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USELESS

27 SET - 28 NOV
www.EXPERIMENTADESIGN.PT

EXD USELESS MAPA MAP SEMANA INAUGURAL OPENING wEEK CONFERNCIAS E DEBATES LECTURES AND DEBATES CONFERNCIAS DE LISBOA LISBON LECTURES OPEN TALKS EXPOSIES EXHIBITIONS SIDELINES UTILITAS INTERRUPTA USELESS? FERNANDO BRZIO INTERVENES URBANAS URBAN INTERVENTIONS REDUNDNCIA LOUNGING SPACE CICLOS CYCLES CICLO DE CINEMA FILM CYCLE PUBLICAES PUBLICATIONS SEM USO USELESS PROJECTOS ESPECIAIS SPECIAL PROJECTS ACTION FOR AGE SIMPSIO DE ECONOMIA CRIATIVA CREATIVE ECONOMY SYMPOSIUM RETRO/FUTURE MORTE AO DESIGN! VIVA O DESIGN! COMUNIDADE CRIATIVA CREATIVE COMMUNITY SERVIO EDUCATIVO EDUCATION SERVICE TANGENCIAIS TANGENTS ESPAOS VENUES

2 3 4 8 11 21 39 43 49 55 59 65 69 71 73 77 79 83 87 91 112

EXD
Bienal internacional dedicada ao design, arquitectura e criatividade, a EXD posiciona-se como uma plataforma dinmica e arrojada que promove a cultura contempornea atravs da discusso e da reflexo. Age como plo difusor de talentos e experimentao disciplinar em todo o espectro criativo, apresentando projectos e conceitos originais em diferentes formatos, desde exposies a intervenes urbanas, workshops e conferncias. Privilegiando ideias e indivdu os, o programa da Bienal tem por objectivo transmitir contedo e incentivo tanto a uma audincia especializada como ao pblico em geral, disseminando informao e estimulando o debate crtico. A edio de 2009 galvanizou uma audincia de 150.000 visitantes, num programa composto por 29 eventos nucleareas que durou 61 dias. Realizando-se em Lisboa desde 1999, a Bienal envolve uma rede mundial de agentes dos mais diversos sectores, promovendo a inovao e a cultura de projecto enquanto vectores de desenvolvimento sustentvel a todos os nveis. Aps uma estreia em Amesterdo em 2008, a EXD tem vindo a preparar terreno para novas incurses da Bienal fora de portas, em pases de reconhecida dinmica criativa e afinidades disciplinares com o universo da Bienal. Fortemente empenhada na construo de um legado material e imaterial que constitua uma mais-valia para indivduos e instituies, a EXD assume o design como ferramenta operativa para uma interveno e mediao transformadoras da contemporaneidade. EXD is an international Biennale dedicated to design, architecture and creativity; a forward-thinking platform that cultivates and analyses contemporary culture through discussion and reflection. It is a springboard for up-and-coming talent and experimentation in different formats, from exhibitions to urban interventions, debates and lectures. Focusing on people and ideas, the Biennales programme is designed to provide insight and incentive to both a specialized audience and the public at large, disseminating information and provoking debate. The 2009 edition of the Biennale drew an engaged audience of 150.000 visitors, with 29 events during a total of 61 days. Taking place in Lisbon since the first edition in 1999, EXD engages a worldwide network of agents in various fields, promoting innovation and design culture as driving forces for sustainable development at all levels. Following a dbut in Amsterdam in 2008, EXD has been laying the foundations for new ventures outside Portugal, in countries with recognized creative drive and disciplinary affinities with the Biennales universe. Strongly committed the creation of a legacy that will positively impact individuals and institutions, EXD promotes design as an active tool for positive intervention and mediation across society.

USELESS
O tema da 6 edio da Bienal prope um questionamento aprofundado dos conceitos de utilidade e sem uso. Numa sociedade obcecada com a prossecuo de metas tangveis e o acumular de objectos, a ausncia de utilidade ou propsito parece ser hoje o equivalente secular do pecado. Se transitarmos para a esfera do design, a questo torna-se ainda mais complexa e falar de design intil resulta num oxmoro. O design deve responder a uma necessidade, solucionar um problema. Mas quantos dos objectos e projectos que nos rodeiam cumprem, efectivamente, o que prometem? Sero todos eles um desperdcio de tempo e recursos? Muitos s-lo-o certamente, mas outros so to necessrios quanto o sono, esse tempo ocioso preenchido de sonhos. O programa da EXD11 examina a ideia e juzo de valor subjacente de intil ou sem uso de diferentes perspectivas: questiona os paradigmas da produo industrial, a inevitabilidade do consumo e as decorrentes problemticas do desperdcio e sustentabilidade; foca o equilbrio precrio entre percepes objectivas e subjectivas de valor, atribudas a objectos, instituies, interaces e legados imateriais; e no plano criativo, traa um perfil do potencial insuspeito mas avassalador de experincias, tentativas falhadas e descobertas surpreendentes para as quais no foi, aparentemente, encontrada uma finalidade. A EXD11 desafia o nosso (pre) conceito de inutilidade tal como a beleza, est nos olhos de quem v; tal como o prazer puro, desinteressada. A par de problemticas concretas, o tema Useless inspira uma reflexo simblica sobre a importncia de dimenses como a beleza, o sonho e a inveno. The theme of the 6th edition of EXD launches an exploratory analysis on the idea of use and its absence. In a society increasingly obsessed with the achievement of tangible goals and material possessions, the absence of use or purpose seems nowadays to be the secular equivalent of sin. If we move to the sphere of design, this notion grows more complex as useless design poses an oxymoron. Design should answer a need, solve a problem. But if we look around us, how many designs dont actually live up to their promise? Are they all wasteful? Many are no doubt, but some are as necessary as sleep is: idle time filled with dreams. The programme of EXD11 surveys the idea and the attached value judgment of useless from different angles: it questions the paradigms of industrial production, the inevitability of consumption and underlying issues of waste and sustainability; it examines the perilous balance between objective and subjective perceptions of worth and value attached to objects but also institutions, interactions and immaterial legacies and, from a creative perspective, it outlines the hidden yet overwhelming potential of experiments, deadend or failed trials and perplexing finds for which no use has yet been found. EXD11 proposes a thorough reappraisal of useless: like beauty, is in the eye of the beholder, like pure pleasure, it is disinterested. It can lead us to debate tangible concerns or, alternatively inspire a symbolic reflection on the significance of such illusive elements as beauty, dream and invention.

SELESS U

RODRIGO PEIXOTO

SEMANA INAUGURAL 28 SET 29 SET OPENING wEEK


QUA wED QUI THU
11:00 13:00

30 SET
SEX FRI
11:00 13:00

1 OUT
SB SAT
11:00 13:00

2 OUT
DOM SUN
12:00 14:00

OPEN TALKS: FLUXOS DE INFORMAO INFORMATION EXCHANGE


Zo Ryan (GB) Aaron Cope (CA) Joost Grootens (NL) MischlerTraxler (AT) Lounging Space

OPEN TALKS: ARQUITECTURA INTIL? USE-LESS ARCHITECTURE?


Pedro Gadanho (PT) Gretchen Mokry (US) Alexandra Lange (US) Folke Kbberling (DE) Lounging Space

OPEN TALKS: DESIGN IT YOURSELF DO IT YOURSELF DESIGN


Hans Ulrich obrist (CH) Enzo Mari (IT) Thomas Lomme (BE) Lounging Space

OPEN TALKS: DESIGN EX-MUROS


Ed Annink (NL) Hans Maier-Aichen (DE) Mart Guix (ES) Zeger Reyers (NL) Karen Ryan (GB) Hilde Teerlinck (BE) Lounging Space

16:00 17:00

conferncias de Lisboa Lisbon Lectures


Manuel Clemente (PT) Cinema So Jorge

15:00 17:00

15:00 17:00 15:00 17:00

CONFERNCIAS DE LISBOA LISBON LECTURES


Heather Shaw (US) Marcel Wanders (NL) Cinema So Jorge

CONFERNCIAS DE LISBOA LISBON LECTURES


Sulki & Min (KR) Fernando Brzio (PT) Cinema So Jorge

CONFERNCIAS DE LISBOA LISBON LECTURES


Michael Rock (US) Marcelo Rosenbaum (BR) Cinema So Jorge

21:30
PECHA KUCHA DELUX
Lounging Space

19:00

fernando brzio: desenho habitado inhabited designs


Exposio Exhibition Antigo Convento da Trindade

18:00

18:00 18:00
DESIGN ACT - MAGNUS ERICSON & RAMIA MAZ
Lounging Space

REDUNDNCIA

ACTION FOR AGE

Intervenes Urbanas Urban Interventions Praa da Figueira

Documentrio e Exposio Documentary and Exhibition Fundao Calouste Gulbenkian

22:00 22:30 21:30

Lounging space
com with

SIDELINES

22:00

Inaugurao Opening Antigo Tribunal da Boa-Hora

sem-uso useLess
Lanamento do livro Book launch Guta Moura Guedes, Paulo Teixeira Pinto, Max Bruinsma, Frederico Duarte, Ian Anderson

Exposio Exhibition Museu Geolgico, Museu da Farmcia Biblioteca Municipal Cames, Museu de So Roque, Museu do Teatro Romano, Museu das Artes Decorativas Portuguesas FRESS

UTILITAS INTERRUPTA
Exposio Exhibition Fundao Arpad Szenes - Vieira da Silva, Jardim das Amoreiras, Me dgua

USELESS?

Exposio Exhibition MUDE

MORTE AO DESIGN! VIVA O DESIGN!


Exposio Exhibition MUDE

23:00
FROM A TO C-MIGUEL VIEIRA BAPTISTA
Loja da Atalaia

23:00

retro/future
Exposio Exhibition

tangenciais tangents

LUX FRGIL EXD11* FESTA PARTY


Dezperados by Desperados Mrio Valente, Peaches (DJ Set) Dezperados, SwichSt (d)ance Henriq

00:00

FESTA SEMANA INAUGURAL* OPENING wEEK PARTY EXD11/LISBOA


A Duro convida: Djs Davide, Xinobi LOUNGING SPACE * Sujeito a convite By invitation only

DJ SET
DURo

11

PRAA DE ESPANHA

ACTION FOR AGE

PRAA DE ESPANHA

S. SEBASTIO 716-726-742-746-756

MAPA MAP
AMOREIRAS RATO

CONFERNCIAS, DEBATES E CICLOS LECTURES, DEBATES AND CYCLES EXPOSIES EXHIBITIONS INTERVENES URBANAS URBAN INTERVENTIONS PROJECTOS ESPECIAIS SPECIAL PROJECTS

6 UTILITAS 1 2 3 4 5
CONFERNCIAS DE LISBOA CINEMA SO JORGE Av. Liberdade 175 FERNANDO BRZIO ANTIGO CONVENTO TRINDADE Lgo. Trindade Coelho LOUNGING SPACE ANTIGO TRIBUNAL DA BOA-HORA REDUNDNCIA PRAA DA FIGUEIRA SIDELINES MUSEU GEOLGICO R. Academia das Cincias 19-2 MUSEU DA FARMCIA R. Marechal Saldanha 1 BIBLIOTECA MUNICIPAL CAMES Lgo. Calhariz 17 MUSEU DE SO ROQUE Lgo. Trindade Coelho MUSEU ARQUEOLGICO DO CARMO Lgo. Carmo MUSEU DO TEATRO ROMANO Ptio do Aljube 5 MUSEU DAS ARTES DECORATIVAS PORTUGUESAS

INTERRUPTA

9 CICLO DE

CINEMA

AVENIDA DA LIBERDADE
ELCTRICO TRAM AUTOCARRO BUS METRO SUBwAY COMBOIO TRAIN

716-726-742 746-756

CONFERNCIAS DE LISBOA
36-44-702-709711-732-745-746

Lgo. Boa-Hora 13

AVENIDA

RIO TEJO TAGUS RIVER

SIDELINES

MUSEU DE SO ROQUE

ROSSIO CASTELO ANTIGO CONVENTO TRINDADE

2 FERNANDO BRZIO 5 SIDELINES


MUSEU GEOLGICO 100-758-790 100-758
Lgo. Portas do Sol 2

5 SIDELINES
MUSEU ARQUEOLGICO DO CARMO

MUSEU DAS ARTES DECORATIVAS PORTUGUESAS

SIDELINES

5 SIDELINES
BIBLIOTECA MUNICIPAL CAMES

12E-28E

737

MUSEU DA FARMCIA

SIDELINES 5

SIDELINES 5
MUSEU DO TEATRO ROMANO

6 7 8 9

UTILITAS INTERRUPTA FUNDAO ARPAD SZENES-VIEIRA DA SILVA, JARDIM DAS AMOREIRAS E ME DGUA Pa. das Amoreiras ACTION FOR AGE FUNDAO CALOUSTE GULBENKIAN
Av. Berna 45A

BAIXA-CHIADO

ROSSIO

REDUNDNCIA

USELESS? MORTE AO DESIGN! VIVA O DESIGN! MUDE R. Augusta 24 CICLO DE CINEMA CINEMATECA PORTUGUESA R. Barata Salgueiro 39

LOUNGING 3 SPACE
CHIADO 36-44-709-711-714 732-740-745-759-760 781-782-790-794

8 USELESS?
15E-18E-28E

MORTE AO DESIGN! VIVA O DESIGN!


TERREIRO DO PAO BAIXA

C. SODR

conferncias de lisboa lisbon lectures

13

CONFERNCIAS DE LISBOA LISBON LECTURES


28 SET
QUA wED 16:00
Manuel Clemente (PT)
Entrada Gratuita Free Admission

29 SET
QUI THU 15:00
Heather Shaw (US)

16:00
Marcel Wanders (NL)

30 SET
SEX FRI 15:00
Sulki & Min (KR)

1 OUT
SB SAT 15:00
Michael Rock (US)

16:00
Fernando Brzio (PT)

16:00
Marcelo Rosenbaum (BR)
Bilhetes venda Tickets for sale p. 123

EVOLUTION PRODUCTIONS JOS DANTAS

Co-produo Co-production Cinema So Jorge EGEAC

Traduo simultnea Simultaneous translation

Cinema So Jorge Avenida da Liberdade, 175 1250-141 Lisboa Metro Subway Avenida Autocarro Bus 36, 44, 702, 709, 711, 732, 745, 746 Comboio Train Rossio

conferncias de lisboa lisbon lectures

15

16:00
Manuel Clemente (PT) Uma referncia na programao da Bienal, as Conferncias de Lisboa enriquecem o debate e a reflexo em curso com os contributos nicos de protagonistas incontornveis da produo cultural e material. Este ano, profissionais e pensadores de diferentes geraes e contextos geogrficos, desde So Paulo a Seul, de Nova Iorque a Lisboa, partilham as suas perspectivas sobre o tema Useless. A fixture of the Biennales programme, the Lisbon Lectures broaden and enrich the ongoing reflection through the unique contributions of leading figures in material and cultural production. This year, thinkers and practitioners from different generations and geographic contexts, from So Paulo to Seoul, New York to Lisbon, share their insights on the theme Useless. Licenciado em Histria pela Faculdade de Letras de Lisboa e em Teologia pela Universidade Catlica Portuguesa. Em 1992 concluiu o doutoramento em Teologia Histrica com a tese intitulada Nas origens do apostolado contemporneo em Portugal. A Sociedade Catlica (1843-1853). Desde 1975, lecciona Histria da Igreja na Universidade Catlica Portuguesa. Presidente da Comisso Episcopal da Cultura, Bens Culturais e Comunicaes Sociais, foi nomeado Bispo do Porto em 2007. A sua extensa obra publicada e contributo para a reflexo em torno de temas de cariz social e debate cultural tmlhe valido inmeras distines, com destaque para a Gr-Cruz da Ordem de Cristo e o Prmio Pessoa 2009. With a degree in History from the Faculdade de Letras de Lisboa and one in Theology from the Universidade Catlica Portuguesa, Manuel Clemente completed his PhD in Historical Theology in 1992 with the thesis Nas origens do apostolado contemporneo em Portugal. A Sociedade Catlica (1843-1853). He lectures History of the Church at the Universidade Catlica Portuguesa since 1975. President of the Episcopal Commission for Culture, Cultural Artifacts and Media, he was appointed Bishop of Oporto in 2007. His vast body of published historiographic work and active contribution towards cultural debate and reflection on social issues has earned Manuel Clement several awards and distinctions, chief among which are the Gr-Cruz da Ordem de Cristo and the Prmio Pessoa 2009.

Especialmente convidado para introduzir o tema Useless no primeiro dia da EXD'11 Specially invited guest to introduce the theme Useless on the first day of EXD'11

28 SET

conferncias de lisboa lisbon lectures


ANJA VAN wIJGERDEN

17

15:00

16:00

Heather Shaw (US) Directora do Vita Motus, um estdio de design multidisciplinar em Los Angeles. Designer de ambientes e veculos, o seu trabalho mais emblemtico foi o design do palco do espectculo ISAM do msico experimental Amon Tobin em 2011, um videowall imersivo e envolvente que desafiou as fronteiras da tecnologia, sendo apelidado de o concerto do futuro, hoje. Interior and vehicle designer, Heather Shaw heads the multidisciplinary studio Vita Motus, in Los Angeles. Her most significant work to date was the stage design of the ISAM show for experimental musician Amon Tobin, an immersive videowall that pushed the boundaries of technology and was referred to as the concert of the future, today.

