, to work with Architect Carrilho da Graça

for approximately 10 years.

It was a very important period of my training.

We are interested in doing all kinds of projects.

We find that the most interesting aspect of this profession

is the diversity

of programs, places, dimensions.

We always try

to develop works of various types

and in various formats.

I think there is not really a "Portuguese Architecture."

I think there is a tradition and a history of Portuguese Architecture

that created a kind of matrix for what is done today

and it is a matrix that interests me a lot, personally.

It has a lot to do with the fact that,

historically, we have always worked with very little means.

We had very short periods where there was some abundance

and maybe these are not the most interesting moments in the history of Portuguese Architecture.

Therefore, this fact

has created a way of making

and thinking about the relationship with the territory

always with very little means.

This has created

a continuum

that nowadays remains valid,

and I feel that we have a certain capacity

to operate in any part of the world.

I think that this legacy we have,

this Portuguese way of working,

puts us in a very favorable position to work anywhere in the world.

We do not have a very specific architecture, nor a very specific language. We have, above all, a way of working

and this way of doing it can be adapted

to other places, to other cultures, to other contexts.

We are interested in trying to develop a project with as many tools as possible.

Of course, we have aspects that are transversal to all the projects

that we develop.

It must do with, for example,

always making models of a certain dimension.

It is a fundamental tool for us;

we have seen that it helps us,

it helps clients,

it helps the dialogue

and, therefore, the models continue to be the center of our production.

Each project

requires a set of tools

and I am completely open to all and available

to learn new ones if they appear in the meantime.

But I am interested in the diversity

of the processes,

of course,

always very concentrated in this idea of mockups.

I continue to think that working on a project

is always a very personal matter.

Each architect operates in his own way,

regardless of whether there are contact points, naturally, in these processes.

Therefore, I think our work plays a fundamental role

in people's lives, in the organization of people, cities,

landscape, territory.

I think our work is very directed to respond

to the possibility of always improving people's lives.

We recently finished the construction of a house in Oeiras

with which we are very satisfied.

It was a three-year process

in which we were fortunate to have a very interested client.

We could, in the end, gather the necessary conditions

to carry this experience of the project of a house to the limit.

In this case, for a person who wanted a very special house,

he wanted a house where he could have his collection of books,

his paintings,

and that it was a place

of retreat where he could write,

think

and live.

This place had very concrete problems.

It was a plot in the middle of the suburb of Oeiras,

uncharacteristic dwellings that are in the surroundings of this plot;

it is next to the railway, so there was the problem of the trains crossing

and this also, somehow, created space

to propose a type for this house

in which the main space was this central patio space.

We ended up doing an investigation around this theme

and drawing a house in which the patio is not a space that serves the house

but rather an outside room

and another space of the house.

It is a space that has very strict proportions;

it is a half cube and

it is 11.5 meters wide by 5.75 meters high.

The client, when he came to us, told us:

"One of my worries is that I have very little money."

What I told him was: "If you have little money

then we will also have to, eventually, radicalize what the house is in its most traditional format.

For example, maybe we will not be able to have great carpentries,

we will not be able to have interior doors.

What do you think? He said, "I am open to this idea."

"Maybe we will not be able to have large window frames,

we must have fixed glass,

doors next to them that open and are very simple.

We must somehow reduce a series of elements

to be able to have space to later build some truly impeccable spaces

where you can then have the pleasure of being with the books and the paintings."

And he always accepted that commitment.

For more infomation >> Portugal's Vision for Contemporary Architecture - Pedro Domingos Arquitectos - Duration: 6:40.

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Trends in food market and nutrition: implications for food banks (Angela Frigo) - Duration: 5:08.

In this lecture you'll understand two trends in the global food industry, their implications

for food banking and the actions which have already been taken by some food banks worldwide

to prevent waste.

The first trend regards the transformation of the market.

We are facing an important challenge: we have to do more with less.

Here is the reality.

By the year 2050 we will need to nourish 2 billion more people as the global population will

rise from 7 billion to an estimated 9 billion.

Resources, such as water and soil, are vital to our health and quality of life, but since

the early 1970s humanity has been demanding more than our planet can sustainably offer.

The spread of phenomena linked to political instability, nationalism and protectionism

can lead to difficulties in international trade, resulting in border closures and shortages

of goods.

