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Summer school 2017

Summer School 2017’s outcome

For the second time, we did it. After a three-weeks extensive and exhausting workshop, 42 students from 19 different countries refurbished with 4 practical mentors and 10 theoretical mentors a social housing configuration, and built a prototype of passive heating in our production centre.

In the end, there was no need to prolong the pleasure, as the house was (almost) really finished in time, and only details (painting, sanding) had to be taken care of by the family who has been an active part of the process in its whole. An electrician came to check out our installation and give a final touch, a plumber came to admire the work (“you guys did that in three weeks???”) and also give his final touch… and voilà.

Yet, there are still many things to improve, and as we’re writing this article we’re collecting feedback from the participants, and did our own self-critic session, to see what can we do better, or differently, for next year’s programme.

This year’s practical mentors were Sebastião de Botton from Colectivo Warehouse, Hugo Dourado from Colectivo Mel, João Moura and Samuel Kalika, from Critical Concrete.

How did we get there?

After the first and very experimental edition, we started to look for our second house, this time in our neighbourhood, in the north west of the city, in the district of Ramalde. After a couple of meetings, in January 2017 we agreed on a basis of a collaboration: the district of Ramalde would support the project with a material grant of 2500€, and guide us through the neighbourhood to select a house. In addition, in a deep partnership with the association ASAS de Ramalde they would conduct the mediation work with the family concerned by the workshop, before, during and after its conclusion.

After visiting over 10 houses, preselected by the Junta de Ramalde and the ASAS de Ramalde, on the 20th of June we confirmed that the work would happen in the house situated in Rua dr. Pedro de Sousa, 547, in collaboration with the family unit composed by two mothers and their three children. From there, the mediation work really started with cleaning, preparing the family to the future changes, process and project in general. We documented the place thoroughly, made plans, discussed scenari with the mentors, strategies, made an interview with the family so that we could give a proper documented background to the summer school participants before their arrival.

In the meantime, we contacted our partners from the Fundação Millennium, CIN, Umbelino Monteiro and Bosch Powertools to confirm their engagement for the new edition. Like last year, CIN offered us the paint and wood protection oil, Millennium increased their involvement from 1200€ to 2400€, and Umbelino Monteiro donated us tiles to make a new roof and advised the qualified workers we contracted for this mission. It is important to mention that for the first time of our short existence, we’ve gone against our principle of not accepting volunteers for the roof, because of the economical pressure we felt when we anticipated the costs of the refurbishment. We can’t thus go further without thanking Katarína Jančovičová, Zuzana Jančovičová, Beáta Seberíniová and Emil Barlok for their engagement and r-woofing support.

Meanwhile, we formalised newly our partnership with the Fine Art Faculty (FBAUP), that delivers the certificates for the summer school, and CICCOPN, professional school engaged with us in multiple projects. We offered limited free spots for students of these institutions. As an academic support, the Robert Bosch Stiftung Alumni Network also supported three spots for their network (total of 4500€ donated). Also, we set up partnerships with Lipor and Costa Almeida Demolições, who facilitated us access to their trash paradise and helped us with technical issues during the preparatory and demolition phase.

Last but not least, Bosch Powertools supported us lending us all the tools we needed (and more), and most importantly, provided us with an outstanding power-mentor, João Paulo Teixeira, monitoring the security on site, and guiding the students through the extensive variety of powertools available, teaching them with love and dedication

The last weeks before the summer school was spreadsheet weeks for materials, organisation details, scouting for material in junkyards, and last but not least organising food and supplies, with the support of Mathias from Marcel & George and his chef Zita.

Finally… the day 1 came.

Weekly process

Week 1: (un)organised mess

Early in the morning we met the students in Ramalde, with all the partners and mentors, showed them the worksite and introduced the family, before walking to the Production Centre Co-Lateral.

The first day was our team wake-up call: messy space, coffee not ready, computer problems. A good occasion to remember that it’s not because we did it once that we know how to do it. Finally, we introduced the project, mentors, the side gigs (research project around a rocket stove prototype and an urban cat house) and the house scenari.
In the preparatory phase we assumed the groups would be balanced, like last year, 21 in each group, two mentors per group, et voilà. But everyone almost wanted to work with the family house and the research projects and urban cat furniture didn’t fascinate many.