Marcel Wanders (NL) Designer de interiores e produto, fez parte da gerao que catapultou o design holands para a ribalta mundial, sendo o autor da clebre Knotted Chair para a Droog Design em 1996. Contando entre os seus clientes marcas como Alessi, Puma, KLM Royal Dutch Airlines, MAC Cosmetics, Cappellini, B&B Italia, Moroso e Target, Wanders tem ainda projectos na rea da arquitectura de interiores como o Kameha Grand Hotel em Bona, o Mondrian South Beach Hotel em Miami e a loja Villa Moda no Bahrein. Para alm do trabalho que desenvolve no seu estdio, co-fundador e Director Artstico da marca Moooi (2001). Presena regular em exposies, a obra de Wanders integra coleces de museus de referncia como o MoMA de Nova Iorque, o Stedelijk Museum de Amesterdo ou o V&A de Londres. Wanders tem publicado vrios livros e o seu trabalho tem figurado em publicaes internacionais como o New York Times, Domus, The Financial Times ou a Wallpaper Magazine. Product and interior designer Marcel Wanders was part of the generation who brought Dutch design to the international spotlight, achieving international recognition for his Knotted Chair for Droog Design in 1996. Working with leading international companies such as Flos, Alessi, Puma, KLM Royal Dutch Airlines, MAC Cosmetics, Cappellini, B&B Italia, Moroso and Target, Wanders also designs for architectural projects, such as the Kameha Grand hotel in Bonn, the Mondrian South Beach hotel in Miami and the Villa Moda store in Bahrain. In addition to running his studio, Wanders is cofounder and Artistic Director of the design label Moooi (2001). He exhibits widely and his work is included in such significant museum collections as MoMA New York, The Stedelijk Museum, Amsterdam, and the V&A Museum, London. Wanders has published numerous books and is extensively profiled in the global media, appearing in such publications as the New York Times, Domus, The Financial Times and Wallpaper Magazine.

29 SET

QUI THU

conferncias de lisboa lisbon lectures

19
EMANUEL BRS

15:00

16:00
Fernando Brzio (PT) Fernando Brzio licenciado em Design de Produto (1996) pela Faculdade de Belas Artes da Universidade de Lisboa, cidade onde vive e trabalha. Desde ento, tem desenvolvido objectos produzidos industrialmente bem como sries limitadas artesanais, a par de exposies, cenrios e espaos interiores e exteriores para empresas e entidades como Droog, Schrder, Torino World Design Capital, experimentadesign, Cmara Municipal de Lisboa, Il Coccio, Cor Unum, Fbrica Rafael Bordalo Pinheiro, Galerie Kreo e o coregrafo Rui Horta. Professor e coordenador do Mestrado em Design Industrial da ESAD.CR, Fernando leccionou na ECAL/cole Cantonal dArt de Lausanne e na HfG em Karlsruhe, participando em inmeras conferncias e jris em Portugal bem como no estrangeiro. Exibido e publicado internacionalmente, os seus trabalhos integram a coleco permanente do MUDE Museu do Design e da Moda em Lisboa, bem como vrias coleces particulares. Fernando Brzio graduated in Product Design (1996) from the Faculty of Fine Arts of the University of Lisbon, where he lives and works. He has developed products for industry as well as small-scale handmade series, along with exhibitions, sets, interior and public spaces for companies and organizations such as Droog, Schrder, Torino World Design Capital, experimentadesign, Lisbon City Council, Il Coccio, Cor Unum, Fbrica Rafael Bordalo Pinheiro, Galerie Kreo and choreographer Rui Horta. Fernando is professor and head of the Design Product Masters degree at ESAD Caldas da Rainha. He has taught at ECAL in Lausanne, at HfG in Karlsruhe, and has been a frequent lecturer and member of juries in Portugal and abroad. Exhibited and published internationally, his designs are included in the permanent collection of MUDE Lisbons Museum of Design and Fashion, and several private collections.

Sulki & Min (KR) Sulki & Min uma parceria entre os designers grficos Sulki Choi e Min Choi sediada em Seul. Formados em design de comunicao na Coreia, na Chungang University e na Seoul National University respectivamente. Ambos mestres em design grfico pela Yale University de New Haven, nos E.U.A. Foram investigadores na Jan van Eyck Akademie em Maastricht na Holanda de 2003 a 2005. Em Seul tm trabalhado essencialmente na rea cultural, colaborando com instituies como o Arko Art Center, Insa Art Space, Gyeonggi Museum of Modern Art, Festival Bo:m, ou Hyunsil Culture Studies, na criao de identidades grficas, materiais de divulgao e publicaes. Em 2006 expuseram pela primeira vez a ttulo individual na Gallery Factory em Seul, recebendo o Art Award of the Year do Conselho de Artes da Coreia. Sulki & Min tm participado em inmeras exposies colectivas na Coreia e no estrangeiro e foram nomeados designers grficos do BMW Guggenheim Lab. Ambos leccionam design grfico e tipografia em Seul, Sulki Choi na Kaywon School of Art & Design e Min Choi na Universidade de Seul. Sulki & Min is a collaboration between the Seoul-based graphic designers Sulki Choi and Min Choi. They studied communication design in Korea, at Chungang University and Seoul National University, respectively. Both earned their MFA degrees in graphic design at Yale University, New Haven, US. They worked as researchers in design at the Jan van Eyck Akademie, Maastricht, The Netherlands, from 2003 until 2005. Since they came back to Seoul, Sulki & Min have worked mainly in cultural area, collaborating with such institutions as Arko Art Center, Insa Art Space, Gyeonggi Museum of Modern Art, Festival Bo:m, and Hyunsil Culture Studies, designing graphic identities, marketing materials and publications. In 2006, they held their first solo exhibition at the Gallery Factory in Seoul, for which they received the Art Award of the Year from the Arts Council Korea. They have participated in many group exhibitions in Korea and abroad and have recently been appointed as graphic designers of the BMW Guggenheim Lab. Both teach graphic design and typography in Seoul, Sulki Choi at Kaywon School of Art & Design and Min Choi at the University of Seoul.

30 SET

SEX FRI

conferncias de lisboa lisbon lectures


BRIGITTE LACOMBE ANDR BRANDO

21

15:00

16:00

Marcelo Rosenbaum (BR) Marcelo Rosenbaum o designer brasileiro que fundou h cerca de 20 anos o estdio Rosenbaum em So Paulo. Constitudo por um conjunto de especialistas de reas complementares, entre designers, arquitectos e profissionais da comunicao, o escritrio desenvolve projectos nas reas de design e inovao, gerando valor a partir de ideias originais. Para Rosenbaum a sntese do pensamento de trabalho o conceito do MORAR, para alm do espao fsico e da esttica do objecto, aliado brasilidade, uma caracterstica preponderante na produo do estdio. Para Marcelo Rosenbaum, o pensamento est no trabalho como uma ferramenta que permita ser til, um conceito a que chama Design til e que est sempre presente nos seus projectos. Actualmente criativo, pela sexta temporada, de Lar Doce Lar do programa Caldeiro do Huck (Rede Globo de Televiso) e protagoniza ciclos de palestras para diferentes mercados profissionais. O seu trabalho tem sido publicado em diversas revistas internacionais e foi considerado pela Architectural Digest francesa como um dos designers TOP 80 do mundo. Marcelo Rosenbaum is the Brazilian designer who founded the Rosenbaum studio in So Paulo, about twenty years ago. Consisting of a group of experts in complementary areas, such as designers, architects or media professionals, the studio develops projects in the areas of design and innovation, creating value from original ideas. For Rosenbaum, the synthesis of work thought process is the concept of LIVING (MORAR), beyond the physical space and object aesthetics, together with Brazilianness, a prominent feature in the studios production. For Marcelo Rosenbaum, the thought process exists in the work as a tool for useful, a concept he dubbed Useful Design and that is always present in his projects. Currently, he is a creator, for the sixth season, of Lar Doce Lar from the tv program Caldeiro do Huck (Globo TV) and appears in lecture cycles for different professional markets. His work has been published in several international media and he was considered by the French Architectural Digest as one of the TOP 80 designers in the world.

Michael Rock (US) Michael Rock scio fundador e director criativo do estdio multidisciplinar de design 2x4 Inc., em Nova Iorque, uma referncia no desenho de identidades, publicaes, design de ambientes nas reas da arte, moda, arquitectura e cultura para clientes como Prada e OMA. director do Graphic Architecture Project na Columbia University Graduate School of Architecture, Planning and Preservation, professor adjunto na Yale School of Art e fez parte da Jan Van Eyck Akademie em Maastricht na Holanda. Contribuiu como editor e designer grfico para a I.D. Magazine e os seus artigos na rea do design tm sido publicados em todo o mundo. Detm um Bacharelato em Humanidades (Literatura) pela Union College e um Mestrado da Rhode Island School of Design. Distinguido com o Rome Prize em Design da American Academy de Roma em 1999/2000, integrando actualmente o Conselho desta Academia. Michael Rock is a founding partner and creative director of multi-disciplinary design studio 2x4 Inc., New York City, creating identities, publications and environmental graphics for art, architecture, fashion and cultural clients worldwide, including Prada and OMA. Rock is the Director of the Graphic Architecture Project at the Columbia University Graduate School of Architecture, Planning and Preservation. He is a member of the design faculty at the Yale School of Art where he currently holds the rank of Professor (Adjunct). He was a fellow at the Jan Van Eyck Akademie in Maastricht, The Netherlands, and a contributing editor and graphic design journalist atI.D. Magazine in New York. His writing on design has appeared in publications worldwide. He holds an A.B. in Humanities (Literature) from Union College and a M.F.A from the Rhode Island School of Design.He is the recipient of the 1999/2000 Rome Prize in Design from the American Academy in Rome and currently serves on the board of the Academy.

SB SAT

1 OUT

open talks

23

OPEN TALKS
29 SET
Apelando participao e ao esprito crtico, as Open Talks juntam pensadores, crticos, curadores, profissionais e o pblico num debate incisivo em torno de temas emergentes da prtica criativa e teoria da cultura. Seguindo o formato dos debates televisivos, o Talk Host escolhe a temtica e os convidados. O dilogo impulsionado pelos Agents Provocateurs - um mix de criativos, jornalistas e tericos e pela plateia, que convidada a intervir e alimentar a troca de ideias. Calling for participation and critical thinking, the Open Talks bring together thinkers, critics, curators, professionals and audience members in an in-depth debate around emerging issues in creative practice and cultural discourse. Following the format of televised debates, the Talk Host selects the theme and the guests. Dialogue is propelled by the Agents Provocateurs - a mix of creatives, journalists and theorists and the audience members, who are also invited to intervene and contribute to the ongoing idea exchange.

30 SET
SEX FRI 11:00 13:00
ARQUITECTURA INTIL? USE-LESS ARCHITECTURE?
Talk Host Pedro Gadanho (PT) Participantes Participants Alexandra Lange (US) Gretchen Mokry (US),
Architecture for Humanity

QUI THU 11:00 13:00


FLUXOS DE INFORMAO INFORMATION EXCHANGE
Talk Host Zo Ryan (GB) Participantes Participants Aaron Cope (CA) Joost Grootens (NL) MischlerTraxler (AT)

1 OUT
SB SAT 11:00 13:00
DESIGN DO-IT-YOURSELF DO IT YOURSELF DESIGN
Talk Host Hans Ulrich Obrist (CH) Participantes Participants Enzo Mari (IT) Thomas Lomme (BE)
EVOLUTION PRODUCTIONS JOS DANTAS

Folke Kbberling (DE),


Koeberling Kaltwasser Traduo simultnea Simultaneous translation

Entrada Gratuita Free admission

2 OUT
DOM SUN 12:00 14:00
DESIGN EX-MUROS
Talk Host Hans Maier-Aichen (DE) Ed Annink (NL) Participantes Participants Mart Guix (ES) Karen Ryan (GB) Zeger Reyers (NL) Hilde Teerlinck (BE)

*Entrada gratuita, sujeita lotao da sala Free admission, limited to room capacity

LoUNGING SPACE Antigo Tribunal da Boa-Hora Largo da Boa-Hora, 13 1200-062 Lisboa Dom - Qua Sun - Wed 10:00 22:00 Qui - Sb, Vsperas de Feriado Fri - Sat and the eve of Public Holidays 10:00 02:00 Elctrico Tram 28E Autocarro Bus 36, 44, 709, 711, 714, 732, 740, 745, 759, 760, 781, 782, 790, 794 Metro Subway Baixa-Chiado

open talks

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11:0013:00
Fluxos de Informao Actualmente, qualquer discusso sobre espaos pblicos e privados tem necessariamente de incluir no apenas o desenho dos edifcios, objectos e paisagem fsica, mas tambm a crescente influncia dos fluxos de dados que os atravessam. As tecnologias digitais esto a mudar a natureza e intencionalidade do nosso habitat construdo, esbatendo as distines entre real e virtual, e desafiando arquitectos e designers a repensar o modo como a informao representada e exposta. Inspirados pelas inovaes contemporneas, os designers esto empenhados em gerar mtodos dinmicos de coligir, analisar e representar informao para diferentes usos quer on quer offline. Em vez de formatos estticos, os projectos mais arrojados estimulam condies fluidas, onde tempo e espao no so estados imutveis, antes se transformam e adaptam constantemente face a informao nova e actualizada, bem como s necessidades individuais e colectivas, numa tentativa de reflectir com maior exactido o estado de infindvel mutao da vida quotidiana. Zo Ryan Information Exchange Any discussion today of private and public spaces must include not only the design of buildings, objects and the physical landscape, but also the increased influence of data flows that run through them. Digital technologies are changing the nature and intent of our built environment, blurring distinctions between the real and virtual, and challenging architects and designers to rethink how information is represented and displayed. Inspired by contemporary innovations, designers are intent on generating dynamic methods of collecting, analyzing, and representing information for various uses both online and off. Rather than static formats, the most inventive projects encourage animated conditions, in which time and space are no longer fixed states but continuously transform and adapt in relation to new and updated information, as well as individual and collective needs in an effort to more accurately reflect the endlessly changing state of daily life.. Zo Ryan

COURTESY OF THE ART INSTITUTE OF CHICAGO

Zo Ryan (GB) A britnica Zo Ryan Presidente e Curadora John H. Bryan de Arquitectura e Design no Art Institute de Chicago. As suas exposies incluem a prxima: Fashioning the Object: Bless, Boudicca, and Sandra Backlund (2012); bem como Bertrand Goldberg: Architecture of Invention (2011); Hyperlinks: Architecture and Design, (2010); Konstantin Grcic: Decisive Design (2009) e Graphic Thought Facility: Resourceful Design (2008). Antes de integrar o Art Institute, Zo foi curadora snior do Institute Van Alen, em Nova Iorque, onde organizou vrias exposies, incluindo The Good Life: New Public Spaces for Recreation (2006) e escreveu e editou livros sobre o design do espao pblico. Zo regularmente convidada a desempenhar funes de oradora, crtica e jurada, e os seus textos sobre arquitectura e design tem sido publicada internacionalmente. autora de inmeras publicaes, incluindo Building with Water: Concepts, Typology, Design (Birkhuser, 2010). Zo professora assistente adjunta na School of Art and Design da University of Illinois em Chicago, onde lecciona um seminrio sobre design interdisciplinar. Zo Ryan is a British curator and writer. She is the Chair and John H. Bryan Curator of Architecture and Design at the Art Institute of Chicago. Her exhibitions include the forthcoming: Fashioning the Object: Bless, Boudicca, and Sandra Backlund (2012); as well as Bertrand Goldberg: Architecture of Invention (2011); Hyperlinks: Architecture and Design, (2010); Konstantin Grcic: Decisive Design (2009); and Graphic Thought Facility: Resourceful Design (2008). Prior to working at the Art Institute, Zo was Senior Curator at the Van Alen Institute in New York where she organized numerous exhibitions including The Good Life: New Public Spaces for Recreation (2006) and wrote and edited books on the design of public space. Zo is regularly called upon as a lecturer, critic, and juror, and her writing on architecture and design has been published internationally. She is the author of numerous publications including Building with Water: Concepts, Typology, Design (Birkhuser, 2010). Zo is an adjunct assistant professor at the School of Art and Design at the University of Illinois at Chicago where she teaches an interdisciplinary design seminar.

29 SET

QUI THU

open talks
JOOST GROOTENS

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Joost Grootens (NL) Joost Grootens estudou projecto de arquitectura na Rietveld Academy de Amesterdo, sendo auto-didacta em design. O seu estdio desenvolve projectos de livros de arquitectura, espao urbano, arte e especializouse em atlas, desenhando os mapas e os livros. O trabalho de Grootens tem-lhe valido inmeros prmios, nomeadamente o Goldene Letter, duas Medalhas de ouro no concurso Best Book Design from all over the World em Leipzig e o prestigiado Rotterdam Design Prize, em 2009. Em 2010 a editora 010 Publishers lanou I swear I use no art at all, uma monografia sobre o seu trabalho. Joost Grootens tem sido conferencista e conduzido workshops em diversas instituies na sia, Europa e Amrica do Norte. Actualmente o responsvel pelo programa de pesquisa Information Design do curso de Mestrado da Design Academy de Eindhoven. Joost Grootens foi recentemente nomeado como um dos 20 melhores designers para o futuro pela revista Rolling Stone. Joost Grootens studied architectural design at Rietveld Academy in Amsterdam. As a graphic designer he is self-taught. His studio designs books in the fields of architecture, urban space and art, specializing on atlases, designing both the maps and the books themselves. Grootens has won numerous prizes for his designs, such as the Goldene Letter and two Gold Medals in the Best Book Design from all over the World competition in Leipzig. In 2009 he was awarded the Netherlands most prestigious design award, the Rotterdam Design Prize. A monograph about his work titled I swear I use no art at all was published by 010 Publishers in 2010. Joost Grootens is leader of the research programme Information Design at Design Academy Eindhovens Master course. He has also lectured and conducted workshops at various institutions in Asia, Europe and North America.

