Sob o título, Habitação Social, são especificados os factores iniciais que vão influenciar todo o processo de tomada de decisões ao longo do projecto. Numa primeira parte introdutória são apresentados os dados que dão início ao pro-cesso, através da análise da primeira memória descritiva do anteprojecto respeitante ao agrupamento de unidades de habitação em Olivais Sul, célula C. O objectivo é produzir uma leitura sobre a relação entre a génese da criação arqui-tectónica, como um conjunto de factores iniciais, e a sua materialização enquanto construção real e habitável. O artigo incide na descrição e reflexão sobre a construção do processo do projecto de arquitectura, nos conjuntos de habitação social entre 1960 e 1979, d Arquitecto Vítor Figueiredo. The analysis focuses on the sets of multi-family buildings in urban centers, Olivais Sul cell C, Peniche CRE 104, Chelas N2 and Alto do Zambujal. Within this chapter a sequential analysis is made in time and by scales, of the housing cell, passing by the buildings and their urban configuration of the chosen works, based on interpretative schemes, original drawings of the architect's estate and in his speeches. Under the title, Social Housing, the factors are specified that will influence the entire decision-making process throughout the project. In a first introductory part, the data that initiate the process are presented, through the analysis of the first descriptive memory of the preliminary project regarding the grouping of housing units in Olivais Sul, cell C. The aim is to produce a reading on the relationship between the genesis of archetectonic creation, as a set of initial factors, and its materialization as a real and habitable construction. The article focuses on the description and reflection on the construction of the architectural project process, in the social housing complexes between 19, by Architect Vítor Figueiredo. I discuss three possible sources of meaning: the combination of architectural elements out of proportion the difficulty of building a unitary space and the 'bottom perspective' that gives rise to a sensation of floating. I suggest here a fruitful integration of this analysis, developed by considering various particular perceptual and geometric cues. Analysis of these texts provides a rich set of aesthetic and psychological attributes as well as detailed indications of where to seek the source of the meanings.
How did Piranesi generate such a powerful source of meaning? I have reviewed a number of contributions by art essayists in the search for what lies behind the fascination of the 'Carceri'. Today they are considered the best expression of bewilderment, of the world's massive oppression of man. They also made an impact in later artistic and literary contexts. In his earlier work, he developed architectural fantasies and dark visions of imaginary prisons, the Carceri d'Invenzione (Imaginary Prisons), which have fascinated people ever since they first appeared. He spent his lifetime recording the magnificent buildings and ruins of ancient Rome. Piranesi was an extraordinarily talented artist who came to be considered the best known engraver and etcher of the 18th century.
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