After discussing different scenari with the theoretical mentor on site – Walter Unterrainer and Elizabeth Donovan – and the mentor team, we decided to offer a different experiment that caught the attention of some students, a Trombe Wall. Still today, we have to admit that the technical reserves about the Rocket Stove (the pipe we had seemed too thin to Walter) are not completely solved, but we thought it would be safer and more interesting to work with a passive heating method, that would suit the character of our Production Centre, and bring a new tool to our research lab.

The groups were divided, and we started the design of the house with the family. All students involved have been invited to be part of this process, fully participatory, in which we:

1- fed the students with our thoughts on the topic

2- asked them to get together in groups to reflect on the plans and project

3- asked them to give to everyone their feedback, group by group

4- together reduce the proposals into 4 main scenari

5- with the family decided which of the scenari would be the most appropriate.

On day 2 we had a design.

Then on Wednesday started the demolition, parallelly to the plans and prototypes for the group of furnitures, staircase, windows, doors and Trombe wall.

On Thursday evening, most of the demolition was done, all the house extension were laying on the ground, the debris removed, and the proper work on site could start. On Friday we found our first dead body: a broken beam carrying part of the front of the roof. Took us two hours (two days) to fix it.

Week 2: Prototypes and applications

After deciding to re-organise our lectures to have a more balanced schedule (every second day with two lectures instead of one lecture every day), we organised the workflow in groups on Monday morning. The mentors got stressed, seeing the work not going fast enough, but we could see already that we would achieve a decent finishing with the rhythm we had.

Despite the stress, the plumbers team took time to make a water solar heater, an elegant solution to one of the main problem of the house: energy consumption. Coscientful students spend the necessary time to use the offcuts of plywood to make a floor, and broke some tiles to make patterns to fill the awkward level transitions in the floor and walls. One group took care of the exterior wall cladding, with charred wood, as other groups were doing ceilings and insulating the coldest walls of the house. Already we started some finishing work, painting areas that would not suffer major transformation.

In Co-Lateral, students developed an decentralised production line to complement the work on site, as well as the Trombe Wall project. A prototype for a wall-storage element was built and the doors team started collecting material. The window team was developing an aluminium-wood window, using upcycled frames collected from a demolition company. The stairs team, after studied four different configuration, approached with care the realisation of the elected solution. In the courtyard, the Trombe Wall team on a scaffold, took the measurements of the elevation, designed patterns with other upcycled windows, and began painting and cutting them.

After the work on site the students gathered every second day to attend the lectures, organised in three conceptual blocs: Architecture B on the first week, with Walter Unterrainer and Elizabeth Donovan from Aahrus school of Architecture and Francisco Adão da Fonseca from Skrei, Urbanities on the second week with Lena Obergfell, Miodrag Kuč and Marcela López from Contested Urban Waterscapes, to conclude in the third week with Architecture and Arts with Antoine Aubinais from Bellastock, Hugo Reis and Filipa Frois Almeida from Fahr 0213 and Samuel Carvalho of ON/OFF studio.

Week 3: A bit more than the last touch

After the last Monday morning meeting, we all finally had a clear idea of the final outcome we would reach at the end of the programme.

Nonetheless, the stress was palpable on the side of the family and students, as on Monday, there were no proper floor in half of the ground floor, the stairs still missed the last two steps, only insulated panel were attached on the wall, the plumbing system was not fully connected, and a soft breeze flowed through the windows and the doors openings, with any obstacle. But on Wednesday already, the walls were almost all covered, the students started using the bathroom again, and walking on a mosaic of wood.

The students achieved to handle the pressure of their responsibilities, and successfully managed to learn and make in this tricky time and economical constrains.

On Thursday they arrived on the site from the Production Centre, with students armed of tools and patience, refining the windows, calibrating the opening of the door, fixing together the electric wire. The place got crowded, the air saturated of screaming, good loud music, dust and smell of sweating bodies. At least the lectures of Bellastock, ON/OFF, and Fahr 0213 became a pleasure for the restless.