MischlerTraxler (AT) Aps completarem os estudos na Design Academy de Eindhoven, Katharina Mischer e Thomas Traxler constituram o estdio mischertraxler em 2009. Com sede em Viena, o estdio dedica-se ao desenho e desenvolvimento de produtos, mobilirio, instalaes e outros projectos, focando-se na experimentao e pensamento conceptual. Mais do que conceber simples produtos, idealiza sistemas completos e novas metodologias produtivas, equilibrando mtodos artesanais e tecnologia. O trabalho da dupla tem sido exposto em museus como o Art Institute de Chicago, o Design Museum de Londres, o MAK em Viena, bem como apresentado em diversos festivais internacionais. Os seus projectos tem recebido inmeros prmios, nomeadamente o Austrian Experimental Design Award, o DMY Award e uma meno honrosa no Prix Ars Electronica. Em 2011 o W-hotels designer of the future foi-lhes atribudo pela Design Miami/Basel. After graduating from the IM-masters department at the Design Academy Eindhoven, Katharina and Thomas found studio mischertraxler in 2009. Based in Vienna, they develop and design products, furniture, installations and more, with a focus on experiments and conceptual thinking. Balancing handcraft and technology, they envision whole systems and new production methods rather than single products. Their work has been exhibited in Museums like the Art Institute Chicago, Design Museum London, MAK Vienna, among others, and in several international Festivals. Their projects have received various awards including the Austrian Experimental Design Award, the DMY Award and an honorary mention at the Prix Ars Electronica. In 2011 they were awarded W-hotels designer of the future by Design Miami/Basel.

MISCHLERTRAXLER

Aaron Cope (CA) Aaron Cope canadiano de nascimento, americano por ascendncia, norte-americano por experincia e Montralais au fond. Outrora activo como pintor, Aaron foi engenheiro snior no Flickr, dedicando-se a ferramentas relacionadas com mapeamento mvel e geogrfico, cargo que abandonou para integrar Stamen Design em 2009 como especialista de tecnologias de projecto. Stamen Design um estdio reconhecido internacionalmente pelo desenho de mapas interactivos e visualizao de dados. Actualmente Stamen est a desenvolver com a National Geographic uma aplicao de apresentao cartogrfica para iPad, visualizaes on live do MTV Video Music Awards com a MTV e Twitter e uma nova verso do sistema cartogrfico online da Yandex. Stamen concluiu recentemente um mapa interactivo de cobertura de banda larga dos E.U.A. para o FCC, visualizaes de partilha de dados para MapQuest e um sistema de acompanhamento dos compromissos financeiros dos G8 no sul de frica para a One.org de Bono. O estdio foi considerado pela Fast Company uma das 50 empresas mais inovadoras de 2011. Aaron Cope is Canadian by birth, American by descent, North American by experience et Montralais au fond. Once upon a time a practicing painter, Aaron was a senior engineer at Flickr, focusing on mobile and geo/mapping related tools, before leaving to join Stamen in 2009 as design technologist. Stamen Design, an internationally-recognized leader in the design of interactive maps and data visualizations. Currently Stamen is working with National Geographic on an iPad app showcasing their maps; with MTV and Twitter on live visualizations of the MTV Video Music Awards, and with Yandex on a redesign of their online cartographic system. Stamen has recently finished an interactive map of broadband coverage in the United States for the FCC, visualizations of open data for MapQuest, and tracking the G8s financial commitments to southern Africa for Bonos One.org. The studio was one of Fast Companys 50 Most Innovative Companies of 2011.

open talks

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11:0013:00
Arquitectura Intil? O nome desta palestra evoca o ttulo de uma conferncia recente de Peter Eisenman. Em Wither Architecture? o amvel e maduro arquitecto estrela, situa a sua prtica recente numa dupla condio do tardio: um trabalho tardio na carreira do seu autor, e tambm uma expresso inevitvel do que muitas vezes chamado de capitalismo tardio. Uma fraqueza encantadora emergiu da quase ansiosa, se autoirnica, tentativa em registar o seu trabalho nos anais da histria da arquitectura. O uso obsessivo por parte de Eisenman de grelhas ficcionais, histricas ou topogrficas para intelectualizar e justificar a forma dos seus edifcios surgiu como um meio para alcanar uma legitimao disciplinar. No entanto, esta foi tambm uma priso Piranesiana que impediu o criador de exercer o acto criativo puro. Expressando uma espcie de ltimo desejo, o arquitecto aspirava a um dos aspectos mais inteis e inacessveis da arquitectura: o reconhecimento eterno. De forma a produzir arquitectura relevante, precisamos ns realmente de diversas legitimaes de visibilidade? Ser a cultura arquitectnica totalmente intil ou ser o seu pensamento estritamente necessrio para reiterar uma e outra vez a definitiva e ambgua utilidade dos edifcios? Pedro Gadanho Use-less Arquitecture? The name of this talk evokes the title of a recent conference by Peter Eisenman. In Wither Architecture? the gentle and mature starchitect situated his recent practice within a double condition of lateness: a late work in the career of the author, and also an inevitable expression of the often called late capitalism. A charming weakness emerged from the almost anxious, if self-ironic, attempt to inscribe his work in the annals of architectural history. Eisenmans obsessive use of fictional, historical or topographical grids to intellectualize and justify the form of his buildings emerged as a means to achieve architectural legitimization. However, this was also a Piranesian prison that kept the creator from the pure creative act. Uttering a kind of last will, the architect aspired to one of the most useless and unreachable aspects of architecture: everlasting recognition. So as to produce relevant architecture, do we really need the various legitimations of visibility? Is architectural culture utterly useless or is its thinking strictly necessary to reiterate again and again the ultimate, unobvious usefulness of buildings? Pedro Gadanho

Pedro Gadanho (PT) Arquitecto, curador e autor sediado em Lisboa, Pedro Gadanho doutorado pela Faculdade de Arquitectura da Universidade do Porto, onde lecciona. Editor da bookazine BEYOND e do blog ShrapnelContemporary, contribui regularmente para inmeras publicaes internacionais. Foi curador para a EXD, da exposio Metaflux para a Bienal de Arquitectura de Veneza de 2004 e de exposies como Post.Rotterdam, Space Invaders e Pancho Guedes, An Alternatie Modernist. Entre os seus projectos conta com o design de exposio e galerias, e renovaes, destacando os amplamente divulgados Casa Laranja em Carreo, Fundao Elipse em Lisboa e Casa Unifamiliar no Porto. Pedro Gadanho is an architect, curator and writer based in Lisbon. He is an MA in art & architecture and holds a PHD from Faculdade de Arquitectura da Universidade do Porto, where he currently teaches. He is the editor of the BEYOND bookazine, the ShrapnelContemporary blog and contributes regularly to international publications. He was a chief curator of EXD, curated Metaflux at the 2004 Venice Architecture Biennale and exhibitions such as Post.Rotterdam, Space Invaders, and Pancho Guedes, An Alternative Modernist. Amongst exhibition layouts, galleries and renovations, his designs include the Ellipse Foundation in Lisbon, and the widely published Orange House, in Carreo, and Family Home, in Oporto.

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open talks
ALEXANDRA LANGE M AT H E w w I L L I A M S

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Alexandra Lange (US) Alexandra Lange crtica de arquitectura e design, historiadora e professora em Brooklyn. editora do recente site Lets Get Critical (www.letsgetcritical.org), um blog de crtica cultural, ensaios e artigos de opinio. Com trabalho publicado em diversos meios como The Architects Newspaper, Dwell, Metropolis, New York Magazine e New York Times, e contribui semanalmente para o blog do Design Observer (http:// observersroom.designobserver.com/ alexandralange/). O seu livro Writing About Architecture sobre leitura e escrita de crtica de arquitectura ser publicado pela Princeton Architectural Press em 2012. Alexandra Lange is an architecture and design critic, historian and teacher based in Brooklyn. She is editor of the brand-new curated site Lets Get Critical (http://www. letsgetcritical.org/), dedicated to cultural criticism, essays and reviews. Her work has appeared in The Architects Newspaper, Dwell, Metropolis, New York Magazine and the New York Times, and she blogs weekly on Design Observer (http:// observersroom.designobserver. com/alexandralange/). In 2012, Princeton Architectural Press will publish her next book, Writing About Architecture, on reading and writing architecture criticism.
GRETCHEN MOKRY

Gretchen Mokry (US) Gretchen Mokry arquitecta da Parsons School of Design de Nova Iorque e da Architectural Association de Londres. Durante os ltimos 20 anos tem focado o seu trabalho na gesto e concepo de edifcios cvicos e educacionais. Integra a Architecture for Humanity (AfH) onde liderou os projectos de programas de escolas para a Amrica do Sul e frica e tambm o Programa Football for Hope Centers. Esta srie de 20 centros comunitrios a construir na frica sub-Sahariana dedicada a programas que integram desenvolvimento jovem, sade e educao pelo desporto. Como Directora de Projecto, a sua misso na AfH ser de promover a ligao entre projecto pensados ao mais alto nvel e comunidades necessitadas. Gretchen trained as an architect at Parsons School of Design in New York and at the Architectural Association in London. A California licensed architect, she has spent her 20 years experience on the design and project management of educational and civic buildings. At Architecture for Humanity her role has included Program Lead for school programs in South America and Africa and Program Lead for the Football for Hope Centres. This series of twenty community centers being built throughout sub-Saharan Africa, are dedicated to programs that integrate youth development, health and education with sport. As Design Director, she will continue to bolster the AfH mission of connecting high level design talent with communities in need.

Folke Kbberling (DE) Folke Kbberling vive e trabalha em Berlim. Estudou Belas Artes na Kunsthochschule Kassel, Alemanha, e no Emily Carr Institute of Art & Design de Vancouver e Mestre pela Academia de Belas Artes de Kassel. Tem participado em conferncias e workshops na University of Arts de Berlim, na University of Innsbruck, no Art Center College of Design, Pasadena, Emily Carr Institute of Art & Design e actualmente lecciona na Universitt Leibniz em Hannover. Em conjunto com Martin Kaltwasser, com quem colabora desde 2002, tem participado em inmeras exposies na Alemanha e internacionalmente. Em 2009, a dupla participou nas residncias artsticas de CSW em Varsvia, Polnia e da Chinati Foundation em Marfa, nos E.U.A. Durante 2009 e 2010 Kbberling/ Kaltwasser obtiveram uma bolsa do Senate of Berlin/Cultures em Los Angeles. So tambm editores dos livros city as a resource e Hold It! The Art & Architecture of Public Space: Bricolage Resistance Resources Aesthetics. Folke Kbberling lives and works in Berlin. She studied Fine Arts at Kunsthochschule Kassel, Germany and at the Emily Carr Institute of Art and Design in Vancouver and received her MA from the Academy of Fine Arts in Kassel. She works collaborativly with Martin Kaltwasser since 2002. She has delivered lectures and workshops at the University of Arts, Berlin, University of Innsbruck, Art Center College of Design, Pasadena, Emily Carr Institute of Art & Design and is currently a lecturer at the Universitt Leibniz in Hannover. She has exhibited extensively with Martin Kaltwasser in Germany and internationally. In 2009 Kbberling/Kaltwasser were artists in residence of CSW in Warsaw, Poland and the Chinati Foundation in Marfa,USA. In 2009/2010 they were awarded a fellowship in Los Angeles from the Senate of Berlin/Cultures. Kbberling Kaltwasser are the editors of the books: city as a resource and Hold It! The Art & Architecture of Public Space: Bricolage Resistance Resources Aesthetics

FOLKE KBBERLING

open talks
ANDREAS SCHMIDT

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11:0013:00
Design do-it-yourself Esta Open Talk parte do trabalho do it de Hans Ulrich Obrist. do it baseia-se num modelo aberto de exposio onde as instrues individuais podem abrir espaos vazios para ocupao e evocar possibilidades para a interpretao e reformulao das obras de arte. As instrues dos designers modelam a participao dos membros da comunidade, fazendo a ponte com os espaos de performance. Aces e materiais quotidianos servem de ponto de partida para a recriao dos desenhos em cada local de performances, de acordo com as instrues escritas dos designers. Cada realizao de do it constitui uma actividade nica no espao e no tempo. Com o acumular das vrias interpretaes de textos ao longo de sucessivos locais, verifica-se uma multiplicao de significado. Para gerar contedo artstico segundo do it, cada museu deve seleccionar e criar pelo menos 15 das 30 potenciais aces, garantindo assim no apenas que os desenhos individuais divergem segundo a interpretao, mas que uma nova constelao de grupo emerge com cada apresentao. No final de cada exposio do it, a instituio anfitri fica obrigada a destruir as peas geradas e respectivas instrues. Os componentes discretos a partir dos quais o contedo foi gerado sero devolvidos ao seu contexto original; do it assim quase inteiramente reversvel. Hans Ulrich Obrist Do it yourself design This Talk departs from Hans Ulrich Obrists work do it. do it stems from an open exhibition model where individual instructions can open empty spaces for occupation and invoke possibilities for the free interpretation and rephrasing of artworks. The designers instructions specify the participation of community members, bridging the gap with performance sites. Everyday actions and materials serve as the starting point for the designs to be recreated at each performance site according to the designers written instructions. Each realisation of do it occurs as an activity in time and space. Meaning is multiplied as the various interpretations of the texts accumulate in venue after venue. To create work according to do it each museum must select and create at least fifteen of the thirty potential actions, thus ensuring that not only will the individual designs diverge as a result of interpretation, but that a new group constellation will emerge each time the exhibition is presented. At the end of each do it exhibition the hosting institution is obliged to destroy the artworks and respective instructions. The discrete components from which the work was made are to be returned to their original context, making do it almost completely reversible. Hans Ulrich Obrist

Hans Ulrich obrist (CH) Hans Ulrich Obrist co-director da Serpentine Gallery de Londres e um dos mais conceituados curadores da actualidade, tendo sido responsvel por mais de 250 exposies desde 1991. A par dos seus projectos curatoriais listam-se os seus triunfos editoriais, que incluem textos sobre artistas como Gerhard Richter, Louise Bourgeois e Gilbert & George, entre outros. Editor de uma srie de livros de arte publicados por Walther Koenig, Obrist j contribuiu para mais de 200 projectos editoriais. Um dos seus projectos de maior destaque, a srie de eventos pblicos Marathon, foi concebida em Estugarda, em 2005, seguindo-se vrias edies em: 2006 (Interview Marathon na Serpentine Gallery, com Rem Koolhaas); 2007 (Experiment Marathon, com Olafur Eliasson); 2008 (Manifesto Marathon); 2009 (Poetry Marathon) e 2010 (Map Marathon). Obrist contribui regularmente para revistas como Abitare, Artforum, a Paradis Magazine e 032c Magazine. Em 2009, Obrist tornou-se membro honorrio do Royal Institute of British Architects (RIBA) e em 2011 foi distinguido com o Bard College Award for Curatorial Excellence. Hans Ulrich Obrist is Co-director of the Serpentine Gallery in London and one of the most note-worthy curators active today, having curated over 250 exhibitions since 1991. Accompanying his curatorial projects are his editorial accomplishments, which include the writings on artists like Gerhard Richter, Louise Bourgeois and Gilbert & George, among othes. The editor of a series of artist books published by Walther Koenig, Obrist has contributed to over 200 book projects. One of his leading projects, the Marathon series of public events, was conceived in Stuttgart in 2005 and has know several subsequent different editions in 2006 (Interview Marathon at the Serpentine Gallery, with Rem Koolhaas), 2007 (Experiment Marathon with Olafur Eliasson), 2008 (Manifesto Marathon), 2009 (Poetry Marathon) and 2010 (Map Marathon). Obrist is contributing editor of Abitare Magazine, Artforum, Paradis Magazine and 032c Magazine. Made an Honorary Fellow of the Royal Institute of British Architects (RIBA) in 2009, in 2011 Obrist was awarded the Bard College Award for Curatorial Excellence.

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open talks
THOMAS LOMME THOMAS LOMME

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Thomas Lomme (BE) www.intrastructures.net Aps ter concludo os estudos na Design Academy de Eindhoven, nos Les Ateliers de Paris e no Institute Without Boundaries de Toronto, Thomas Lomme (n. 1979) tem participado em diversos grupos de pesquisa de design multidisciplinar dentro e fora da Europa. Em 2007 fundou Intrastructures, um estdio de design pragmtico e utpico que se debrua sobre os contextos fsico, digital e social do design de produto. Iniciou igualmente o projecto OpenStructures, uma experincia prtica de design que explora as possibilidades de modelos de construo modular, onde se realizam intercmbios de projectos com base numa grelha geomtrica partilhada. Actualmente Thomas Lomme lecciona no programa de pesquisa Social Design no curso de mestrado da Design Academy de Eindhoven e na cole Nationale Suprieure de Cration Industrielle de Paris. Vive e trabalha em Bruxelas. After his studies at the Design Academy Eindhoven, Les Ateliers Paris and the Institute without Boundaries Toronto, Thomas Lomme (b. 1979) has participated in a series of multidisciplinary design research groups in Europe and overseas. In 2007 he established Intrastructures, a pragmatic, utopian design studio that emphasizes on the physical, digital and social context of product design. He is also the initiator of the OpenStructures project, a hands-on design experiment that explores the possibility of a modular construction model where everyone designs for everyone on the basis of oneshared geometrical grid. Currently Thomas Lomme teaches at the research programme Social Design at Design Academy Eindhovens Master course and at the cole Nationale Suprieure de Cration Industrielle in Paris . He lives and works in Brussels.

