Drawing the Heritage Landscape of Arcozelo
A visual narrative made up of overlapping images, co-created by a Heritage Education Laboratory and a School Cultural Project developed under the National Arts Plan.
Sá Primary School (2024) by Cátia Oliveira and João Oliveira/ 6AFaculty of Arts and Humanities of University of Porto
The aim of the collaboration between the PhD programme in Heritage Studies (FLUP) and the Sophia de Mello Breyner School Group (Gaia) is to illustrate a contemporary trend in the promotion of heritage education.
This project seeks to underline the importance of knowledge of heritage diversity and its relevance in building local identity, through an interactive, educational approach, which recognises the school as a learning community.
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This exhibition showcases the mapping of the cultural landscape elements of Arcozelo (Vila Nova de Gaia) carried out by students, highlighting the interconnection between the coastal and rural realities, contextualising their historical, social, and cultural significance.
In order to expand the exhibition's potential and continue the work carried out in partnership with the School Group, brief information linking to the Inventory Sheets of the Municipal Master Plan has been included in the captions of some images. The reason for including this information is to complement the available information and disseminate a set of useful tools for mapping these elements.
Furthermore, considering the diversity of cultural assets present in this work, including intangible ones, hyperlinks are included throughout the text, where appropriate, in order to complement the narrative around cultural heritage, providing a more complete experience.
Drawing of the Old Arcozelo Parish Church (2024) by Cátia Oliveira and Leonor Vieira/ 6BFaculty of Arts and Humanities of University of Porto
Once the challenge was set, most of the heritage elements identified were predominantly architectural, especially those of a religious nature.
Drawing of the New Arcozelo Parish Church (2024) by Cátia Oliveira and João Mena/ 6CFaculty of Arts and Humanities of University of Porto
We should, however, emphasise the chronological and typological cross-over, encompassing various constructive languages.
Drawing of the Chapel and Museum of D. Maria Adelaide (2024) by Cátia Oliveira and Duarte Vicente/ 6BFaculty of Arts and Humanities of University of Porto
From this mapping we can start an analysis of the urban space, promoting a critical reflection on the management of architectural and cultural heritage.
The case of the Chapel of Santa Maria Adelaide, venerated by the community but not recognised by the Vatican, raises a debate about the preservation of collective identity and memory.
Set of drawings of the Chapel of Sr. da Pedra (2024) by Cátia Oliveira, Dalila Lima/ 6A, Dinis Ferreira/ 6A, Francisco Reis/ 6A, Leonor Lemos/ 6A, Manuel Ruivo/ 6A, Maria Francisca/ 6A, Maria Silva/ 6A, Matilde Ribeiro/ 6A, Sofia Oliveira/ 6A, Sofia Silva/ 6A, Tiago Veiga/ 6A, Cecília Oliveira/ 6B, Mafalda Santos/ 6B, Rita Pontes/ 6B, and Marta Gomes/6CFaculty of Arts and Humanities of University of Porto
Because it was mentioned repeatedly by the students, the Chapel of Senhor da Pedra is included, even though it is located in the neighbouring parish, emphasising that heritage values are built through interconnections and symbolic meanings that transcend physical boundaries.
Granja Railway Station (2024) by Cátia OliveiraFaculty of Arts and Humanities of University of Porto
The neighbourhood of Granja is split between the parishes of Arcozelo and São Félix da Marinha. The historical relationship between these parishes is crucial. The railway line was fundamental to the development of both areas, contributing to the gentrification of Granja.
Drawing of Granja Railway Station (2024) by Cátia Oliveira and Gustavo Batalha/ 6AFaculty of Arts and Humanities of University of Porto
“Granja railway station, located in the urban area of Porto, has a high heritage and architectural value, with the walls of the building partially covered in figurative and patterned tiles of aesthetic, cultural and historical value (...).” (IP Património)
Drawing of the Aguda Volunteer Fire Brigade Humanitarian Association building (2024) by Cátia Oliveira and Matilde Canhola/ 6CFaculty of Arts and Humanities of University of Porto
The architectural cycle is completed by the building of the Aguda Humanitarian Association of Volunteer Firefighters. In addition to its imposing presence, it is essential to the integration of Aguda's fishing community.
This connection is reinforced by their participation in the community's annual festivities, in wich, as well as hosting the floats, the organisation helps transport the floats and leads the final blessing, sounding the sirens, creating an auditory heritage.
The design of the wrought iron railings and gate at Quinta da Camarinha illustrates the understanding of the heritage value of applied arts and the interconnection between artistic and historical values. Its selection is significant because it makes it possible to approach the transformation of these rural spaces for contemporary uses.
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Drawing of Maria da Fonte fountain (2024) by Cátia Oliveira and Noemi Souza/ 6CFaculty of Arts and Humanities of University of Porto
“‘The fountain is located in Largo da Igreja. It has a bronze sculpture by the sculptor Henrique Moreira. The work symbolises a woman of the people holding a pitcher.’ (Joana Ferreira, 6th B)
Drawing of the Aguda Coastal Station (2024) by Cátia Oliveira and Guilherme Teixeira/ JIFaculty of Arts and Humanities of University of Porto
The level of detail evident in some pictures shows that children are attentive to detail, provided they are given the tools and the right experiences to direct their gaze.
Drawing of the Aguda Fish Market (2024) by Cátia Oliveira and Lara Moreira/ JIFaculty of Arts and Humanities of University of Porto
“(...) an historical consciousness and inscribes us as part of an infinite task that we have received as an inheritance and that we must renew for the future.” (National Arts Plan Manifesto)
Drawing of an auction inside the Fish Market (2024) by Cátia Oliveira and Noah Barros/ JIFaculty of Arts and Humanities of University of Porto
Based on the educational approach proposed by the National Arts Plan Manifesto, our aim is to raise awareness among the school community to recognise and preserve the local cultural heritage, establishing links with the territory, and be aware of cultural diversity.
Drawing of Aguda Beach (2024) by Cátia Oliveira, Duarte Soares/ 5D, Inês Rei/ 5D, and Miguel Borges/5DFaculty of Arts and Humanities of University of Porto
The coastal area of the parish is characterised by its artisanal fishing core.
This is probably one of the mapping sites that best brings together a varied set of cultural, material and immaterial assets, the result of professional practices, but also of the relationships that are established within and outside the community.
Drawing of fishermen transporting their fishing gear (2024) by Cátia Oliveira and Rosário Pinto/ JIFaculty of Arts and Humanities of University of Porto
“Educating for citizenship, for social transformation, for collective well-being, is impossible if education does not encompass the artistic and heritage dimension.” (NationalArts Plan Manifesto).
EXHIBITION COORDINATORS, SCIENTIFIC COMMITTEE AND CURATORS: Cátia Oliveira (CITCEM-FLUP), Diana Felícia (CITCEM-FLUP), Paula Reigoto (AESMB), Pilar Carvalho (AESMB) & Maria Leonor Botelho (FLUP/CITCEM).
TEXTS: Cátia Oliveira & Pilar Carvalho.
PHOTO CREDITS: Cátia Oliveira, João Marçal, Lurdes Natário & Sílvia Couto.
IMAGE PRODUCTION: Cátia Oliveira.
EXHIBITION PRODUCTION: Cátia Oliveira & Diana Felícia.
TRANSLATION: Bergen Peck [This translation is financed by National Funds through FCT - Foundation for Science and Technology, under the project UIDB/04059/2020].
SUPPORT: FCT (SFRH/BD/144549/2019); CITCEM (UIDB/04059/2020); Sophia de Mello Breyner School grouping.
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