Finally, on Saturday morning the last window was fixed and closed, the house cleaned by 42 happy and exhausted student, willing to show their work to the family and the district municipality.

Our guests arrived in the afternoon. The district Mayor Antònio Guoieva gave the necessary closing speach, João Paulo Teixeira from Bosch Powertools offered FC Porto shirt and accessories to the kids, and we could all proudly come back to our centre for the last step.

After a quick deserved break in the evening everyone was in the Production Centre in Francos, for the ceremony and the party: all the students were honoured by a certificate from the FBAUP and enjoyed their last moment all together, and contemplating the Trombe wall finally finished, with his elaborated green/white window pattern.

Critical Concrete is now in conversation with the district municipality, ASAS Ramalde and Bosch Powertools about the next projects, expanding our activities with more workshop with social outcome. This summer, despite difficulties in financials, time, logistics, we saw our model of combining educational opportunities with much needed refurbishment work for low-income families succesfully function. We are eager to improve with the lessons learned, and create broader impact with more projects to come.

We had yet again a wonderful crowd who brought enthusiasm, curiosity, motivation, creativity, and persistent dedication. We are very happy and very proud of their achievements and are very looking forward in collaborating with them in the future.

Before – After gallery

Summer school 2017 – Program

We are proud and excited to announce the program of Critical Concrete’ second edition: Practice & Theory of Sustainable and Social Architecture. During the three week program, 42 participants will tackle hand in hand with senior architects, urbanists and makers three different spaces in Porto, embedded in the social context of the local neighborhood.

Within the frame of practical workshops and theoretical lectures, four practical mentors will guide the participants in groups of c.a. 10 students through the summer school.

Social impact through sutainable processes

Samuel Kalika (Critical Concrete founder), João Moura (Architect and Pseudo-Scientist) and Hugo Dourado (Colectivo Mel) will coordinate the refurbishment of a social housing configuration in Ramalde. The house is privately owned by its inhabitants – a family of two adults and three children – and lacks on basic facilities, air ventilation, storage space and insolation. This house was selected in coordination with the Junta de Freguesia de Ramalde and the ASAS de Ramalde. Between design and building process, students will face the reality of architecture and contribute to the improvement of the living conditions of the house inhabitants: three children and two women.

In parallel, Sebastião de Botton (Colectivo Warehouse) is guiding the research project on sustainable heating strategies and the realisation of a urban cat house installation in a social neighbourhood. Based in our production center Co-lateral (Francos), participants are going to investigate on compost water heating systems and experiment with the rocket stove technique. Last but not least, in cooperation with two local animal activists, participants will build an urban furniture in the shape of a cat shelter.

The late afternoon will be dedicated to theoretical lectures, which are open to the public. Through talks, discussions and presentations by experts in architecture and urbanism, it aims to give inspirational input and enrich the awareness of sustainable and social architecture. The three weeks are respectively thematically divided in: Architecture B, (non)-traditional ways of construction, Urbanism and Social Engagement, and Art and Temporary Architecture.

On the second and third Friday of the program, the students will present their work progress and reflexions. All processes are completely participatory, giving the students freedom to play with different solutions and network with like-minded people.

On saturday 26th of august, the summer school will reach its conclusion with a ceremony in which, under presence of the district municipality, the students hand over the keys to the inhabitants of the family site, before walking back to the production centre.

LECTURS AND EVENTS – open to the public

Time: 17:30 – 19:30 (except on the 8th of August at 9:00)

Where: Rua Direita de Francos 1024 (except the ending ceremony, 26th of August)

Week I  Architecture B

08|08 Critical Concrete’s tactics and processes – Samuel Kalika, Critical Concrete
09|08 Old-New: durability, temporality and transformation in architecture –
Walter Unterrainer, Aahrus School of Architecture
10|08 Sustainable architecture – intentions vs. reality – Elizabeth
Donovan,  Aahrus School of Architecture
11|08 Integrative Architecture – Francisco Adão da Fonseca, Skrei