One of the consequences of the increasing internationalization of the market is an increase

in regulation, especially in terms of food safety and traceability, to ensure that foods

are healthy and safe for the consumer.

Climate change may mean increased food and nutrition insecurity.

The implications for food banks are clear.

We will have to deal with these kind of crises, both locally and across borders, so we have

to be ready.

This trend is challenging the current model of food banks: the market is becoming more

and more international, multi-channel, differentiated and constantly evolving.

There is therefore a need to revise the model of food banks in consideration of external

requirements, while complying with food safety standards and traceability.

For example, the Foodbank Rus in Russia is implementing a virtual model of food bank:

a complete absence of "bricks" and warehouses.

They recover fresh products from the distribution sector and directly deliver them to charitable

organizations with refrigerated vehicles within one day.

Or Tider, the network of food banks in Turkey, is implementing HR Support, a sustainable

approach to help people get out of poverty.

In addition to provide food to those who need it, Tider also offers human resources services

to the beneficiaries of the food bank.

The program helps candidates to develop their curriculum and maps their skills into the

labour demand of companies, thus setting a path to social inclusion and integration.

The second trend refers to an increasing focus on nutrition.

Well-being is critical, especially with reference to specific age groups as children and elderly people.

At the same time, consumers' preferences are shifting.

People want to know the story of the food they consume, and food has become a marker

of our identity, the way we explain who we are.

That's why people want to know more about their food: who produced it? Is the company

behaving ethically?

And so on.

Additionally, the emergence of food requirements linked to celiac diseases and intolerances,

and new food trends (for example vegetarians or vegans) must be considered.

This trend creates a nutritional challenge for food banks: there is a greater attention

and demand for products that are at the same time affordable, fresh, local and healthy.

There is therefore a need to respond to specific and "customized" needs.

For instance, since 2012 the Fundación Banco de Alimentos de Argentina has implemented

a programme called Nutrihuevo with the aim to respond to a lack of protein intake, especially

in children.

The Argentinian food banks decided to deliver dehydrated eggs in portions intended for single

use only.

The food bank also organizes training days with chefs and experienced nutritionists to

provide nutritional information and cooking advice.

These two trends related to food market and nutrition clearly show that we all need to

be more creative when it comes to managing post-harvest loss and food waste to ensure

that we are making the best use of everything we produce.

For more infomation >> Trends in food market and nutrition: implications for food banks (Angela Frigo) - Duration: 5:08.

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Portugal's Vision for Contemporary Architecture - Ventura Trindade Arquitectos - Duration: 5:25.

The office,

Ventura Trindade Arquitectos, was established about 10 years ago.

I'm the only partner of Ventura Trindade Arquitectos,

but about a year ago

we moved to this new space,

which has a different philosophy,

because I invited other architects

to form a larger office;

I really like working

with other people who have

different perspectives on the same problem

and this is true with other architects

-- we worked jointly on several projects

with Inês Lobo and others.

Paulo Cardoso, structural engineer,

has been my office partner since day one, ten years ago,

and I really like project discussions

from the point of view of a structural engineer, for example.

With Fernanda Fragateiro the question arises in a similar way

with a somewhat different nuance, which is:

in her work, she looks at space

in a manner similar to that of an architect,

or rather, at our position in relation to architecture,

without the constraints of a program

and this gives her, in some way, a degree of freedom

in the design of space

that we, very often,

do not have.

Therefore, this collaboration

has been very attractive and has led to good results.

The research areas of the office are multiple:

each project becomes an investigation.

There is not only a single theme that we are interested in addressing.

Hand drawing continues

to exist here

because I keep saying there is no more effective mechanism

to project the ideas we have in our heads

to any medium

than this mechanism that goes from our brain to the tip of the hand

and picks up a pencil and draws something.

In the office, we have this situation that people

find very amusing, because we continue to have huge drawings on the tables

and we draw with pencils, graphite,

with parallel rulers, triangle rulers and some old things

and next to this, we have computers as sophisticated as possible

with the most advanced software

and we try to use both.

They open up a lot of interesting possibilities.

It does not have to do with the final,

let's say conceptual,

result of the work we do,

but obviously it helps to get there faster,

more rigorously,

allowing us to perceive other things in the projects,

and to anticipate issues arising in projects.