Enzo Mari (IT) Enzo Mari (n. 1932) tem trabalhado em diversas direces tendo como fio condutor a reflexo sobre o significado da forma no design. Iniciou esta actividade nos anos cinquenta, com uma pesquisa sobre a percepo visual, e um dos expoentes do movimento Arte Programmata e Cinetica. Paralelamente a esta actividade, atravs de uma pesquisa formal de carcter individual, d incio ao seu trabalho enquanto designer, interessando-se tambm por design grfico e arquitectura. Frequentou diversos cursos em diferentes escolas e universidades europeias. membro do Centro Studi e Archivio della Comunicazione de Parma, em cujos arquivos esto reunidos cerca de nove mil dos seus desenhos originais. O seu trabalho de investigao e prtica projectual tm sido distinguidos com vrios prmios, entre os quais quatro Compasso dOuro. Participou na Bienal Internacional de Arte de Veneza e em inmeras exposies como Il lavoro al centro no Centre dArt Santa Monica, Barcelona em 1999, Trienal de Milo em 2000 e Enzo Mari, LArte del Design na Galleria Civica dArte Moderna e Contemporanea de Turim em 2008. As suas obras e objectos de design integram importantes coleces de museus como o MoMA de Nova Iorque ou o Muse du Louvre em Paris. Enzo Mari (b. 1932) has worked in different directions guided by a reflection on the meaning of form in design. This in activity began in the fifties, with his research on visual perception, and he is one of the exponents of the movement Arte programmata e Cinetica. Parallel to this artistic research, through a formal survey of individual nature, he began his work as a designer, with an interest that ended to graphic design and architecture. He attended severalcourses in different European schools and universities. He is a member of the Centro Studi e Archivio della Comunicazione of Parma, in whose archives are gathered around nine thousand of his original drawings. Enzo Maris research and design work has been honored with several awards, including four Compasso dOuro. He has participated in the International Art Biennale of Venice and in numerous exhibitions such as Il lavoro al centro at the Centre dArt Santa Monica, Barcelona in 1999, the Milan Triennale in 2000 or Enzo Mari, LArte del Design at the Galleria Civica dArte Moderna e Contemporanea of Turin in 2008. His works and design objects are part of important museum collections, such as the MoMA in New York, or the Muse du Louvre in Paris.

ENZO MARI R A M A K FA Z E L

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12:0014:00
Design Ex-muros Na ltima dcada, os designers tornaram-se editores e produtores das suas prprias linhas e coleces. Impossveis de produzir para o mercado de massas, estes projectos representam no entanto um repensar do papel do design entre a cultura e a indstria. Os designers esto a tornar-se artistas inquisitivos, cientistas exploratrios e membros empenhados de equipas de trabalho multidisciplinares, envolvendo-se em pesquisas margem dos cdigos e procedimentos standard da indstria. Esta Open Talk aborda o actual enfoque dos designers nos valores sociais, inovao (bio)tecnolgica e perspectiva histrica. Ser observada a actividade de agentes criativos individuais, empresas, museus e universidades, na medida em que estas esferas interagem e se influenciam mutuamente, levantando questes sobre o mbito de aco futuro do design. Design Ex-muros prope discutir o pensamento projectual que se traduz em prticas colaborativas na interseco entre as cincias naturais, arte e antropologia, visando atingir uma nova tipologia de objecto. Hans Maier-Aichen & Ed Annink Design Ex-muros During the last decade, designers have become editors andproducers of their own lines or editions. Though hard or impossible to produce for the mass market, these concepts nevertheless represent a rethinking of designs role between culture and industry. Designers are becoming probing artists, explorative scientists, and conscious team workers, taking part in fundamental research that often circumvents industrys standard codes and procedures. This talk centers on designers current focus on social values, (bio)technological innovation and historical content. The activity of solo players, companies, museums and universities will be discussed, as thesedomainsinteractand influence each other, prompting basic questions about designs future playing field. This talk will look at collaboration-driven design thinkingthat crosses the boundaries of natural sciences, art and anthropology to reach a new breed of objects. Hans Maier-Aichen & Ed Annink
HANS MAIER-AICHEN REGINE MAIER-AICHEN

Hans Maier-Aichen (DE) Criador da marca Authentics e distinguido, entre outros, com o European Design Award em 1997, a actividade do designer Hans Maier-Aichen combina docncia, curadoria e edio. Membro do comit de gesto do German Design Council, nos ltimos anos tem-se dedicado a projectos sobre designers emergentes e exploraes projectuais de vanguarda. Founder of label Authentics and recipient of, among others, the European Design Award in 1997, designer Hans Maier-Aichen has been internationally active as a lecturer, curator and editorial coordinator. Member of the steering committee of the German Design Council, recently he has devoted himself to projects focusing on emerging designers and border-crossing design activities.

Ed Annink (NL) Designer de produto, curador e autor, Ed Annink scio-fundador do atelier multidisciplinar Ontwerpwerk, colaborando com grandes marcas como Driade, Authentics, Droog Design e Royal VKB. Envolvido no ensino e reflexo projectuais, Ed iniciou vrios projectos editoriais de monografias e catlogos. Concebeu a primeira edio do evento bienal Design and Government, que estreou em Haia e Berlim no Vero de 2010. Product designer, curator and writer, Ed Annink is foundingpartner of multidisciplinary studio Ontwerpwerk, working for outstanding labels such as Driade, Authentics, Droog Design, and Royal VKB. As a design educator and thinker, he initiated several books and catalogues. In summer 2010 the first edition of the biannual event Design and Government, for which he is the initiator and the responsible intendant, opened in Den Haag and Berlin.

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ANNINK

open talks
MART GUIX IMAGEKONTAINER

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Hilde Teerlinck (BE) Hilde Teerlinck foi directora artstica do Pavilho Mies van der Rohe em Barcelona, tendo comissariado um ciclo de intervenes site specific de inmeros artistas internacionais. Aps uma curta temporada em Perpignan, onde fundou um centro artstico ligado Escola de Belas Artes local e organizou exposies e workshops , foi nomeada directora do Centre Rhnan dArt Contemporain (CRAC) na Alscia em 2002. No sentido de abrir este espao isolado no meio rural ao pblico em geral, exps artistas de renome a par de talentos emergentes. Durante este perodo manteve-se activa como crtica de arte e curadora free-lance. Em Setembro de 2006 assumiu a direco do FRAC (Fonds Regional dArt Contemporain) Nord-Pas de Calais em Dunkerque, que aloja uma das mais significativas coleces de arte contempornea de Frana. Hilde Teerlinck was artistic director of the Mies van der Rohe Pavilion in Barcelona, where she curated a series of site-specific interventions by a host of international artists. After a short stay in Perpignan, where she founded an arts-centre linked to the local Fine Arts School and organized exhibitions and workshops, she was appointed director of the Centre Rhnan dArt Contemporain (CRAC) in 2002. Working towards opening this isolated venue in the countryside to the public at large, she strategically hosted works by well-known artists as well as up-and-coming talents. At the same time she remained active as an art-critic and a free-lance curator. Since September 2006 she is the director of the FRAC (Fonds Regional dArt Contemporain) Nord-Pas de Calais in Dunkerque, home to one of the most prestigious public collections of international art in France.

Mart Guix (ES) Mart Guix (n. 1964) estudou design de interiores e industrial em Barcelona e Milo. Em 1994, quando vivia em Berlim, formulou uma nova forma de entender a cultura de produtos. Em 1997 comeou a expr o seu trabalho, que caracteriza como uma busca de novos sistemas de produtos, a introduo do design no mbito da cozinha e da apresentao de alimentos. A sua perspectiva no convencional origina ideias simples e brilhantes, de uma curiosa seriedade. Trabalhando como designer em Barcelona e Berlim, tem clientes de empresas de todo o mundo. Conta entre as sua publicaes mais recentes com: Mart Guix, Food Designing, Corraini Edizioni, 2010; Mart Guix Cook book, Imschoot Publishers ou Dont buy it if you dont need it. All Marti Guixes Camper Commodityscapes. Mart Guix (b. 1964) studied interior and industrial design in Barcelona and Milan. In 1994, living in Berlin, he formulated a new way to understand the culture of products. Guix started to exhibit his work in 1997, work that characterizes on the search for new product systems, the introduction of design in food ambits and presentation through performance. His non-conventional gaze provides brilliant and simple ideas of a curious seriousness. Based in Barcelona and Berlin he works as a designer for worldwide companies. Some recent publications of his work are: Mart Guix, Food Designing, Corraini Edizioni, 2010; Mart Guix Cook book, Imschoot Publishers or Dont buy it if you dont need it. All Marti Guixes Camper Commodityscapes.
KAREN RYAN

Karen Ryan (GB) Karen Ryan uma designer contempornea britnica, com um mestrado em Design de Produto pela Royal College of Art de Londres (2001). As principais influncias na sua prtica so a necessidade, o destino, a autobiografia e a subverso. Usa materiais que so produtos das constantes sobras resultantes do consumo de massa e da moda. Karen Ryan is a contemporary British designer graduated with an MA in Design Product at the Royal College of Art London in 2001. Necessity, fate, autobiography and subversion are the key influences upon her practice. She uses materials that are provided as a product of continuous waste driven by mass consumption and fashion.

Zeger Reyers (NL) Zeger Reyers (n.1966) um artista plstico que vive e trabalha em Haia. Estudou na Artacademy em Roterdo (1990-95) e integra Broos uma plataforma de colaborao com Pietertje van Splunter. Das sua exposies individuais mais recentes destacam-se Paviljoen no Middelheim Museum de Anturpia (2010), In context, 38CC Delft (2008) e Ouborg-price ouevreprice do Artcouncil Den Haag (2007). Tem tambm integrado inmeras exposies colectivas, entre as quais Tijdelijk verblijf no Kasteel DAspremont-Lynden e Scope Basel na Maurits van de Laar Galerie em 2011, Eating the Universe e Rotating Kitchen no Kunstmuseum Stuttgard em 2010. Zeger Reyers (n. 1966) is an artist living and working in The Hague. Reyers studied at the Artacademy in Rotterdam (1990-95), and integrates Broos a co-operation with Pietertje van Splunter. He has participated in several solo exhibited such as Paviljoen at Middelheim Museum Antwerp (2010), In context at 38CC Delft (2008) and Ouborg-price ouevreprice, Artcouncil Den Haag (2007). Also, he has taken part in group exhibitions: Tijdelijk verblijf at Kasteel DAspremont-Lynden and Scope Basel at Maurits van de Laar Galerie in 2011, Eating the Universe and Rotating Kitchen at Kunstmuseum Stuttgard in 2010, among many others.

HILDE TEERLINCK

ZEGER REYERS ROSA REYERS

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SIDELINES
COLECES PESSOAIS EM 7 INSTITUIES SINGULARES MINOR COLLECTIONS HOUSED IN 7 SINGULAR INSTITUTIONS 30 SET 27 NOV
Curador Curator Emily King Bilhetes venda Tickets for sale p. 123 Participantes Participants Richard Wentworth Em co-produo com In partnership with Percurso Itinerary 1. Museu Geolgico Rua Academia das Cincias, 19 2 1249-280 Lisboa + 351 213 463 915 10:00 17:00 Encerra Dom Seg Closed Sun Mon 2. Museu da Farmcia Rua Marechal Saldanha, 1 1249-069 Lisboa + 351 213 400 680 10:00 18:00 Encerra Sb Dom Closed Sat Sun 3. Biblioteca Municipal Cames Largo do Calhariz, 17 - 2 Esq 1200-086 Lisboa + 351 213 422 157 10:30 18:00 Encerra 1 e 3 Sb, 1 e 3 Seg do ms Dom e Feriados Closed 1st and 3rd Sat, 1st and 3rd Mon p/month, Sun and Holidays Entrada Gratuita Free Admission Elctrico Tram 28 Autocarro Bus 758, 100 Metro Subway Baixa-Chiado Comboio Train Cais do Sodr Elevador Funicular Bica 4. Museu Arqueolgico do Carmo Largo do Carmo 1200-092 Lisboa + 351 213 478 629 10:00 18:00 Encerra Dom Closed Sun 5. Museu de So Roque Largo Trindade Coelho 1200-470 Lisboa + 351 213 235 065 10:00 18:00 Qui Thu 14:00 21:00 Encerra Seg Closed Mon Elctrico Tram 28 Autocarro Bus 758, 100, 790 Metro Subway Baixa-Chiado Comboio Train Rossio Elevador Funicular Sta Justa, Glria

Design Grfico Graphic Design Slvia Prudncio

Coleccionadores Collectors David Pearson, Dinos Chapman, Tiphaine de Lussy, the owners of Snoopy the dog; Gregor Muir; Holly Brooks; Nicolas Trembley; Pedro Rodrigues; Susana Pomba

S O F I A B AT I ST A

Menu Visitas Orientadas + Oficinas Guided Tours Menu Ens. Bsico, Secundrio, Universitrio Mediante escolha at 3 instituies, ns preparamos um itinerrio criativo Primary to middle school, High school, University Choose 3 institutions we will organize a creative itinerary for your visit. Mais info More Info p. 86

6. Museu do Teatro Romano Ptio do Aljube, 5 1100-059 Lisboa + 351 218 820 320 10:00 13:00 14:00 18:00 Encerra Seg Feriados Closed Mon Holidays Entrada Gratuita Free Admission 7. Museu das Artes Decorativas Portuguesas FRESS Largo das Portas do Sol, 2 1100-411 Lisboa + 351 218 881 991 10:00 17:00 Encerra Ter Closed Tue Elctrico Tram 28, 12 Autocarro Bus 737

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Divididas por vrios ncleos em diferentes espaos, a exposio Sidelines vai integrar coleces privadas, captadas local e internacionalmente, no seio de museus e instituies lisboetas menos conhecidos do grande pblico. O facto da cidade possuir um surpreendente vasto nmero de espaos desta natureza uma herana da sua longa histria enquanto centro de trfego e transaces comerciais. A juntar e organizar os seus pertences desde os tempos Romanos, foi na era ps-terremoto de 1755 que os cidados de Lisboa comearam a colocar os seus esplios em exposio. Hoje em dia, as coleces da cidade cobrem um largo espectro, desde ferramentas pr-histricas em pedra lascada a instrumentos das cincias exactas. O itinerrio de Sidelines estende-se desde o Museu Geolgico a Oeste at ao Museu de Artes Decorativas a Este, passando pelo Museu da Farmcia, Biblioteca Municipal Cames, Museu de So Roque e Museu do Teatro Romano. Fazendo eco da diversidade destas instituies, as coleces provm de vrias fontes, incluindo curadores, artistas, designers, autores, crianas e animais. Entre outras, vai incluir um esplio de capas de lbuns em vinil obsessivamente coleccionadas, um acervo de revistas construdo ao longo de vrios anos, um acarinhado conjunto de vernizes de unhas e uma srie de paus farejados e descobertos custa de muito empenho. O processo de casar as coleces com as instituies girou em torno de necessidades de igual grandeza: construir uma argumentao, levar os visitantes de Lisboa num priplo por alguns dos seus pontos mais singulares e criar um roteiro agradvel. Controvrsia, pragmatismo e lirismo todos foram convocados no desenho deste projecto. Reflectindo o perfeito alinhamento destes valores, o itinerrio de Sidelines segue o do popular elctrico n28. Convidando os visitantes a desfrutar de justaposies inesperadas, Sidelines questiona noes de valor e utilidade em relao ao acto de coleccionar. Curiosidade e obsesso. Pedagogia e vaidade, o desejo de preservar ou o medo da perda irreparvel: os impulsos que movem os coleccionadores so numerosos e complexos.