Week II  URBANISM AND SOCIAL ENGAGEMENT

14|08 Heating to Humanure A – Lena Obergfell, Gardener, Artist
15|08 New Institutions for the New Times / Creating the Cultural Monster – Miodrag Kuč, urbanist
17|08 Landscapes of Energy – Marcela López, Contested Urban Waterscapes
Heating to Humanure B – Lena Obergfell Gardener, Artist
18|08 Students’ Project Presentations

Week III  ART AND TEMPORARY ARCHITECTURE

22|08 Ressources in architecture – Antoine Aubinais, Bellastock
Architectural Essays- Hugo Reis and Filipa Frois Almeida, Fahr 021.3
24|08 Performing the urban landscape– Miguel Costa, FBAUP
How to make do? – Samuel Carvalho, ON/OFF
25|08 Students’ Project Presentation

SPECIAL EVENT

26|08 16:00 Ceremony in the Ramalde house, rua doutor Pedro de Sousa 547

Introducing: Colectivo Mel

 Colectivo Mel is an architecture duo based in Porto. Aiming to contribute to the environment and culture of diverse places, Mel focuses on conscious and responsible solutions in analyzing their surroundings. Ana Baptista and Hugo Dourado, the faces behind Colectivo Mel, will participate as mentors during our upcoming Summer School program.

Colectivo Mel, started to develop social projects in Guinea Bissau in 2014. In Africa their designs are strongly influenced by the environment and vernacular architecture of the particular community. Using the same semantics, the design is reduced on three basic elements which are the cover, border and body. Adapting native techniques, the design merges into the landscape and adjusts to the environmental conditions by using natural and indigenous materials.

Beyond construction and design, what binds their projects is also the concept of personalization and social participation. Mel’s approach aims to be a catalyst for real and reciprocal work- between technicians and users. Trying to find a way to include the inhabitants of the community, they figured out that this is not always an easy task.

We’ve met Ana and Hugo in their office in Porto to talk about the difficulties and chances of their participatory projects.

Your Portfolio is a collection of a many different projects. What do they have in common?

Yes, we worked in very different projects. The ones we did here in Portugal were rehabilitation projects- refurbishments. It was really nice because we knew the owners and basically we made the spaces for them. Then we were in Guinea Bissau where we did the kindergartens, an urban park and eco-tourism houses. All of these projects had different building processes and approaches. We did the kindergartens in cooperation with a local constructor. The idea was to build a space where kids can learn by themselves, in case there isn’t a teacher. We wanted the building to be a space where kids can be stimulated and find surprises which help them to learn.

Overall I think it’s really important to know for whom you're making the spaces.

At the same time we worked on eco houses project in a different small village of Guinea Bissau. The approach was participatory, hand in hand with the local community. We were always on the road, going back and forth between those places, that’s why we called us a wandering office. Overall I think it’s really important to know for whom you’re making the spaces. That’s the general characteristic of our work. It’s really personal.

With an Human development Index of 0,42 and a life expectancy of 55.2, Guinea-Bissau is one of the least developed countries in the world. Why did you decided to start projects in this particular location?

We went to Guinea-Bissau on holidays to visit some friends. Over there we’ve got in touch, through people we knew, with local NGOs. Normally they are not in charge of building but they were starting to develop infrastructure projects.

The NGOs got in contact with us to get our opinion on the projects they did and if we could launch construction plans. That’s how all started in 2014 and we came back in 2016.  It wasn’t foreseeable but we are glad it happened.

Regarding your kindergarten project, your first intention has been to include the whole community. Why didn’t i work out?

We wanted them to be part of the process, all together, side by side.

At the beginning when we did the drawings we imagined the project to be participatory, hand in hand with the local community. We thought that the NGOs would like this to happen.But when we were discussing our plans with the financiers, they had concerns regarding the time it would take to finish the project. We found together with the NGO a local constructor.

So we did work with him, but the community wasn’t there, neither the professors, nor the school director, nor the children.
In final the community didn’t know much about the construction. We wanted them to be part of the process, all together, side by side. We wanted them to think that they’re a part of this building and feeling connected to their work.
But it didn’t happen that way.

Tell us more about a project where you successfully included the local community.