Often, we could only get concrete information during construction

- for example, 3D modeling

helps anticipate space issues.

In Portugal we always live --

in the last 30 years not as much --

but we always live in a kind of condition of scarcity

but it is a very interesting condition for architecture

because, in the end, it is what compels us to think better;

it's how we act because the economic resources are limited.

There are several Portuguese Architectures,

and there are several schools.

There is clearly a school in Porto,

no Norte,

more centered on some known figures

such as Siza, Souto de Moura, Távora, etc.,

which tried very hard to follow this line of thinking.

There is a more open,

clearly more open approach in Lisbon

that has other references

or that have precisely to do with not having such concrete references in Lisbon

despite some that exist such as João Luís Carrilho da Graça or Manuel Aires Mateus that,

nevertheless, allow great diversity.

There is a hotel project for a Russian investor

that is the opposite of scarcity.

There is almost no budgetary limitation so

it is a situation we are trying to get accustomed to,

because we never worked from this perspective.

Then, there is another, very small project in Cape Verde, in Mindelo,

that we are working on.

It is a very small residential building,

very economical,

and a small social restaurant

of 300 sqm

designed under the most scarce conditions I've ever worked.

The idea is that technology,

precisely because it advances very quickly,

should not be overly present in the architectural space

because it will quickly become obsolete

and this will force a successive transformation of space.

So the idea is that technology exists

but is silent;

that it is discrete, invisible.

Acting without being the protagonist.

For more infomation >> Portugal's Vision for Contemporary Architecture - Ventura Trindade Arquitectos - Duration: 5:25.

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Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband - Duration: 2:31.

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband

Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband The right of the wife is also to claim her right for sexual relations with her husband. The Shariah (Islamic Laws) did not put any restriction to this. If a husband is not pleasing his wife sexually, he has indeed failed in "Haquq-ul-Ibad", that is, he failed in fulfilling his right towards his wife and he should seek (legal) ways to fortify himself – be it with one wife or several – and he should be equitable (towards them). The wife/wives in return should not abuse of this right and not annoy her husband on the subject. Bear in mind that the husband also is a human being and the wife must understand him also, understand that sometimes he can be tired with problems at work, stress or health problems. This must not become a major issue whereby husband and wife fight over this matter, and the wife must understand also that if her husband has more than one wife, then he should be equitable to them; each their turn. Therefore, it is very important that a husband pleases his wife sexually, and if the wife wants to have sexual relations, it is her right.Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband.We relate to you an anecdote which happened in the time of Hazrat Umar (ra) (when he was caliph). Once, during his night tour of the town of Madina, Hazrat Umar (ra) came by a house from where he heard the voice of a woman reading a poem which was clearly reflecting her state of minds: "Were it not that I fear disobeying a command of Allah, I would have erred (commit adultery)."Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband.The next day, Hazrat Umar (ra) enquired about the woman's situation and learnt that her husband has gone since a very long time to do "Jihad" and the woman could not bear staying anymore far away from her husband. Upon hearing this, Hazrat Umar (ra) was sad for her and enquired from his daughter, Hazrat Hafsa (ra), the wife of the Holy Prophet Hazrat Muhammad (saw), how long could a wife remain without her husband? Therefore Hazrat Hafsa (ra) replied him: "Four months".Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband.Hazrat Umar (ra), therefore, despatched letters in all military camps to announce that all married soldiers do not have the right to remain away from home more than four months.Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband.Although many Muslims may right now be in failing marriages and on a fast track to divorce and its terrible consequences, there are many ways to put their marriage back on the right track if the husband and wife are sincere in their desire to reconcile. The following principles can be used by Muslims whose marriages are already in trouble or by Muslims who would like to avoid trouble in their marriage.Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband. We Provide Daily Videos On Health Topics Like mardana kamzori ka ilaj,weight loss tips, healthy food for men,desi health tips,how to lose weight, beauty tips,healthy foods,health tips,health tips for men,weight loss diet and many more.

For more infomation >> Husband Wife Relationship In Islam | How Long A Woman Can Wait For Her Husband - Duration: 2:31.

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Portugal's Vision for Contemporary Architecture - Subvert - Duration: 4:02.

We are a creative, young team

working in various fields

from Video to Design

and Branding.