De igual modo, quando acumuladores compulsivos saem da esfera privada para publicamente doar os seus bens a museus, ou mesmo fundar instituies prprias, as suas motivaes sero mltiplas e ambguas. De modo geral, enquanto a misso educativa e a construo de uma narrativa histrica so considerados objectivos vlidos e teis, a compulso ou competitividade comum entre os coleccionadores so vistos numa luz bastante menos favorvel. A realidade que variantes destes impulsos coexistem na maioria dos coleccionadores, quer se trate de indivduos ou entidades. Igualmente significante, Sidelines prope-se explorar a forma como o esprito das coleces tende a transformar-se com o tempo, medida que objectos outrora tidos como banais ganham valor monetrio mas tambm simblico e o lixo de uma era se converte nos tesouros de outra. Os visitantes podero acompanhar o percurso de Sidelines num mapa especialmente desenhado que, para alm de indicar os ncleos expositivos, assinalam locais de interesse que incluem instituies bem como lojas, bares e cafs. Emily King

The multiple-venue exhibition Sidelines will place a number of private collections, sourced both locally and internationally, within a selection of Lisbons numerous small museums and institutions. That the city has an unusually large number of such places is a legacy of its long history as a center of trade and exploration. Amassing and arranging their possessions since Roman times, in the era after the 1755 earthquake Lisbons citizens began to put their holdings on display. These days the citys collections encompass everything from stone-age flints to exquisitely painted pottery and religious artifacts to the tools of hard science. The route of Sidelines will run from Museu Geolgico in the west to the Museu das Artes Decorativas in the east, passing by the Museu da Farmcia, the Biblioteca Municipal Cames, Museu So Roque and the Museu do Teatro Romano. Echoing the variety of these institutions, the collections will come from a range of sources, including curators, artists,

designers, writers, children and animals. They will include an obsessively acquired holding of album covers, a long-hoarded stock of magazines, a treasured store of nail polish and a meticulously hounded down set of sticks. The process of pairing collections and institutions has revolved around the equal necessities of building an argument, taking visitors to some of Lisbons most interesting spots and creating a pleasurable route. Polemic, pragmatism and poetics have all come into play. Representing the perfect alignment of these values, the itinerary of Sidelines follows that of Lisbons celebrated No. 28 tram. As well as allowing visitors to savour unlikely juxtapositions, Sidelines will raise questions about value and use in relation to collecting. Curiosity and obsession, pedagogy and vanity, the will to preserve and the fear of loss: the forces that drive collectors are numerous and complex. Similarly, when private hoarders go public and donate their possessions to museums, or even start institutions of their own, their motives are likely to be multiple and ambiguous. Generally, while education and the writing of history are viewed as worthy, useful goals, the compulsion and competitiveness common among collectors are seen in a less positive light. In truth, however, variations on these impulses coexist within most individual collectors and collecting bodies. Significantly the exhibition will explore the way in which the spirit of collections tends to change over time, as objects that were once seen as worthless become pricey and the trash of one era is transformed into the treasures of the next. Visitors will be able to follow the route of Sidelines on a especially designed map, which, as well, as showing the exhibition venues will mark other spots of interest including other institutions and certain shops, bars and cafes along the way. Emily King

Emily King (GB) Emily King trabalha em Londres como historiadora de design, focando-se na escrita e curadoria. Os seus livros incluem Robert Brownjohn: Sex and Typography (2005) e C/ID: Visual Identity and Branding for the Arts (2006), e em 2003 editou a monografia de Peter Saville Designed by Peter Saville. Emily j comissariou vrias exposies, entre elas a retrospectiva do designer grfico ingls Alan Fletcher para o Design Museum em Londres, e a exposio Wouldnt it be nice: wishful thinking in art and design para o Centre dArt Contemporain em Genebra. Em 2009 comissariou Quick, Quick, Slow uma exposio que explora o modo como os designers grficos tm representado e evocado a dimenso do tempo, para a EXD09. Actualmente colabora com o colectivo de design grfico londrino GTF num livro sobre os parisienses M/M. Emily King escreve para uma seleco eclctica de revistas internacionais incluindo Frieze, The Gentlewoman e Apartamento. Emily King is a London-based design historian who concentrates on writing and curating. Her books include Robert Brownjohn: Sex and Typography (2005) and C/ID: Visual Identity and Branding for the Arts (2006), and in 2003 she edited the Peter Saville monograph Designed by Peter Saville. She has curated a number of exhibitions, among them a career retrospective of the British graphic designer Alan Fletcher for London Design Museum, the interdisciplinary exhibition Wouldnt it be nice: wishful thinking in art and design for the Centre dArt Contemporain in Geneva and Quick, Quick, Slow an exhibition about the relationship between graphic design and time for EXD09 in Lisbon. She is currently writing a book about the Parisian design team M/M. Emily King contributes to an eclectic selection of international magazines including Frieze, The Gentlewoman and Apartamento.

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UTILITAS INTERRUPTA
UM NDICE INFRA-ESTRUTURAL DE AMBIES POR CUMPRIR AN INFRASTRUCTURAL INDEX OF UNFULFILLED AMBITIONS 1 OUT 27 NOV
Conversas Temticas Thematic Talks Ensino Superior, Profissionais, Pblico Geral University, Professionals and the audience at large Curador Curator Joseph Grima Bilhetes venda Tickets for sale p. 123 5 NoV Arquitecturas sem uso. Da vaidade enquanto prova de uma ideologia Useless Architectures. Vanity as proof of an ideology 12 NoV Arquitecturas do infortnio econmico e da catstrofe natural. Architectures of the economic breakdown and natural catastrophes 19 NoV Arquitecturas falidas dos ideais dignos e obsoletas pela fora indomvel do progresso tecnolgico Architectures of failed and honorable ideals by the technological progress Visitas Orientadas + Oficinas Guided tours Ens. Bsico, Secundrio, Universitrio Primary to middle school, High school, University Mais Info More Info p.86

Curador Associado Associate Curator Elian Stefa

Design Grfico Graphic Design Neil Donnelly

Fundao Arpad Szenes Vieira da Silva Praa das Amoreiras, 56 1250-020 Lisboa + 351 213 463 915 10:00 18:00 Encerra Ter, Feriados Closed Tue, Holidays Museu da Me dgua Travessa das Amoreiras, 10 1250-020 Lisboa 10:00 18:00 Encerra Dom Closed Sun Jardim das Amoreiras Praa das Amoreiras 1250-020 Lisboa Autocarro Bus 706, 709, 758, 720, 727, 738 Metro Subway Rato

Com contribuies With contributions Haubitz+Zoche, Ulrich Pohlmann, Armin Linke, Bogdan Stojanovic, Gaia Cambiaggi, Jessica Russell, Noah Sheldon, Geoff Manaugh, Elian Stefa, Alicja Dobrucka, Grgoire Basdevant, Bruce Sterling, Ivan Kuryachiy, Igor Kuznetsov, Igor Sharovatov, Nicola Twilley, Sergey Kulikov, Minkoo Kang, Bertin & CIE

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O derradeiro defeito dos projectos o de morrerem remete-nos para os seus princpios: estavam condenados partida porque alguns engenheiros loucos confundiram sonhos com realidade. [...] Sim, tens de reler o teu Hegel porque, como sabes, a realidade tecnolgica no racional e no vale a pena racionaliz-la depois do facto consumado. Bruno Latour, ARAMIS or the love of Technology. Desde o incio dos tempos, os maiores sonhos, desafios e realizaes do ser humano materializaram-se em obras de infraestrutura. Dos sistemas hidrulicos babilnicos aos arquiplagos criados por geo-engenharia no sculo XXI, as grandes obras de infraestrutura representam o auge da complexidade e realizao arquitectnica e muitas vezes, por virtude da sua esmagadora dimenso, tornam-se na expresso tangvel do desenvolvimento, ambio e poderio de uma cultura. Canais, centrais elctricas, fortificaes, terras conquistadas gua por aterros, aquedutos, aceleradores de partculas, pontes suspensas, represas: as infraestruturas so vistas, no injustificadamente, como o registo das concretizaes colectivas de uma sociedade, sendo ainda a referncia histrica da viso dos seus lderes. Sob o peso de tamanha e portentosa responsabilidade, a infraestrutura acaba inevitavelmente por imortalizar os mais catastrficos falhanos da sociedade. Estes descalabros esto bem presentes nossa volta: o coitus interruptus infraestrutural do projecto de estimao de um poltico, interrompido por uma crise financeira; as infames cidadesfantasma da China ou os centros comerciais abandonados da Amrica; os esqueletos de beto de hotis inacabados espalhados das

margens do Mar Vermelho; os 3,400 aeroportos construdos nos anos 70 e 80 por toda a antiga Unio Sovitica e que esto hoje ao abandono, vtimas da obsesso da economia de mercado com a centralizao. No entanto, o fracasso pode ser to revelador quanto o sucesso. Utilitas Interrupta prope-se examinar de perto obras infraestruturais que j no satisfazem o pr-requisito Vitruviano da utilidade: projectos outrora celebrados e agora esquecidos, recordaes de um optimismo longnquo (ou talvez nem tanto), que permanecem escondidas vista de todos, apagadas como que por magia da conscincia colectiva apesar das suas propores abissais. Como cicatrizes indelveis gravadas na paisagem, estas estruturas so os repositrios de histrias esquecidas de zelo e paixo, votadas ao esquecimento para depois serem postas de parte como amantes que j no conseguem agradar. Esta exposio investiga dezassete case-studies recolhidos transversalmente em vrios pontos no tempo e no espao. A infraestrutura tornada obsoleta pela fora indomvel do progresso tecnolgico; a infraestrutura da parania, por definio sem uso; a infraestrutura da vaidade, sem finalidade excepto enquanto prova da sua prpria existncia; a infraestrutura falida dos ideais dignos e das intenes por cumprir; a infraestrutura delapidada do infortnio e da catstrofe; a infraestrutura do absurdo, do cmico e do trgico, histrias de gestos hericos onde a cura reconhecidamente pior que a doena. Se a paisagem o pano de fundo contra o qual se encena a epopeia da histria, estas cicatrizes infraestruturais so uma forte e lcida advertncia de que a histria tal como a conhecemos apenas um dos inmeros - e igualmente fascinantes - enredos possveis. Joseph Grima

The ultimate defect of projectsthey die takes us back to their beginnings: they were condemned from the start because some crazy engineers had mistaken dreams for reality. [] Yes, you have to reread your Hegel because, you know, technological reality isnt rational, and its no good rationalizing it after the fact. Bruno Latour, ARAMIS or the love of Technology Since the dawn of time, mans greatest dreams, challenges and, ultimately, accomplishments have materialised in works of infrastructure. From Babylonian hydraulics to the geoengineered archipelagos of the twentyfirst century, great infrastructural works represent the apex of design complexity and achievementand often, by virtue of their sheer magnitude, the most tangible expression of a cultures development, ambition and might. Canals, power plants, fortifications, reclaimed lands, particle accelerators, aqueducts, suspension bridges, dams: infrastructure is justifiably held up as the register of societys collective accomplishment and the historical benchmark of its leaders enlightenment. Encumbered with such momentous responsibility, infrastructure inevitably also comes to immortalise societys most catastrophic failures. Such debacles surround us: the infrastructural coitus interruptus of countless politicians pet projects, stalled by a myriad of financial crises; Chinas infamous ghost cities and Americas abandoned shopping malls; the abandoned concrete carcasses of unfinished hotels scattered along the banks of the Red Sea; the 3,400 airports built in the

70s and 80s throughout the former Soviet Union that today lie abandoned, victims of the market economys relentless drive towards centralisation. Yet failure can in itself be as revealing as success. Utilitas Interrupta sets out to closely examine infrastructural works that no longer satisfy the Vitruvian prerequisite of usefulness: projects once celebrated and now forgotten, reminders of a long-gone (or not so long-gone) optimism that lie concealed in plain sight, magically erased from collective consciousness despite their often gargantuan proportions. Like scars indelibly etched into the landscape, these structures are the repositories of forgotten stories of zeal and passion, neglected then swept aside like lovers no longer able to please. This exhibition investigates seventeen case studies, transversally sampled from various points in time and space. Infrastructure rendered obsolete by the indomitable pressure of technological progress; the infrastructure of paranoia, useless by definition; vanity infrastructure, purposeless except as proof of its own existence; the foiled infrastructure of honourable ideals and unfulfilled intentions; the dilapidated infrastructure of misfortune and catastrophe; the infrastructure of the absurd, the comical and the tragicstories of heroic deeds in which the cure is recognised as worse than the disease. If the landscape is the backdrop against which the epic of history is acted out, these infrastructural scars are a forceful reminder that history as we know it is but one of the many possibleand equally compelling storylines. Joseph Grima

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Joseph Grima (GB) Joseph Grima (n. 1977) arquitecto pela Architectural Association de Londres. A sua carreira internacional tem sido dedicada curadoria, ensaio, crtica e investigao nos campos da arquitectura, arte e design. Entre 2007 e 2010 foi responsvel pela Storefront for Art and Architecture, a famosa galeria nova-iorquina que promove novos pensamentos nas reas da arquitectura, arte e design. Enquanto curador e investigador independente tem desenhado e organizado instalaes para eventos e instituies de prestgio internacional como a Bienal de Arquitectura de Veneza, a Bienal de Arquitectura e Urbanismo de Shenzhen/ Hong Kong ou o Museu de Desenho Urbano de Pequim. Grima tem leccionado arquitectura em diferentes instituies como o Instituto Strelka de Media, Arquitectura e Design em Moscovo e na Universidade de Trondheim na Noruega. Na rea editorial tem contribudo para inmeros livros e publicaes e autor de Instant Asia (Skira, 2007), uma perspectiva crtica sobre o trabalho de jovens estudantes de arquitectura na sia ou Shift: SANAA and the New Museum (Lars Mller, 2008). Foi correspondente especial da revista Abitare, e publicou diversos ensaios e artigos em meios internacionais como AD, Domus, Tank, Urban China, Volume ou o jornal italiano il Sole 24. Desde Abril de 2011 editor da Domus. Joseph Grima (b. 1977) studied architecture at the Architectural Association in London, and since then has pursued an international career as a curator, essayist, critic and researcher in the fields of architecture, art and design. Between 2007 and 2010, he directed Storefront for Art and Architecture, the New York gallery which is globally renowned for promoting new trends in architecture, art and design. Since April 2011, he has been the editor of Domus. As a curator and independent researcher, he has designed and planned installations for events and institutions of international significance, including the Venice Architecture Biennial, the Shenzhen/ Hong Kong Biennial of Urbanism and Architecture, and the Beijing Museum of Urban Planning. He is the author of several books, including Instant Asia (Skira, 2007), a critical overview of work by young and emerging architecture students in Asia, and Shift: SANAA and the New Museum (Lars Mller, 2008); he has also contributed to a range of other books and publications. He has taught architecture at several university institutes, including the Strelka Institute for Media, Architecture and Design (Moscow) and Trondheim University (Norway). As special correspondent for Abitare, he has published essays and articles in a large number of international magazines, including AD, Abitare, Domus, Tank, Urban China and Volume, as well as in the Italian newspaper il Sole 24 Ore.

Elian Stefa (AL) Elian Stefa um arquitecto albanscanadiano licenciado em 2009 e que vive em Milo. Co-fundador de Concrete Mushrooms Project uma abordagem territorial autnoma que visa a re-avaliao e transformao de 750,000 bunkers abandonados na Albnia. A iniciativa deu origem a uma organizao sem fins lucrativos de promoo cultural e de turismo sustentvel. Actualmente curador e investigador, tendo colaborado em diversas exposies na La Triennale di Milano, Officine Grandi Riparazioni Torino, Helsinki Museum of Cultures, Strelka Institute, e Harvard GSD. Os seus trabalhos foram publicados na Domusweb e Abitare. Elian Stefa is a Milan based AlbanianCanadian architect. He graduated in 2009 by co-founding the Concrete Mushrooms Project- an autonomous territorial project with the aim of reevaluating and transforming the 750,000 abandoned bunkers in Albania. The initiative has since become a non-profit organization promoting cultural planning and sustainable tourism. He currently works as a curator and researcher, having collaborated on exhibitions at La Triennale di Milano, Officine Grandi Riparazioni Torino, Helsinki Museum of Cultures, Strelka Institute, and the Harvard GSD; his published works have been featured in Domusweb and Abitare.

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USELESS?
UMA PERSPECTIVA EXPLODIDA AN EXPLODED VIEw A PROCURA THE wANDERING PAIN 2 OUT - 27 NOV
Visita + Oficina Workshop tours A inutilidade est nos olhos de quem v Useless is in the eyes of the beholder 1 e 2 ciclo 1st to 8 th grade Como se define o grau de utilidade dos objectos? Vamos inventar e construir um par de culos para ver paisagens minimalistas ou um relgio que conte espao em vez de tempo. How do you evaluate object s usefulness? Lets imagine and create a pair of glasses to see minimalist landscapes, or a clock that counts space instead of time. Visitas orientadas Guided tours Ens. Bsico, Secundrio, Universitrio Primary to middle school, High school, University Mais info More info p.86

Uma Perspectiva Explodida An Exploded View Curador Curator Jonathan Olivares

A Procura The Wandering Pain Curador Curator Max Bruinsma & Hans Maier-Aichen

Design Grfico e de Exposio Graphic and Exhibition Design Jonathan Olivares Design Research

Curador assistente Assistant Curator Matthias Leipholz

Curador assistente Assistant Curator Jerme Nelet

Design de Exposio Exhibition Design Antnio Pedro Louro, Gonalo Prudncio, Pedro Ferreira e Rita Joo

Criadores representados Represented designers Achille Castiglioni, Enzo Mari, Ettore Sottsass, Karim Rashid, Konstantin Grcic, Mark Gonzales, Patricia Urquiola, Patrick Jouin, Philippe Starck

Design Grfico Graphic Design Viveusbio

Entrada Gratuita Free admission

GERARD VAN HEES

Criadores representados Represented designers Alessandro Mendini, Atelier Van Lieshout, Barbara Visser, Constantin Boym, Daniel Eatock, Hans MaierAichen, Hella Jongerius, Jaime Hayon, Julia Lohmann, Jurgen Bey, Karen Ryan, Katharina Wahl, Marc Newson, Marcel Wanders, Marijn Van Der Poll, Marti Guix, Michele de Lucci, Philippe Starck, Ron Arad, Stephane Barbier Bouvet, Stefano Giovannoni, Tejo Remy, Tord Boontje

MUDE - Museu do Design e da Moda.Coleco Francisco Capelo Rua Augusta, 24 1100-053 Lisboa Ter - Qui e Dom Tue - Thu and Sun 10:0020:00 Sex - Sb Fri - Sat 10:0022:00 Encerra Seg Closed Mon Elctrico Tram 15E, 18E, 25E Autocarro Bus 709, 711, 745, 36, 44, 714, 732, 740, 759, 760, 781, 782, 790, 794 Metro Subway Baixa-Chiado

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Fruto de dcadas de uma produo altamente especializada para responder s necessidades de um quotidiano cada vez mais complexo, vivemos cercados de milhares de objectos cuja utilidade est hoje mais que nunca em causa. A crise dos mercados, a problemtica energtica, a nova tica da sustentabilidade econmica, social e ambiental, esto a empurrar a sociedade contempornea para um questionamento aprofundado daquilo que , finalmente, til. E por til entenda-se necessrio, pertinente, passvel de cumprir uma funo. Quase automaticamente, esta condio ou estado de til convertida em apreciaes ticas ou de um moralismo projectual o til bom, positivo, uma mais-valia, pertinente e desejvel. Por outro lado, o raciocnio contrrio condena o sem uso com a mesma facilidade com que louva o til; a prpria palavra intil carregada de uma conotao to negativa quanto irredimvel. Mas se em abstracto esta lgica parece linear e facilmente aceite, tal no o caso quando a transportamos para o campo dos objectos, para os processos de escolha e deciso que lhes so subjacentes e que, em ltima anlise, moldam os gestos, instrumentos e hbitos do nosso quotidiano. Existir um sistema universal, uma mtrica da utilidade? Se sim, quem a elaborou e como aplic-la? A exposio Useless? apresenta em paralelo duas narrativas curatoriais que exploram estas questes numa tentativa de esboar uma anatomia do uso.