It was another project in collaboration with the NGOs and parallel to the kindergartens, the Eco Tourism project. The NGOs and the local community started to choose a place to develop three eco-tourism houses in Elalab, Guiné-Bissau. It was really difficult to get there, about 5 hours by boat. After we did the drawings, we asked the community how they build usually. They were fantastic!

They let us in their houses, showing us the construction, materials and techniques of the buildings. They have a typical structure of their houses within the community. Basically they only use a specific kind of earth they have in their region and the wood of the mangroves. They only construct with this because it’s the only thing they have. We wanted the new houses to be like the ones they have.

How was the new model different to the native houses?

The native house consists out of two spaces; the inner space, which is very closed and only for sleep and the outer space. The limits are with mangroves in verticals and covered by a thatch cover. In addition they have a space that’s neither interior or exterior. That’s the place where they live usually. Back to the time, where we weren’t thinking of working here, we thought the interior is too dark and warm and the exterior is horrible hot. The most incredible place we have seen were the spaces in-between. It’s a perfect space.  So basically we adapted the same house but we introduced a bathroom. Since the purpose was eco-tourism, we had to adapt some standards to make it more comfortable. Usually they don’t have a bathroom, instead they use a public space. Furthermore, we added solar panels to guarantee electricity.

it was really important to show them a model

Then we expanded the size of the space between interior and exterior. We also changed the ceiling of the houses. Instead of flat ceilings we introduced vault ones, to open the indoor space. Because the locals neither knew how to build it nor to read construction plans, it was really important to show them a model. We worked a lot on how we could construct the vault ceilings with their material. They were incredible. We build two groups who worked on different roof solutions. And they figured out a way how to do it. Unfortunately one of the roofs fell down, because they didn’t respect the time to dry the earth.

Which vernacular techniques did you use and how did your design adjust to the environmental conditions of the area?

The design was created in Porto but based on the vernacular construction of their houses. We had to adjust our drawing because of the techniques they used. In that way the community was involved into the design as well, because they explained us how to do certain things we didn’t know how to do. The whole building is made out of earth. They make layers with their hands of one meter and then they let it dry. After that they add another layer and so on. It’s incredibly beautiful because of their handprints. Usually they even the walls, but we wanted to keep them that way. After that we painted the walls with a paint made out of crashed oysters from the ocean.

From the beginning we knew that it wouldn’t be a problem if we make it the way they did

In terms of the environmental conditions, we didn’t have to find solutions because the vernacular architecture of this community solved them already perfectly. The temperature isn’t the main problem. But they have four months of extreme rain and the houses are made out of earth, so they need to cover them really good. The traditional cover is made out of thatch and last up to 30 years. From the beginning we knew that it wouldn’t be a problem if we make it the way they did. They have a space in the roof for ventilation, so it doesn’t get to hot but at the same time water doesn’t come in.  Normally they make the fundament 30cm above the ground, so the water can’t harm the building.So we were safe in this part. We had a limit of the mangrove, the interior out of earth and the cover with the ventilation and the basis. All this together is a building that works.

Tell us about the challenges of the participatory process.

Everything wasn’t simple or easy. One of the major difficulties was that they don’t know how to read plans, because they never learned to do so. We had situations where we drew doors of 2, 5 meters and they built them with 1,60m. Another example is the process to build the windows. It is different to how we imagine it in Europe. Over there, they do it after building the wall. Basically they are using a bicycle spoke to cut the window out of the wall. When we did the plans, we didn’t have these informations. You can’t plan to put a window at one meter high into the wall which is handmade. With the layers of the wall, you must respect the lines of the construction. Its handmade, it’s not standard. After all our job was adaptation.

We learned a lot of them. Another problem was the time management. They were constructors, but they had a life as well. They had to go fishing and work on the field. They were very connected with nature and contributed their routine to it. It is not like in Europe where you have a 40h week from Monday to Friday. They have different traditions and times. Sometimes we came to the construction and nobody was there, because somebody died and they had three days of celebration- so we waited for them. We had to respect their culture and times.

After all our job was adaptation. We learned a lot of them.

You can meet Colectivo Mel during our Summer School program 2017. Join us and get to know more about sustainable- theoretical and practical- techniques.

Pictures by Colectivo Mel

http://www.colectivomel.com/