Therefore, we are able to provide a complete service to our clients,

ranging from a graphic identity

to the design of an interior space or a building.

Our challenge as a company

and among our partners and the team that works here

is the search for global reach.

We want to maintain the quality of Portuguese Architecture, while

innovating and paying attention to what happens outside in other large offices

of both Architecture and Design.

Tradition is important

and identity in Architecture is important;

the identity of the site.

Today, we live in a global world;

the images that we have of the buildings and of the cities

end up becoming homogeneous,

identical.

That is not what encourages tourism and creates history.

Each country has its history, its material.

The weight of the hand drawing,

is the weight of the reflection that a person has on the project.

Perhaps with three-dimensionality, the process is more fluid

and we reach the conclusion faster but with less thought

put into the conclusions.

But 3D also lets us experience many different things.

Maybe with the traditional physical model

we can't try as much as we can at the 3D level,

greatly reducing the costs for the office.

The process always goes through a first approach to understand what it implies,

what costs it will have for the client,

and how we will develop the project.

Then, we move on to sketches;

sometimes we also have to take a break on the project,

to reflect on it.

In terms of working method,

we use a lot of 3D modeling

and BIM tools -- ARCHICAD -- that enable us

to see the project as a whole

and understand and realize the hurdles that the project will face, right from the start.

When we drew in 2D,

we were often, during construction, surprised by things we had not thought of;

now, these tools allow us to guard against these difficulties.

Good architecture has to challenge itself

and find ways to overcome itself

but Architecture also has to have a connection

to space and to people.

Architecture is made for people.

Portugal dos Pequenitos is a park

that was developed in 1939-1940.

It is a very interesting park

where one can witness the geological diversity that exists in the country,

because it has representations of several houses from North to South, palaces,

and castles.

The client felt the need for an update and

launched a competition; he wants to increase the park

and have a new section, where he will have signature buildings of other architects --

Contemporary Portugal.

The building fills some of the needs that the park had;

it is a new entrance building.

There will be an event area,

a cafeteria / restaurant,

the administration and an education center.

We created a kind of caravels

with a kind of Origami -- a kind of Origami caravels.

Each kid sees something different:

there are children who see a boat,

there are others who see a seagull,

there are others who see another type of shape in the building that we tried to create.

That was the original idea:

to foster imagination

and creativity

and also to reflect on the trips made by the Portuguese sailors.

For more infomation >> Portugal's Vision for Contemporary Architecture - Subvert - Duration: 4:02.

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Bring your own device – making it work for you - Duration: 4:06.

For more infomation >> Bring your own device – making it work for you - Duration: 4:06.

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Partnerships and digital transformation: implications for food banks (Angela Frigo) - Duration: 5:36.

In this lecture you'll understand two big trends in the global food industry, their

challenge for food banking and the actions which have been already taken by some food

banks worldwide to prevent waste.

The first trend is the recognition of the value of partnerships between the public,

business and non-profit sectors.

The concept of partnership has undergone an evolution that has today expanded the traditional

meaning of in-kind donations and economic support.

These contributions continue to be essential, but the business sector, for example, seeks

more and more integrated partnerships that also include the involvement of employees

to build a stronger bond both with the food bank and the community.

In our modern world, we are interconnected and interdependent from an economic, social,

cultural and also environmental point of view.

Every day food banks deal with a dynamic and interacting system and collaborate with

multinational companies and public authorities not only at national level but also at European

level and with international organizations as the FAO and the World Bank.

Today in more than 55 countries over 1,300 Food Banks daily provide food to more than

120,000 charitable organizations that assist almost 60 million deprived people.

These Food Banks belong to four main networks: Feeding America in the USA, the European Federation

of food Banks, the Global FoodBanking Network, and the Food Banking Regional Network.

This first trend requires a new approach: food donations should be always the easiest

and most affordable option to be undertaken.

Therefore, the food banks need to prove to be reliable and transparent, to have a "business

mindset", and to speak the same language of the private sector.

Some networks of food banks, for instance the Global FoodBanking Network, are proposing

to their members the possibility of an official acknowledgment certifying that they are operating

in accordance with clear and defined standards.

In this way, they will demonstrate to stakeholders that they are reliable players.