Autnomas mas potencialmente complementares, ambas partem de uma anlise penetrante dos objectos enquanto principais sujeitos do juzo de utilidade, reflectindo perspectivas polarizadas. Useless? Uma Perspectiva Explodida, de Jonathan Olivares (US), centra-se nos efeitos e impactos dos objectos, na sua gnese e operacionalizao junto de indivduos e contextos, enquanto Useless? A Procura da dupla Hans Maier-Aichen (DE) e Max Bruinsma (NL) expe e critica as lgicas tirnicas da economia de mercado e como estas na realidade ditam, em vez de seguir, a funcionalidade intrnseca dos objectos e utilidade da decorrente. Situando-se na gnese do objecto, A Procura denuncia a forma como o processo projectual est constrangido por previses e clculos de natureza financeira dos quais a utilidade se torna uma funo. Por seu turno, Uma Perspectiva Explodida centra-se na fase posterior da sua existncia, analisando o desempenho e repercusso alargada do objecto enquanto unidade funcional e material num contexto espacial e temporal. Useless? coloca vrias questes, pondo em causa a utilidade e a sua relao com a funcionalidade e a relevncia real ou fabricada dos objectos que nos rodeiam.

As a result of decades of highly specialized production to meet the needs of an increasingly complex daily life, we live surrounded by thousands of objects whose usefulness is now more than ever in question. The global market crisis, the looming energy crisis, the new ethos of economic social and environmental sustainability, are pushing contemporary society towards a thorough inquiry of what is ultimately useful, i.e., necessary, relevant, fit to fulfill a function. Almost automatically, this condition or state of usefulness is converted into ethical judgments or a design morality useful is good, positive, it represents added value and is therefore desirable. On the other hand, the opposite reasoning condemns the useless with the same ease with which it praises the useful; the word useless itself is charged with a connotation that is as negative as it is irredeemable. But if, abstractedly, this logic appears linear and easily accepted, this is not the case when we apply it to the field of objects, to their underlying processes of choice and decision and that, ultimately, shape the gestures, instruments and habits of our everyday existence. Is there a universal system, a measure of usefulness? If so, who came up with it and how is it applied?

The exhibition Useless? presents two parallel curatorial narratives that explore these issues in an attempt to outline a sort of anatomy of use. Autonomous but potentially complementary, both set out from a penetrating analysis of objects as the main subjects in the judgment of usefulness, reflecting polarized perspectives. Useless? An Exploded View, curated by Jonathan Olivares (US), focuses on the effects and impact of objects, their inception and operativeness with different individuals and contexts. Useless? The Wandering Pain curated by Hans Maier-Aichen (DE) and Max Bruinsma (NL) exposes and critiques the tyrannical imperatives of market economy and how they dictate, instead of following, the intrinsic functionality and ensuing usefulness of objects. Situated at the objects inception, The Wandering Pain denounces the constraints placed upon the design process by revenue calculations and expected market success, of which usefulness becomes a derivation. An Exploded View centers on the previous stage of the objects existence, surveying their performance and extended repercussion as a functional and material units within a given time-space context. Useless? questions usefulness and its relation with functionality and relevance real or fabricated of the objects that surround us.

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JO N AT H A N O L I VA R E S ERIC RAY DAVIDSON

Jonathan olivares (US) Jonathan Olivares (n. 1981) licenciado em design industrial no Pratt Institute em 2004, aps ter estudado design e gesto na New School University. Em 2006 fundou o seu prprio estdio, o Jonathan Olivares Design Research (JODR), que conta entre os seus clientes com importantes fabricantes de mobilirio e iluminao contemporneos, museus de arte e design ou editoras de design e arquitectura. Em 2008 e 2009 os produtos Smith e Territorio de JODR foram nomeados para o prestigiado prmio italiano Compasso doro e em 2010 foi atribuda JODR uma bolsa de pesquisa da Graham Foundation de Chicago para estudo de espaos de trabalho exteriores. Olivares tem dirigido workshops na CAL em Lausanne, e tem participado como designer convidado no mestrado em Designed Objects da School of the Art Institute de Chicago. Em 2011 o primeiro livro sobre o trabalho do seu estdio, a Taxonomy of Office Chairs, documentando a evoluo da cadeira de escritrio, foi publicado pela Phaidon. Jonathan Olivares (b. 1981) graduated from Pratt Institutes industrial design program in 2004, after having studied design and management at the New School University. In 2006 he established Jonathan Olivares Design Research (JODR), an office dedicated to industrial design, exhibitions, and design related research and writing. The offices clients include leading producers of contemporary furniture and lighting, distinguished museums for design and art, and publications on design and architecture. In 2008 and 2009 JODR products Smith and Territorio were nominated for Italys prestigious Compasso dOro prize, and in 2010 JODR received a research grant from the Graham Foundation in Chicago for a study on outdoor workspaces. Olivares has taught design workshops at CAL in Lausanne, Switzerland and has been a guest designer in the School of the Art Institute of Chicagos Designed Objects MFA program. In 2011 the offices first book, A Taxonomy of Office Chairs, which documents the evolution of the office chair, was published by Phaidon Press.

Max Bruinsma (NL) Max Bruinsma editor da Items magazine, Amsterdo, e antigo editor da Eye, the international review of graphic design, Londres, tendo escrito para vrias publicaes de arte e design em todo o mundo. Tem sido conferencista nas reas de design grfico contemporneo, novos media e cultura visual e orador em escolas de arte e congressos por todo o mundo. Max Bruinsma v os designers como agentes culturais crticos, ao invs de neutros solucionadores de problemas. Max Bruinsma is editor of Items design magazine, Amsterdam, and former editor of Eye, the international review of graphic design, London. His critical writings have been featured in art and design journals worldwide. A lecturer on contemporary graphic and new media design and visual culture, he has presented at art schools and congresses throughout the world. Max Bruinsma views designers as critical cultural agents, rather than neutral problem solvers.

Hans Maier-Aichen (DE) Hans Maier-Aichen estudou pintura e escultura na Alemanha, Frana e nos EUA. Viveu em Florena e Roma entre 1972 e 1974, em consequncia de ter recebido os Prmios VillaRomana e Villa Massimo. Em 1983 fundou a marca de design Authentics. membro do comit de gesto do German Design Council, professor convidado na Saint Martins College of Art & Design, University of the Arts em Londres e professor de Design de Produto na Staatliche Hochschule fr Gestaltung Karlsruhe, na Alemanha. Participou em diversas publicaes e foi membro do comit consultivo e co-curador da publicao Spoon, 100 designers internacionais da Phaidon Press. Foi responsvel pela curadoria de vrias exposies como Lapse in Time para a EXD09 em Lisboa e o Festival de Design Anual em Lodz / Polnia. Hans Maier-Aichen realiza frequentemente workshops e conferncias em escolas de design chinesas. Em 2008 tornouse professor convidado da China Academy of Arts em Hangzhou. Em 2009 publicou o livro sobre jovens designers emergentes New Talents - State of the Arts com a avedition, Estugarda, que se tornou um marco e livro de referncia das actividades de design interdisciplinares. Recentemente foi convidado pela empresa txtil dinamarquesa Kvadrat para ser co-curador do projecto Hallingdal 65, desafiando designers emergentes da Europa, sia e dos EUA, que ser inaugurado em Milo em 2012. Hans Maier-Aichen studied painting and sculpture in Germany, France and in the USA. Two renowned fine art awards Villa-Romana and Villa Massimo, allowed him to live in Florence and Rome from 1972 to 1974. In 1983 he founded the design label Authentics. He is a member of the steering committee of the German Design Council, a visiting professor at Saint Martins College of Art & Design, University of the Arts in London and professor of Product Design at the Staatliche Hochschule fr Gestaltung Karlsruhe. In addition to his other publications he was a member of the advisory committee and co-curator for the publication of Spoon, 100 international designers, by Phaidon Press. In the last years he has curated various exhibitions such as Lapse in time for the EXD09 Bienniale in Lisbon and with the Annual Design Festival in Lodz/Poland. Hans Maier-Aichen established regular workshops and lectures with Chinese design schools. In 2008 he became a visiting professor at the China Academy of Arts in Hangzhou/China. In 2009 he published a book about young emerging designers, New Talents State of the Arts with avedition, Stuttgart which became a landmark and reference book for bordercrossing design activities. The Danish textile company Kvadrat invited him to be co-curator of Hallingdal 65 project, challenging emerging designers from Europe, Asia and the USA, which will be inaugurated in Milano in 2012.

HANS MAIER-AICHEN REGINE MAIER AICHEN

MAX BRUINSMA LISA KLAPPE

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FERNANDO BRZIO
DESENHO HABITADO INHABITED DESIGNS 29 SET - 27 NOV
Por ocasio da EXD11/Lisboa e no mbito da direco curatorial do Palcio Quintela, a experimentadesign inaugura a srie programtica Dont Look Back. Celebrar e dar a conhecer em profundidade o trabalho de alguns dos mais importantes designers contemporneos o seu principal objectivo. On the occasion of EXD11 and as part of the curatorial direction of Palcio Quintela, experimentadesign inaugurates Dont Look Back. This programme series celebrates and offers an in-depth approach to the work of some of the most important contemporary Portuguese designers.

Visita + Oficina Workshop tours Trompe loeil Ensino Secundrio e Universitrio High School, University Esta Visita Temtica examinar conceitos especficos, ajudando os participantes a contextualizar, interpretar e reflectir os contedos expostos. This thematic tour will examine the main themes and concepts of this exhibition, in order to contextualize, think and interpret in a more specialized way. Visitas orientadas Guided tours Ens. Bsico, Secundrio e Universitrio Primary to middle school, High school, University Mais info More info pg.86

Entrada Gratuita Free admission

Curador Curator experimentadesign

Integrado na Programao do Palcio Quintela Integrated in the Palcio Quintela Programme

Contribuies Booklet Booklet Contributors Delfim Sardo, Filomena Silvano, Lus Miguel Oliveira, Susana Gaudncio, Vera Sacchetti

Antigo Convento da Trindade Rua Nova da Trindade, 20 10:00 20:00 Encerra Seg Closed Mon Elctrico Tram 28E Autocarro Bus 1, 202, 758, 790 Metro Subway Baixa-Chiado

PA U L A M E L N E O

Contribuies Vdeo Video Contributors Joao Pombeiro, Ruy Otero, Salom Lamas, Miguel Duarte, Gustavo Maia

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EMANUEL BRS

Fernando Brzio: Desenho Habitado constitui a primeira retrospectiva do mais conhecido designer portugus da actualidade. A sua produo consistente e conscientemente trabalhada, exposta e publicada nacional e internacionalmente, assenta na relao desafiante entre objecto e utilizador, e na criao de projectos multidimensionais que no se esgotam numa nica funo ou leitura. Esta exposio vai proporcionar uma viso intimista e pouco convencional deste designer. Compreendendo o perodo integral da sua actividade desde 1993, apresenta vrios projectos em diferentes estdios de desenvolvimento e os seus processos de criao, mas tambm pormenores biogrficos, entrevistas documentais (realizadas pela filha, a realizadora Salom Lamas), filmes que o inspiram e livros. A exposio integra assim mltiplos formatos como animaes, desenhos originais, catlogos, fotografias, maquetas e, claro, objectos, a par de contedos vdeo e textos de especialistas de diferentes reas. Constituindo um marco na sua carreira, retrata no mbito expositivo um espao e tempo to vastos quanto complexos. O espao o atelier, laboratrio, armazm, arquivo e sala de ensaios, e o habitat de trabalho ser trazido para o Antigo Convento da Trindade, com os objectos coleccionados, os moldes e desenhos, os subprodutos e acidentes da actividade projectual. Esta perspectiva refora a importncia do processo e da explorao material, do qual o objecto um resultado, mas no a validao ltima. De igual modo, a exposio atravessa um largo espectro temporal, juntando objectos de que nunca antes coexistiram, como projectos de faculdade, peas para colectivas de artes plsticas, peas nicas nunca antes mostradas, exemplos de cenografia e design de exposio e ainda projectos inditos em finalizao e outros desenvolvidos propositadamente para esta exposio. A polissemia da obra de Fernando Brzio traduz uma riqueza conceptual que acompanha a sua prtica desde o desenho instrumento projectual incontornvel e, na sua ptica, prtica transformadora da realidade e do sujeito que o realiza. Consciente do papel do designer enquanto construtor de um mundo artificial que o ser humano vai habitar, Brzio

trabalha os objectos enquanto suportes de relaes com o corpo, atravs da quais experienciamos a realidade. Esta intuio sensvel informa projectos onde o humor, a subjectividade e a emoo se aliam a uma conscincia aguda do funcionamento dos objectos e seus utilizadores num contexto que no apenas fsico mas tambm sciocultural, poltico e econmico. A concretizao dos projectos constitui-se num processo de acumulao de valor e significado. Nele, o designer conduz um dilogo com os materiais e as oportunidades que estes ocasionam, os artesos a que recorre, as particulares dos lugares onde trabalha. nesta articulao de sensibilidades que a obra de Fernando Brzio revela o seu potencial configurador do mundo desenhado que habitamos e que, por seu turno, nos molda os gestos, o olhar, a experincia e conhecimento que dele temos.

Fernando Brzio: Inhabited Designs constitutes the first retrospective of one of the foremost Portuguese designers of today. His consistent and consciously crafted production, exhibited and published both nationally and internationally, hinges upon the challenging relationship between object and user, and the creation of multi-dimensional projects that evoke several functions and readings. This exhibition provides an intimate and unconventional look at this designer. Encompassing the entire period of his professional activity since 1993, it presents several projects in different stages of development and their respective creative processes, but also biographical notes, documentary interviews (conducted by his daughter, director Salom Lamas), films that inspire him and books. Thus, the exhibition features multiple formats such as animations, original drawings, catalogues, photographs, models, and, of course, objects. It also incorporates video content and texts by experts from different areas. Constituting a milestone in his career, it portrays in the scope of the exhibition venue, a space and time that are as vast as they are complex.

The space is the studio: lab, storage room, archive, testing ground and work habitat that will be brought to the Antigo Convento da Trindade, with its collected objects, molds and drawings, as well as the byproducts and accidents of design activity. This perspective reinforces the importance of process and material exploration, of which the object is an outcome but not the ultimate validation. Similarly, the exhibition spans a broad spectrum of time, bringing together objects that never coexisted before, such as college projects, pieces for group art exhibitions, one-offs never shown before, set and exhibition designs, brand-new, unreleased projects in their final stages of completion and pieces purposedly developed for this exhibition. The polysemy of Fernando Brzios work translates into a conceptual wealth that accompanies his practice from the initial stage of drawing a fundamental design tool practice and, for Brzio, a transformative practice that affects not just reality but also the individual engaged in it. Fully aware of the designers role as the maker of an artificial world inhabited by human beings, Brzio crafts objects as support media for relationships through which we experience reality. This sensitive intuitition informs projects where wit, subjectivity and emotion are met by a keen understanding of how objects and users work within a context that is not merely physical, but also socio-cultural, political and economic. The projects materialize through a process of cumulative value and meaning. The designer conducts a dialogue with the materials and the opportunities arising from them, the craftsmen with whom he engages, the specific circumstances of his work places. This is the richly interwoven backdrop for Fernando Brzios production and its immense potential to configure the designed world we inhabit and which, in turn, shapes our gestures, the way we look at things, our experience and knowledge.

