The good building is not one that hurts the landscape, but one which makes the l

andscape more beautiful than it was before the building was built.
Wright stood for clean lines and simplicity. He believed that a well built build
ing complemented it s environment and surrounding. He disliked the intricate detai
l and fussiness of the architectural styles that preceded him.
Continuity between a city and its port
To bring the city to the port and the port to the city, such is the objective of
this project. The city of Vigo is not the first to attempt the challenge. Its n
eighbours La Corugna and Marseille are examples of this and are in full alterati
on. Barcelona and Genoa in Italy are both considered a success today.
Vigo must not miss the opportunity to make its mark.
Today, the transformation is well underway. The city has turned itself towards t
he port, which welcomes it with open arms. The creation of the tunnel under the
port, the redevelopment of the 'Calle' of Montero Rios and the creation of the c
ommercial centre highlight a real determination to connect these two areas. The
city and the port have always evolved on contradictory terms and have often been
separated by a restricting administrative barrier.
It's a historic time and the stakes are high.
We propose to make the port area a new region of the city. It will be a district
in the urban sense of the word with its own life, activities, spirit and focus.
The thinking behind it can not be uniquely architectural and programmatic. It m
ust anchor itself deep in the culture and essence of Vigo city as well as in its
identity.
In order to propose a logical plan adapted to the situation of this harbour city
one must understand Vigo and its geographical relationship to the sea, the tide
s and the cruise boats that, like floating buildings, pull away from the port.
One must really contemplate the layout of the port and quays in a sense of conti
nuity. One must also characterise the site by its substance, amplify the percept
ion of the landscape and play with the contrasts and the changes in scale. These
are some of the themes by which we will tackle the set of problems posed by the
project of developing the Port of Vigo.
Fenomenologia (din limba greaca: phainmenon ?i logos = studiul fenomenelor) este
un curent filosofic din secolul al XX-lea, care ncearca sa descrie structura expe
rien?ei, a?a cum este reprezentata n con?tiin?a, nu ca fapte ci ca esen?a a lucru
rilor (eidos), fara sa apeleze la teorii sau la metodele altor discipline, cum a
r fi ?tiin?ele naturii. - http://ro.wikipedia.org/wiki/Fenomenologie
Fenomenologie
este un curent filosofic din secolul al XXlea, care ncearca sa descrie structura experien?ei, a?a cum este reprezentata n co
n?tiin?a, nu ca fapte ci ca esen?a a lucrurilor .
Cel mai important reprezentant al discursului fenomenologiei in arhitectura est
e norvegianul cristian nobert Shultz .Fenomenologia pune accent pe perceptia dir
ecta a arhitecturii arhitectura ca fenomen ca manifestare concreta.Fenomenologia
locului priveste
relatia dintre esenta si fenomen: cum devine present perceptibil ?spiritul loculu
i??.este o viziune umanista asupra spatiului.
Fenomenologia arhitecturii o perspectiva locala puctuala participa in spatial ex
istential

proxemica a apei lnga, sau n oras si casa, cu urmatoarele subdiviziuni:

1) din punctul de vedere al relatiei cu apa al asezarii
2) din punctul de vedere al angajarii apei n spatiul exterior al obiectului de ar
hitectura;
3) din punctul de vedere al prezentei apei n spatiul interior al obiectului de ar
hitectura.
Evident, exista cazuri extreme la primul punct: 1?) n care un oras se relationeaz
a, din ratiuni de aparare, comerciale sau politice, cu apa prin medierea unui or
as subordonat (Atena si Pireu, Roma si Ostia), versus 1?) orase care se extind p
e apa, n detrimentul acesteia, precum orasele-port contemporane japoneze sau olan
deze. ntre aceste doua extreme, o plaja larga de ipostaze se ntinde: fie ca orasul
s-a format n relativa indiferenta fata de proximitatea apei (Viena este, din ace
st punct de vedere, un exemplu destul de graitor), fie ca el se deschide n amfite
atru natural (Tulcea), sau prin proiectare n amfiteatru (Braila) catre apa tutela
toare (aici, Dunarea), sau prin strapungerea orasului de catre apa (Florenta, sa
u, n cheie minora, Bucurestii nsisi). Ajunsi aici, vom putea nuanta si mai mult lu
crurile daca inspectam nu doar pozitia generala a orasului n raport cu apa, ct poz
itia centrelor acestora n raport cu apa. Budapesta, de pilda, este traversata de
Dunare, dar centrii asezarilor componente (Buda si Pesta) sunt relativ indiferen
ti la acest privilegiu si secolele de ntretesere a celor doua nu au rectificat cu
mult din acest fapt. - Augustin IOAN - http://www.arhiforum.ro/agora/arhitectur
a-ca-apa
Continuity between a city and its port
To bring the city to the port and the port to the city, such is the objective of
this project. The city of Vigo is not the first to attempt the challenge. Its n
eighbours La Corugna and Marseille are examples of this and are in full alterati
on. Barcelona and Genoa in Italy are both considered a success today.
Vigo must not miss the opportunity to make its mark.
Today, the transformation is well underway. The city has turned itself towards t
he port, which welcomes it with open arms. The creation of the tunnel under the
port, the redevelopment of the 'Calle' of Montero Rios and the creation of the c
ommercial centre highlight a real determination to connect these two areas. The
city and the port have always evolved on contradictory terms and have often been
separated by a restricting administrative barrier.
It's a historic time and the stakes are high.
We propose to make the port area a new region of the city. It will be a district
in the urban sense of the word with its own life, activities, spirit and focus.
The thinking behind it can not be uniquely architectural and programmatic. It m
ust anchor itself deep in the culture and essence of Vigo city as well as in its
identity.
In order to propose a logical plan adapted to the situation of this harbour city
one must understand Vigo and its geographical relationship to the sea, the tide
s and the cruise boats that, like floating buildings, pull away from the port.
One must really contemplate the layout of the port and quays in a sense of conti
nuity. One must also characterise the site by its substance, amplify the percept
ion of the landscape and play with the contrasts and the changes in scale. These
are some of the themes by which we will tackle the set of problems posed by the
project of developing the Port of Vigo. - http://www.jeannouvel.com/en/desktop/
projet/vigo-spain-port1