Moreover, the Food Banks in Australia assessed their impact and the Social Return On Investment

(SROI) of their activity.

Their estimates of SROI is twenty-three dollars for each kilogram of food distributed.

The SROI increases up to $ 110 for every kg of food distributed to children.

The second trend regards innovation and digital technologies.

Digital transformation is part of everyday life and involves changes in the interaction

between the producer and the consumer.

Moreover, social networks promote the exchange of ideas in real time and the opportunity

to amplify every kind of experience.

This trend poses a technological challenge to Food Banks: technology leads to a constant

visibility that requires timely and integrated communication and marketing strategies to

ensure the sustainability of the model of food banks.

There is therefore a need to develop the current organizational model with creativity and rapidity.

In UK, FareShare in collaboration with Tesco launched FoodCloud: it is an IT system with

the aim of fostering the partnerships between retailers and charitable organizations to

ensure that surplus food goes to those who need it.

FareShare FoodCloud really is a simple solution: the technology behind it means that charities

only need to be able to receive text messages from their local Tesco store.

Then they can pick up the food they can use and turns it into meals for people in need.

Also, Food Forward, the Food Banks in South Africa, launched a similar Virtual Foodbanking Platform.

These two trends clearly show how the public,

business and non-profit sectors should work in close collaboration worldwide with the

support of digital technologies and the development of innovation.

This positive cooperation can make a real contribution to the achievement of the Sustainable

Development Goals (SDG) of the United Nations, in particular the SDG 12.3: "By 2030, halve

per capita global food waste at the retail and consumer levels and reduce food losses

along production and supply chains, including post-harvest losses".

For more infomation >> Partnerships and digital transformation: implications for food banks (Angela Frigo) - Duration: 5:36.

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Wrong Mouth Mickey Mouse, Goofy, Minnie Mouse, Pluto | Learning Videos for Kids - Duration: 2:17.

Wrong Mouth Mickey Mouse, Goofy, Minnie Mouse, Pluto | Learning Videos for Kids

For more infomation >> Wrong Mouth Mickey Mouse, Goofy, Minnie Mouse, Pluto | Learning Videos for Kids - Duration: 2:17.

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Portugal's Vision for Contemporary Architecture - RA\\ Architectural & Design Studio - Duration: 4:46.

We want to be a small office

because we consider that "small is beautiful"

but not too small

that we cannot compete for larger-scale projects.

We have always been much more involved in rehabilitation

and hospitality

and so now we are living

a golden period of work

because people today

are much more concerned in rehabilitating

than in doing new construction.

In fact,

we have a great, huge, experience in the rehabilitation field

and we have managed to be

in a series of completely winning hotel projects;

namely, Pedras Salgadas, which has an extraordinary occupancy rate

from the first day,

or Aquapura, which later was converted into a Six Senses in the Douro

that also has an extraordinary occupancy rate.

We have 4 or 5 hotels that are among the best in the hotel industry in Portugal.

Obviously, we have other projects in other areas

and with totally different programs

from ecotourism,

we are working on projects of wineries...

We start, obviously, with sketches.

We start out a lot by trying to "tidy up the house" on drawing.

But the process always starts, obviously, by looking at the site

to perceive its DNA.

The process of developing a project has changed a lot over the years.

I started working as an architect drawing with rotring pens

and tracing paper.

At that time we made a lot of use of the physical model.

Today, the computers allow us to work in a different way.

We clearly want to make an effort to start working on BIM.

Obviously, we seek to have the most profitable, controllable processes;

we always try to find the best ways to work

in order to better control the process,

but the ultimate goal has never changed.

There is a building that integrates,

contributes,

to reinforce the identity of the territory where we work.

That goal never changes.

Our client determines the program

but,

in our view, he does not have the freedom

to manipulate the landscape as he sees fit.

That is our, the architects', responsibility

because the landscape does not belong to the owner of the land or the developer.

The landscape is something that belongs to everyone and it has to be defended.

In one of the historical

and emblematic villages in the north of the country.

In a thermal zone with very old thermal baths

that, with the decline of the thermal baths,

end up being completely inactive,

then the municipality decides to make a new thermal pavilion...

The two largest buildings in the village are the tower of the castle,

which is 15x15 meters,

and the church.