Fernando Brzio (PT) Fernando Brzio licenciado em Design de Produto (1996) pela Faculdade de Belas Artes da Universidade de Lisboa, cidade onde vive e trabalha. Desde ento, tem desenvolvido objectos produzidos industrialmente bem como sries limitadas artesanais, a par de exposies, cenrios e espaos interiores e exteriores para empresas e entidades como Droog, Schrder, Torino World Design Capital, experimentadesign, Cmara Municipal de Lisboa, Il Coccio, Cor Unum, Fbrica Rafael Bordallo Pinheiro, Galerie Kreo e o coregrafo Rui Horta. Professor e coordenador do Mestrado em Design Industrial da ESAD.CR, Fernando leccionou na ECAL/cole Cantonal dArt de Lausanne e na HfG em Karlsruhe, participando em inmeras conferncias e jris em Portugal bem como no estrangeiro. Exibido e publicado internacionalmente, os seus trabalhos integram a coleco permanente do MUDE Museu do Design e da Moda em Lisboa, bem como vrias coleces particulares. Fernando Brzio graduated in Product Design (1996) from the Faculty of Fine Arts in Lisbon, where he lives and works. He has developed products for industry and small-scale handmade production, along with exhibitions, sets, interior and public spaces for companies and organizations such as Droog, Schrder, Torino World Design Capital, experimentadesign, Lisbon City Council, Il Coccio, Cor Unum, Fbrica Rafael Bordallo Pinheiro, Galerie Kreo and choreographer Rui Horta. Fernando is professor and head of the Design Product Masters degree at ESAD Caldas da Rainha. He has taught at ECAL in Lausanne, at HfG in Karlsruhe, and has been a frequent lecturer and member of juries in Portugal as well as abroad. Exhibited and published internationally, his designs are included in the permanent collection of MUDE Lisbons Museum of Design and Fashion, and several private collections.

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REDUNDNCIA
A UTILIDADE DA REPETIO THE USEFULNESS OF REPETITION 30 SET 27 NOV

Cinco estdios de design grfico foram convidados a criar intervenes urbanas site specific sob o tema Useless. Provocadas por diferentes ocorrncias de escala e volume, detalhe e vazio, elementos estruturais arquitectnicos e apontamentos decorativos, as cinco intervenes resultantes vo estabelecer um dilogo antagnico ou emptico mas sempre recproco to surpreendente e idiossincrtico quanto a prpria cidade de Lisboa.

Five graphic design studios are invited to create sitespecific urban interventions bound by the Biennales theme, in one of downtown Lisbons most central squares. Triggered by varying instances of scale and volume, detail and emptiness, architectural features and superficial embellishments, the resulting interventions will establish a dialogue with the chosen sites, which will surely be as diverse and surprising as Lisbon itself.

Entrada Gratuita Free admission

Curador Curator R2

Praa da Figueira Elctrico Tram 12E, 15E, Autocarro Bus 714, 737, 36, 44, 709, 711, 732, 740, 745, 759, 760, 790 Metro Subway Restauradores, Baixa-Chiado, Rossio Elevador Funicular Sta Justa

FRDRIC TESCHNER

Participantes Participants Conditional Design: Luna Maurer + Roel Wouters (NL) Frderic Technner (FR) Luke Morgan + Morag Myerscough (GB) Lust (NL) Sulki & Min (KR)

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R2 NELSON GARRIDO

Em 1995, Liz Defossez Ramalho e Artur Rebelo criaram o atelier de design R2. Tm desenvolvido projectos para instituies culturais, artistas contemporneos e arquitectos em reas como identidade visual, cartazes, livros, sistemas de sinaltica, instalaes grficas, bem como design de exposies. Desde 1999 tm-se dedicado ao ensino de design em vrias escolas portuguesas, alm de integrarem jris internacionais, coordenarem workshops e apresentarem conferncias em vrias universidades e congressos europeus. Actualmente, so professores convidados de Design na Faculdade de Cincias e Tecnologia da Universidade de Coimbra. Os seus projectos integraram inmeras exposies em todo o mundo e foram publicados em livros e revistas da especialidade. Membros da Alliance Graphique Internationale, o seu trabalho tem sido distinguido com vrios prmios internacionais. Artur Rebelo and Liz Defossez Ramalho founded the design studio R2 in 1995. Based in Porto, Portugal, R2 works on projects for a wide range of cultural organizations, contemporary artists and architects in areas such as visual identity, poster, book, sign system, graphic installation and exhibition design. R2 have lectured in Graphic Design since 1999 and coordinated various workshops and participated as speakers and jury members in numerous national and international events. Currently, they are invited professors at the Design and Multimedia Course at University of Coimbra. They integrated to a wide array of international exhibitions and their projects have been published in various specialized books and design magazines. R2 are members of Alliance Graphique Internationale, and their work has won numerous international distinctions and awards.

SULKI & MIN

R2 (PT)

Sulki & Min (KR)


FRDRIC TESCHNER

Frdric Teschner (FR) Sulki & Min is a collaboration between the Seoul-based graphic designers Sulki Choi and Min Choi. They studied communication design in Korea, at Chungang University and Seoul National University, respectively. Both earned their MFA degrees in graphic design at Yale University, New Haven, US. They worked as researchers in design at the Jan van Eyck Academie, Maastricht, The Netherlands, from 2003 until 2005. Since they came back to Seoul, Sulki & Min have worked mainly in cultural area, collaborating with such institutions as Arko Art Center, Insa Art Space, Gyeonggi Museum of Modern Art, Festival Bo:m, and Hyunsil Culture Studies, on the design of graphic identities, marketing materials and publications. In 2006, they held their first exclusive exhibition at the Gallery Factory in Seoul, for which they received the Art Award of the Year from the Arts Council Korea. They have participated in many group exhibitions in Korea and abroad. They were appointed as graphic designers of the BMW Guggenheim Lab. Both teach graphic design and typography in Seoul, Sulki Choi at Kaywon School of Art & Design and Min Choi at the University of Seoul. Frdric Teschner (1972) licenciouse pela Escola Nacional de Artes Decorativas de Paris em 1997 e iniciou o seu percurso profissional com Pierre di Sciullo e Pierre Bernard, antes de se estabelecer como designer grfico freelance em 2002. Desde ento, tem trabalhado regularmente com arquitectos, designers, jovens coregrafos, galerias de arte e o teatro Gennevilliers. Desde 2003 tem concebido elementos de identidade visual para diversas exposies do Centro Pompidou em Paris. Nos ltimos trs anos tem vindo a intensificar as colaboraes com museus, centros de arte e instituies sob a alada do Ministrio da Cultura Francs, tais como o Centro de Artes Plsticas (Cnap) e a Delegao de Artes Plsticas (DAP). Frdric Teschner lecciona design grfico na Escola de Artes Decorativas de Amiens e na HEAD, em Genebra. Frdric Teschner (1972) graduated from the Paris National School of Decorative Arts in 1997 and started his professional life with Pierre di Sciullo and Pierre Bernard, before striking out as a freelance graphic artist in 2002. Since then, he has worked regularly with architects, designers, young choreographers, art galleries or the Gennevilliers Theater. Since 2003, he has devised the visual identification elements for several exhibitions at the Pompidou Center in Paris. These last three years have seen increased collaboration with museums; art centers and institutions under the French Ministry for culture such as the Plastic Arts Center (Cnap) and the Plastic Arts Delegation (DAP). Frdric Teschner teaches graphic design at the Amiens School of Decorative Arts and in HEAD Genve, Switzerland.

Sulki & Min uma parceria entre os designers grficos Sulki Choi e Min Choi sedeada em Seul. Estudaram design de comunicao na Coreia, na Chungang University e na Seoul National University respectivamente. Ambos detm mestrado em design grfico pela Yale University de New Haven, nos E.U.A. Foram investigadores na Jan van Eyck Academie em Maastricht na Holanda de 2003 a 2005. Em Seul tm trabalhado essencialmente na rea cultural, colaborando com instituies como o Arko Art Center, Insa Art Space, Gyeonggi Museum of Modern Art, Festival Bo:m, ou Hyunsil Culture Studies, no design de identidades grficas, materiais de divulgao e publicaes. Em 2006 expuseram pela primeira vez a ttulo individual na Gallery Factory em Seul, recebendo o Art Award of the Year do Conselho de Artes da Coreia. Sulki & Min tm participado em inmeras exposies colectivas na Coreia e no estrangeiro e foram nomeados designers grficos do BMW Guggenheim Lab. Ambos leccionam design grfico e tipografia em Seul, Sulki Choi na Kaywon School of Art & Design e Min Choi na Universidade de Seul.

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THOMAS CASTRO - LUST

65

Luna Maurer (NL) Formada em Design Grfico, Luna Maurer trabalha como designer freelance na rea do design de interaco e de media, em Amesterdo. Debrua-se sobre os desenvolvimentos tecnolgicos que transformam os media em ambientes digitais fluidos e na busca de solues projectuais para este fenmeno. Luna aplica a sua abordagem ao desenho de ambientes, situaes e ferramentas a todos os suportes: media dinmicos (web, ferramentas, animao e vdeo), bem como materiais grficos, instalaes e performances. O seu trabalho j foi exposto no Stedelijk Museum Amsterdam, Museum de Paviljoens, Almere e London Design Museum, entre outros. Actualmente Luna Maurer, em colaborao com Jonathan Puckey, Roel Wouters e Edo Paulus, desenvolvem e debatem os seus mtodos de trabalho sob a designao Conditional Design. Trained as a Graphic Designer, Luna Maurer works as an independent designer in the field of interaction and media design in Amsterdam. Her interests lie in technological developments that change our media into fluid digital environments and finding design solutions for it. She applies her approach of designing environments, conditions and tools to all kinds of media: dynamic media (web, tools, animation and video) but also to print, installations and performances. Her work has been exhibited among others at the Stedelijk Museum Amsterdam, Museum de Paviljoens, Almere, London Design Museum. Luna Maurer currently collaborates with Jonathan Puckey, Roel Wouters and Edo Paulus, developing and discussing their working methods under the term Conditional Design.

Roel Wouters (NL) Estudou design grfico e actualmente trabalha como designer / director condicional independente nas reas da interactividade, media design e cinema. O seu trabalho foca, muitas vezes, os sistemas ou tecnologia que usamos na nossa vida diria. Aplica essa abordagem para todos os tipos de media: media dinmica (web, ferramentas, animao e vdeo), mas tambm para impresso, instalaes e performances. Juntamente com Luna Maurer, Jonathan Puckey e Edo Paulus, foi o autor do Manifesto Conditional Design, que promove a ideia de projectar condies em vez de resultados finais. Nos ltimos anos tem ensinado design interactivo e grfico na Gerrit Rietveld Academy, no Instituto Sandberg, na Yale University School of Art e no Instituto Piet Zwart. O seu trabalho tem sido exposto e mostrado em todo o mundo, em locais como o Stedelijk Museum em Amesterdo, Museum fr Gestaltung em Zurique, no Britsh Film Institute ou no Sundance Film Festival. Roel tem sido distinguido com diversos prmio no seu pas e no estrangeiro. Trained as graphic designer, Roel works as an independent conditional designer / director in the field of interaction, media design and film. His work often reflects on the systems or technology we use in our daily lives. He applies this approach to all kinds of media: dynamic media (web, tools, animation and video) but also to print, installations and performances. Together with Luna Maurer, Jonathan Puckey and Edo Paulus he has authored the Conditional Design Manifesto, that promotes the idea of designing conditions rather than end results. For the past few years he has been teaching interactive and graphic design courses at the Gerrit Rietveld Academy, the Sandberg Institute, Yale University School of Art and the Piet Zwart Institute. His work has been exhibited and screened all over the world e.g. at the Stedelijk Museum Amsterdam, Museum fur Gestaltung Zurich, Britsh Film Institute, Sundance Film Festival. Roel won several national, and international awards.

MORAG MYERSCOUGH

LUST (NL) LUST um estdio de design grfico multidisciplinar fundado em 1996 por Thomas Castro, Jeroen Barendse e Dimitri Nieuwenhuizen em Haia. LUST trabalha num vasto espectro de meios incluindo materiais grficos e design de livros, cartografia abstracta e visualizaes, novos media e instalaes interactivas e imagens de arquitectura. A metodologia projectual de LUST, de base processual ou generativa, assenta no desenvolvimento de um processo analtico que resulta num produto final que se desenha a si mesmo. Para alm disso, LUST privilegia a explorao de novos caminhos para o design na interseco dos novos media e tecnologias de informao, com sistemas urbanos e de arquitectura e design grfico. Este fascnio levou criao de um novo laboratrio de pesquisa em media e tecnologia designado LUSTlab, no Vero de 2010. LUST is a multidisciplinary graphic design practice established in 1996 by Thomas Castro, Jeroen Barendse and Dimitri Nieuwenhuizen and based in The Hague. LUST works in a broad spectrum of media including traditional printwork and book design, abstract cartography and data-visualisations, new media and interactive installations, and architectural graphics. LUSTs design methodology is process- or generative-based, founded upon the development of an analytical process which leads eventually to an endproduct that designs itself. Moreover, LUST is deeply interested in exploring new pathways for design at the cutting edge where new media and information technologies, architecture and urban systems and graphic design overlap. This fascination led to the establishment of a new researchbased media & technology laboratory dubbed LUSTlab, in the summer of 2010.

Morag Myerscough (GB) Morag Myerscough iniciou os estudos no Royal College of Art & Design tendo seguido design grfico na St Martins School of Art, em Londres. Tendo fundado o Studio Myerscough em 1993, o seu trabalho combina metodologias de design grfico formal (tipografia, concepo de imagem, teoria da cor) com tcnicas artesanais de forte cunho individual. Em 2002 abriu a galleria/loja her house. Myerscough colaboradora de longa data do Design Museum de Londres, na rea de desenho de exposies. Os seus projectos tm sido nomeados e distinguidos com inmeros prmios como o Design Week Award for Wayfinding and Environmental Graphics em 2007 e 2008. Myerscough tem sido oradora em palestras por todo o mundo e o seu trabalho encontra-se amplamente publicado. Morag Myerscough studied at the Royal College of Art & Design and graphic design at the St Martins School of Art, London. Having started Studio Myerscough in 1993, she combines formal graphic design methodologies (typography, image making, colour theory) with highly individualist craft skills. In 2002 she opened her house, gallery/ shop. Myerscough has had a long productive relationship with the Design Museum, London, designing different exhibitions. Her works have been nominated and received several awards for her work such as Design Week Award for Wayfinding and Environmental Graphics in 2007 and 2008. Myerscough lectures in UK and globally and her work is widely published.

Luke Morgan (GB) Trabalhando a partir do seu estdio em Londres, o artista Luke Morgan conhecido pela vertente humorstica da sua iconografia punk. As suas esculturas em metal e serigrafias criam tenses com as suas justaposies. Morgan escolhe e joga com palavras como Bollocks, Monarchy and King Rocker, que reflectem as suas experincias como fetichista de marcenaria, curador de rock and roll e msico psico-billy. Morgan compem e toca ao vivo com a sua banda The Highliners. Luke Morgan works from his London studio and is known as an artist with a humorous twist on punk iconography. His steel sculptures and screenprints create tensions with their juxtapositions. Morgan combines his chosen words like Bollocks, Monarchy and King Rocker which draw on his experiences as a fetish furniture-maker, rock and roll curator and psychobilly musician, Morgan also writes and performs with his band The Highliners.

LUNA MAURER

LUKE MORGAN

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LOUNGING SPACE
PROGRAMAO ESPECFICA SPECIFIC PROGRAMME MEETING POINT LIVRARIA BABEL EXD11 BOOKSHOP BAR LOUNGE INFO & PRESS CENTER TANGENCIAIS TANGENTS SPONSORS HALL LOJA STORE 29 SET - 27 NOV

Entrada Gratuita Free admission

Set-up design Lus Ferreira assistido por assisted by Renata Candeias

Antigo Tribunal da Boa-Hora Largo da Boa-Hora, 13 1200-062 Lisboa Dom - Qua Sun - Wed 10:00 22:00 Qui - Sb, Vsperas de Feriado Fri - Sat and the eve of Public Holidays 10:00 02:00 Elctrico Tram 28E Autocarro Bus 36, 44, 709, 711, 714, 732, 740, 745, 759, 760, 781, 782, 790, 794 Metro Subway Baixa-Chiado

Workshops open Day Abroad Mais info More Info pg.86

PEDRO SEIXO RODRIGUES

Programa Detalhado Detailed Programme www.experimentadesign.pt

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O Lounging Space o verdadeiro corao da Bienal e principal interface de comunicao com os seus visitantes. Dando continuidade tradio da EXD, o Lounging Space tem vindo a ocupar edifcios ou espaos pouco conhecidos do grande pblico mas de grande interesse patrimonial, arquitectnico ou histrico, em zonas emblemticas da cidade. Nesta edio, a dinmica do Lounging Space reforada atendendo s enormes potencialidades do edifcio que o acolhe, o Antigo Tribunal da Boa-Hora. Originalmente um convento, fundado em 1633, o edifcio funcionou 165 anos como tribunal, funo que viria a abandonar em 2009. Com uma localizao privilegiada na zona da Baixa-Chiado e uma atmosfera propiciadora de experincias e intercmbios enriquecedores, o Lounging Space um espao em constante movimento a redescobrir diariamente.

Estes espao-referncia funciona como uma plataforma de interaco com contedos indivduos atravs de uma Programao especfica que se mantm ao longo de 61 dias. Flexvel e multidisciplinar, integra eventos de diferentes dimenses e reas no espectro alargado da Bienal e envolvendo um conjunto crescente de interlocutores. Uma parte da Programao tem lugar nas salas multiusos, uma das quais totalmente equipada com sistema audiovisual, onde decorrem debates temticos, workshops, encontros, apresentaes, entre outros. Complementarmente a estas aces pontuais, a Programao integra iniciativas de carcter permanente. Fruto da sua visibilidade e vitalidade, o Lounging tem sido avidamente procurado como local de realizao de Tangenciais, bem como de projectos especiais da responsabilidade de instituies parceiras da Bienal.