We worked on a hotel that connects the old spa building,

which was rehabilitated and transformed into a hotel

and then we extended the hotel, in terms of construction,

to the new thermal building.

Much of the new part's project is all buried in the landscape

so as not to interfere with the scale of the village.

The hotel's program is a program that has an old building in which we very much respect its history;

therefore, we have a rehabilitated building,

we even made all the decoration,

and then, in the new part,

we have a more contemporary interior design.

This hotel is justified by the thermal baths that are there and by that thermal building that is there.

We have a building that uses very little energy

because it will get this fantastic source of energy from the water.

For more infomation >> Portugal's Vision for Contemporary Architecture - RA\\ Architectural & Design Studio - Duration: 4:46.

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Learn Horse Colors Song For Children Rhymes | Animated Animals Colors Preschool Nursery Rhymes | 3D - Duration: 18:01.

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For more infomation >> Learn Horse Colors Song For Children Rhymes | Animated Animals Colors Preschool Nursery Rhymes | 3D - Duration: 18:01.

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Portugal's Vision for Contemporary Architecture - Serôdio Furtado & Associados - Arquitectos - Duration: 5:30.

This office began its activity

under this name,

moreover with "Serôdio e Associados"

in 1985 or 1986,

being the result of a previous office

of the activity of João Serôdio that was my father

and, ultimately,

he got his degree in 1959, therefore

he did many projects and had many partnerships throughout his life.

In 1991

entered Isabel Furtado

and the office gained the name that has today: Serôdio Furtado e Associados.

I feel, as an architect, a beneficiary

of this advantage they have brought us (Távora, Siza, Souto de Moura).

Then, of course, Portuguese architecture is impossible to catalog it as Portuguese architecture point,

as a package in which we are all together. The architecture is very different,

it is important to give credit to the Architecture School of Porto

because it has not only great visibility and importance in the international panorama

and that, somehow,

introduces another specificity in people who are directly related to the Porto school

perhaps even easier to identify, to point out,

than the generic one of Portuguese architecture.

I seek to work in a way that is efficient as well.

Of course this efficiency thing does not seem very subjective

and after all it is very subjective.

For someone to be efficient is to produce the project quickly,

that's not the point.

It is for me to take the steps

that lead me to make appropriate decisions for the project.

When we start a project

we try to understand these two aspects,

which are the site and the program.

And the site always leads us to a great fieldwork

to understand the site,

to go to the site to perceive what is going on, to perceive how one lives there,

to perceive what is interesting, good

to use in the project,

what is it that is beautiful, where is the sun, where there is no sun,

how does this work...

Trying to understand the program, especially in complex projects understanding the program is critical,

because it is critical that it works

and because it is critical to understand the program on a less obvious side

that is to understand the nature of the program,

what character the program will bring to the building,

how the people that use the building inhabit the building.

The ability to coordinate the building with the special projects,

to reduce the incompatibility between different projects,

to achieve a more rapid articulation between all the components

is very good!

Architecture and engineering have changed a lot with computers

because the ability to calculate, the introduction of a different calculation capacity

has made buildings different.

It is also natural that,

somehow,

technology brings to the project

things that we sometimes do not even notice.

The i3s is a building in Asprela

with about 20000 m2

and which houses three institutes of health research.

It was a building that we won, in competition, in 2009,

which was under construction in the last two years

and is a building that has research laboratories

and where about 800 people work.

Construction of the building ended just now.

It is a building that has as base the laboratory module,

a laboratory room with about 100 m2.

We explored this idea of placing the laboratory perpendicular to the building,

so it has a larger side, which was mandatory in the contest that was illuminated on that side,

and we put it across, making some courtyards between the labs in order to guarantee the illumination,

and with that we were able to make a building that has the height of the buildings of the surrounding volumetry,

so it has a ground floor building, first and second floor.

It is a very compact building

that has two floors of laboratories

done in concrete, perched on a smaller floor, in glass,

and that entrance floor,

this lower, narrower floor

contains the common program of the building.

This building had to connect to an existing building.

We made a crossing axis,

which crosses the building transversely

and connects it to the IPATIMUP which is the building of one of the institutes

that already existed, which was already on the ground,

and serves as a great connecting axis.

Therefore the building ends up being structured by its circulations

in a very Cartesian, orthogonal way.

So the formal expression of the building turns out to be

a very accurate representation of what goes on inside.

Architecture is a medium that communicates extraordinarily well when one experiences it.

For more infomation >> Portugal's Vision for Contemporary Architecture - Serôdio Furtado & Associados - Arquitectos - Duration: 5:30.

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Portugal's Vision for Contemporary Architecture - Samuel Torres de Carvalho Arquitetura - Duration: 6:13.

This is a relatively new office of about 10 years,

but I started my professional career in Madrid in 1989 where I studied.

Around 2001 I decided,

also together with my partner at the time,

that it was interesting to start thinking about doing projects outside of Spain.

So I went back to rediscovering Lisbon, almost like a foreigner,

and at some point I decided to close the Madrid office and come to Lisbon.

The type of projects that were in Lisbon were more sophisticated projects,

projects where there were very strong contexts.

I think that Portuguese architecture is living in an exceptional moment;

there are excellent architects.

I could make an absolutely brutal list

and I think this is the golden age of Portuguese architecture.

In addition to color or its absence,

there is this obsession with extending the project to absolutely everything.

So it is a logic of craftsmanship that I think is extraordinary

and the projects are made in a much more artisanal way,

resulting in a kind of authenticity

that no longer exists abroad.

Portuguese architecture, I think, has this great control of scale;

the small scale, which, at bottom, is the human scale.

This more artisanal way of doing things,

more obsessive with the control of space,

the detail, the relationship between inside and outside,

is seen with great enthusiasm abroad

because it is a little incomprehensible; it has to do with time.

It has to do with having the time needed to do that.

I draw by hand...

When I draw by hand,

I am immediately translating the space in my head.

Now, the computer is a more abstract process for which I have not been trained.

The architecture project is a journey;

it's a blank paper where there is nothing, yet suddenly there's a place,

which you can start to go through and see.

This journey is fast, it is very fast.

This speed, this immediacy of the drawing

has another extraordinary thing that is:

that if I did not like the trip I throw it away.

Most of our projects are rehabilitation projects with new construction

with some scale, with some size.

We also have some -- fewer -- new buildings.

We recently finished one in the new area of the city,

in the New Avenues,

that gave us immense enjoyment.

It is a residential building

that was a very interesting project; the process itself was very interesting

because we ended up entering this project when the structure was already finished.

So we ended up rethinking the project from the structure that was already done.

It was like making a project on almost a ruin,

only that it was a contemporary ruin that was a concrete structure.

We are also doing the European project that brought us to Lisbon;

the Ginjal quay is a very large urban project

that is finally coming to an end

and where we also introduce, from the point of view of the uses

and options of the plan itself;

novelties in relation to what was the traditional way of making urban plans.

And then most of the projects, as I said,

are rehabilitation projects with enlargement or complete renovation.

One of them is

a housing project,

a very interesting project in which an architectural competition was launched

that we were fortunate to win.

That is a very complex project

because it is a Pombalino building (Marquis de Pombal),

very, very, very rundown as a result of the subway construction,

but with a fantastic tile heritage.

It also has an absolutely outstanding decorative painting heritage

and where we make a very affirmative intervention, from architecture's point of view,

within these spaces

that also ends up having a translation to the outside.

There are also a number of objects that contaminate the facades.

I think it's a very interesting project where, on top of that,

we are collaborating with some artists,

namely Jose Pedro Croft,

who will collaborate with us making a great piece

that will eventually be the staircase.

We will also collaborate with Iva Viana, an artist who makes fantastic stuccoes.

Then there is another project in which we are very committed

and which I think is a very interesting challenge, which is

the Palace of St. Helena.

It is a building in Alfama

with some scale that had a series of cloisters and patios,

but very rundown and especially with the exterior spaces, within the plot itself, in very bad shape.

There is a large urban intervention that goes beyond the recovery of the Palace itself.

The contemporary expansion

will allow us to rebuild and reinvent, some spaces

and there we are collaborating with Joao Gomes da Silva who will do the landscaping.

It is a very complex project from the point of view of geometry itself

because here, in this concrete case,

we were very interested in building,

rebuilding, recreating the empty spaces

instead of the filled spaces of the buildings,

in trying to rewrite a new history for the urban space, to the empty space.