The Lounging Space is the heart of the Biennale and its main visitor interface. Following the EXD tradition, the Lounging Space is housed in buildings that are little known or frequented by the audience at large, despite their considerable architectural and historical interest or heritage value. This year, the Loungings dynamic is further intensified by the enormous potential of the building it inhabits, the Antigo Tribunal da Boa-Hora. Originally built as a convent in 1633, it would function as Lisbons main courthouse for 165 years, until as recently as 2009. Centrally located in downtown Lisbon and boasting a unique atmosphere, the Lounging Space is the perfect spot for fulfilling experiences and exchanges, an ever-changing venue to rediscover daily.

This key hotspot it serves as a platform for interaction with both individuals and content, through a specific programme, which runs for 61 days. Flexible and multidisciplinary, it integrates events of different sizes and areas in the broad spectrum of the Biennale, involving a growing network of partners. Part of the programme takes place in multipurpose rooms, one of which is fully equipped with an audiovisual equipment, where themed discussions, workshops, meetings and presentations take place. In addition to these specific features, the Programme includes permanent initiatives. As a result of its visibility and vitality, the Lounging has been eagerly sought as a place to host Tangents as well as special projects by Biennale partners.

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CICLO DE CINEMA FILM CYCLE


NOVEMBRO NOVEMBER
O ciclo reflecte sobre diferentes abordagens possveis representao dos objectos e da sua utilizao no cinema. Procura olhar para as relaes de produo e fabrico (artesanal/industrial), os processos de transformao e finalmente o seu uso e mesmo a sua vida para l da utilidade. Inclui filmes em que se mostram objectos, talvez prximos de ns, mas no como os conhecemos: utilizados revelia da sua funo, retirados do contexto, sem reparao possvel, objectos imaginados, procurando mostrar-se a sua incoerncia funcional tal como foi reflectida de diferentes formas atravs de gneros e da histria do cinema. The cycle reflects on different possible approaches to the representation of objects and their use in film. It seeks to observe the relations of production and manufacturing (handmade / industrial), the transformation processes and finally their use and even their life beyond usefulness. It includes films that show objects, perhaps familiar to us, but not as we know them: used irrespective of their function, taken out of context, beyond repair, imagined objects, seeking to reveal their functional inconsistency as it has been echoed in varied forms throughout film genres and history.

COURTESY ANTHOLOGY FILM ARCHIVES

Programa Programme by Ricardo Matos Cabo

Cinemateca Portuguesa R. Barata Salgueiro, 39 1269-059 Lisboa Autocarro Bus 758, 773 Metro Subway Baixa-Chiado, Rato

Bilhetes venda Tickets for sale p. 123

Co-Produo Co-Production Cinemateca Portuguesa Museu do Cinema

Programa detalhado Detailed Programme www.experimentadesign.pt www.cinemateca.pt

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SEM USO USELESS


A EXD11/LISBOA aposta numa nova estratgia editorial com a publicao de um livro editado pelos crticos de design Frederico Duarte e Max Bruinsma com design de Ian Anderson, do colectivo The Designers Republic. Sem Uso um volume em formato livro de bolso que rene ensaios de 5 autores de diferentes reas, proporcionando uma viso caleidoscpica do tema desta Bienal. Em contraponto a estes textos esto breves provocaes, pensamentos ou afirmaes de muitos dos participantes das edies anteriores, abrindo a discusso e estimulando a interpretaes complementares. O lanamento ter lugar no dia 28 de Setembro no Lounging Space, marcando a abertura da Semana Inaugural da EXD11. Uma apresentao com Guta Moura Guedes e Paulo Teixeira Pinto, bem como um debate com os editores vai dinamizar o evento. Uma interveno de Ana de Macedo complementar um dos ensaios. Editado pela Babel, o livro compe-se de 400 pginas e estar venda no Lounging Space durante a Bienal.
Editor Editor Frederido Duarte, Max Bruinsma

EXD11 / LISBOA is embarking on a new editorial strategy with the publication of a book edited by design critics Frederico Duarte and Max Bruinsma, and designed by Ian Anderson of The Designers Republic fame. Useless is a volume in paperback format that includes essays from five specialists in different fields, providing a kaleidoscopic view of the Biennales theme. In counterpoint to these texts are brief provocations, thoughts or statements of many of the previous editions participants, opening up the discussion and stimulating complementary interpretations. The book launch will take place on September 28 at the Lounging Space, marking the start of the EXD11 Opening Week. An introduction by Guta Moura Guedes and Paulo Teixeira Pinto, and a discussion with the editors will be highlight of the event. An installation by Ana de Macedo complements one of the essays. Edited by Babel, this 400-page book will be on sale at the Lounging Space throughout the Biennale.

Ensaistas Essayists Denis Burgierman, Johan Redstrm, Jorge Braga de Macedo, Marta de Menezes, Ralph Caplan

Design Grfico Graphic Design Ian Anderson The Designers Republic

Participante Participant Ana de Macedo

Uma Publicao Publisher Babel EXD11/Lisboa

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ACTION FOR AGE


INTERGERACIONALIDADE INTERGENERATIONAL RELATIONS 2 OUT - 27 NOV
Brief original original Brief Royal Society for the Encouragement of Arts, Manufactures and commerce

Co-produo Co-production experimentadesign, RSA, Fundao Calouste Gulbenkian, Santa Casa da Misericrdia

Coordenao Coordination Susana Antnio (PT) Vicenzo di Maria (PT)

Design Grfico Graphic Design Marco Balesteros

Com amor se paga David Teixeira dos Santos, Diana Dias da Cruz, Francisco Quaresma Bairro, Margarida Ferreira de Pinho, Pedro Oliveira Santos, Sandra Gil Saraiva Razes Diogo Cruz Louro, Ins Vizinho da Maia, Joo Valente Silva Alves, Joo Lopes Carvalho, Joel Enes da Torre GeraCity_Viana do Castelo Fernanda Arajo, Tiago Gonalves Saber la Carte Joana Isabel Fernandes da Cunha, Mariana Pereira Novo experimenta | cultivar Joana Santos Nunes, Pedro Fris Menes Vianna Cubo Jorge Passos, Sara Vaz BECoNNECTED Jos Miguel Soares Pinto, Rita Mota Silva, Sara Silva Projecto Oficina dos Mestres Lus Flix Viana, Maria de Ftima Cerqueira
Entrada Gratuita Free admission

Documentrio Documentary Rui Simes Real Fico

Participantes Participants T(h)REE GENERATIoN Bruno Ferreira Mendes, Daniela Pereira Mata, Josiana Santos Vieira Simple Phone Carolina Vieira de Sousa, Jaime Ribeiro Martins, Samuel Nogueira Cordeiro Projecto CoR Carolina Domingues Gaspar, Joana Oliveira Ramos, Joana Moreira de Carvalho, M Beatriz Pinheiro Lacerda, Pedro Gomes Arajo, Rui Couto Ramos Chat Analgico Daniela Gapo, Melissa Borges, Samuel Lemos

Fundao Calouste Gulbenkian Av. de Berna 45A 1067-001 Lisboa 10:0018:00 Encerra Seg Closed Mon Autocarro Bus 716 / 726 / 742 / 746 / 756 Metro Subway S. Sebastio / Praa de Espanha

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Este laboratrio criativo a operar simultaneamente em Lisboa e Londres desafiou estudantes universitrios finalistas e recm-licenciados a desenhar solues que contribussem para melhorar a qualidade de vida dos idosos, com base no estabelecimento de relaes intergeracionais. Face ao envelhecimento generalizado da populao, Action for Age aborda os desafios e oportunidades de interaco enquanto meio de fomentar a coeso social, reciprocidade e envolvimento transversal, com incidncia nos idosos. Action for Age arrancou com um concurso nacional de ideias em Outubro de 2010. A Bienal EXD11 apresenta agora, na Fundao Calouste Gulbenkian, os outputs dos 12 projectos vencedores que o jri seleccionou entre os participantes de 22 escolas portuguesas. A exposio, com desenho dos coordenadores Vicenzo di Maria e Susana Antnio e design grfico de Marco Balesteros, permite envolver o pblico no desenrolar de todo o processo de trabalho. A inaugurao marcada pela projeco do documentrio realizado por Rui Simes que acompanhou

de perto a dinmica do processo e por uma conferncia de contextualizao. O objectivo da exposio fazer o ponto de situao dos projectos, onde os futuros profissionais tomaram contacto com diversas fases de trabalho, como concepo, oramentao, gesto ou acompanhamento da execuo. Uma abordagem didctica e formativa ao processo projectual, desde a reflexo elaborada sobre o programa inicial implementao da ideia, com todos os constrangimentos inerentes. Action for Age envolve um total de 45 alunos de 5 unidades de ensino (IPVC, UA, ESAD CR, FBAUL) que desenvolveram os trabalhos em 5 diferentes localidades (Viana do Castelo, Vale do Cvado, Aveiro, Caldas da Rainha, Lisboa). A exposio dos resultados abre ainda uma nova possibilidade a outros parceiros de se juntarem e apoiarem a continuidade destes projectos. Uma demonstrao do potencial do design enquanto fora impulsionadora de inovao social, mediando esforos e estreitando laos entre instituies, stakeholders no terreno e utilizadores.

This creative lab operating simultaneously in Lisbon and London challenged senior college students and recent graduates to design solutions that would contribute to improving the quality of life of the elderly, based on building intergenerational relationships. Given the widespread phenomenon of the aging population, Action for Age addresses the challenges and opportunities for interaction as a means of fostering social cohesion, reciprocity, and transversal involvement, affecting the elderly. Action for Age launched a national idea contest in October of 2010. EXD11 now presents, at the Calouste Gulbenkian Foundation, the outputs of the 12 projects selected by the jury among the entries from 22 Portuguese schools. The exhibition will engage viewers in a journey through the entire work process, which was develop throughout a 12-month mentoring programme assisted by the Action for Age coordinators. The opening is marked by the projection of the documentary directed by Rui Simes, which has followed closely the unfolding of the work process, preceded by a brief introductory conference.

The goal is to assess the current status of the projects, where there future design professionals dealt with the many phases of project development, such as design, budgeting, management or monitoring of the implementation. An educational and formative approach to the design process, from the reflection around the original brief to the implementation stage, with all its inherent challenges. Action for Age involves a total of 45 students from 5 teaching institutions (IPVC, UA, ESAD CR, FBAUL) that developed the work in five different locations: Viana do Castelo, Vale do Cvado, Aveiro, Caldas da Rainha, Lisbon. The exhibition of the outcomes also opens up new possibilities for other partners to join and support the continuity of these projects. A demonstration of designs potential as a driving force for social innovation, mediating efforts and strengthening ties between institutions, stakeholders and users on the ground.

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A aposta na criatividade e no capital humano essencial para desenvolver uma economia moderna e competitiva. A especificidade da economia criativa com a sua lgica transversal - interdisciplinar, transectorial - em que tudo est relacionado, obriga a uma nova abordagem de desenvolvimento e troca de experincias entre os vrios sectores. A experimentadesign inicia um ciclo de simpsios dedicados a este tema com vista a impulsionara capacidade de iniciativa e o empreendedorismo nacionais. O primeiro simpsio realizado em colaborao com a Embaixada do Reino Unido em Portugal e com o Trade&Investments UK, tendo entre os oradores convidados Sir John Sorrell, Presidente do London Design Festival e da The Sorrell Foundation. O evento rene dezenas de participantes oriundos de diferentes reas de actividades ligadas s indstrias criativas, de 3 principais pases: Brasil, Reino Unido e Portugal. Case de estudo, projectos de sucesso e insucesso, exemplos de plos, incubadoras ou clusters criativos so analisados sob o formato de debates, apresentaes e workshops. Em discusso estaro ainda os mtodos e barreiras do processo criativo face inovao social, bem como a sua relao com a indstria e influncia no desenvolvimento socioeconmico.

The focus on creativity and human capital is essential to develop a modern and competitive economy. The specificity of the creative economy with its transversal logic -interdisciplinary, trans-sectorial - where everything is related, calls for a new approach of development and experience exchange between the different sectors. experimentadesign initiates a series of symposia dedicated to this theme, looking to boost the spirit of initiative and entrepreneurship of Portuguese players. Organized in collaboration with the British Embassy in Portugal and Trade&Investment UK, this first symposium features among its guest speakers Sir John Sorrell, President of the London Design Festival and President of The Sorrell Foundation. The event brings together dozens of participants from different areas within the creative industry, from 3 main countries: Brazil, United Kingdom and Portugal. Case studies, successful and unsuccessful projects, examples of hubs and creative clusters are examined in the format of discussions, presentations and workshops. The methods and barriers of the creative process in the face of social innovation will also be the subject of discussion, as well as its relationship with industry and influence in the socio-economic development.

1 SIMPSIO DE ECONOMIA CRIATIVA 1ST CREATIVE ECONOMY SYMPOSIUM


13 14 OUT
Entrada Gratuita Free admission

Produo Production experimentadesign Em colaborao com In collaboration with Trade&Investment UK

Programa detalhado Detailed Programme www.experimentadesign.pt

LoUNGING SPACE Antigo Tribunal da Boa-Hora Largo da Boa-Hora, 13 1200-062 Lisboa Dom - Qua Sun - Wed 10:00 22:00 Qui - Sb, Vsperas de Feriado Fri - Sat and the eve of Public Holidays 10:00 02:00 Elctrico Tram 28E Autocarro Bus 36, 44, 709, 711, 714, 732, 740, 745, 759, 760, 781, 782, 790, 794 Metro Subway Baixa-Chiado

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RETRO/FUTURE
29 SET - 27 NOV

Entrada Gratuita Free admission

Curador Curator Eduarda Abbondanza (PT) Francisco Rocha (PT)

LoUNGING SPACE Antigo Tribunal da Boa-Hora Largo da Boa-Hora, 13 1200-062 Lisboa Dom - Qua Sun - Wed 10:00 22:00 Qui - Sb, Vsperas de Feriado Fri - Sat and the eve of Public Holidays 10:00 02:00 Elctrico Tram 28E Autocarro Bus 36, 44, 709, 711, 714, 732, 740, 745, 759, 760, 781, 782, 790, 794 Metro Subway Baixa-Chiado

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Eduarda Abbondanza (PT) Com formao em Design de Moda, colabora com vrios ateliers nacionais e internacionais, nomeadamente com Ana Salazar, Raffaella Curiel e o Teatro alla Scala em Milo. Em 1989 integra a marca Abbondanza/ Matos Ribeiro. Em 1991, nasce o projecto ModaLisboa, do qual co-autora e Presidente a partir de 2008. Desde 1992, lecciona Design de Moda da Faculdade de Arquitectura de Lisboa (UTL), na qualidade de Professora Convidada. investigadora, desenvolvendo a sua tese de Doutoramento na rea de Design de Moda. convidada por vrias organizaes enquanto conferencista e tem assento em rgos internacionais como World Fashion Week e Maison Mditerranenne des Mtiers de la Mode. Born in Lisbon, trained in Fashion Design, collaborates with several national and international ateliers, namely Ana Salazar, Rafaella Curiel and the alla Scala Theatre in Milano. Back in Lisbon, starts her own brand and in 1989 joins Abbondanza/Matos Ribeiro. In 1991 the ModaLisboa project is unveiled, which she co-authors and becomes a member of its Creative Direction. From 1996 she joins the Board of Associao ModaLisboa, which she has presided over since 2008. Teaches Fashion Design at the Faculdade de Arquitectura de Lisboa (UTL), as a Guest Teacher, since 1992. Currently she is researching her PhD thesis on the subject of Fashion Design. She is frequently invited as a lecturer by numerous organizations and holds a seat on international boards such as World Fashion Week and Maison Mditerranenne des Mtiers de la Mode.

Francisco Rocha (PT) Artista Plstico e Realizador, desenvolveu paralelamente trabalho de intervenes/instalaes em espaos pblicos e na produo de objectos. Colaborou diversas vezes com a ModaLisboa. representado nas coleces nacionais do MUDE Museu de Design e Moda, Caixa Geral de Depsitos, Fundao Calouste Gulbenkian e Fundao LusoAmericana. Artist and Director, has simultaneously developed installation/intervention work in public spaces and design production, regularly collaborating with ModaLisboa. He is represented in the national collections of the MUDE Museu de Design e Moda, Caixa Geral de Depsitos, Fundao Calouste Gulbenkian and Fundao LusoAmericana.

A distncia entre dois pontos uma linha recta. Mas as histrias, narrativas e memrias nem sempre so geomtricas nem autoevidentes, da mesma forma que a produo de imagens no se explica exclusivamente pelo desenho das coisas representadas. H interferncias. Retro/Future um momento de reflexo, quando a ModaLisboa completa vinte anos, e a partir do seu patrimnio grfico, um olhar sobre um perodo de tempo, dos objectivos comunicacionais, da sua prpria evoluo e de diferentes intenes na procura de uma imagem de futuro. Um percurso, entre dois pontos, que produziu um arquivo e aponta uma direco.

The distance between two points is a straight line. But stories, narratives and memories are not always geometrical or self evident, much in the same way that the creation of images is not solely explained by the shapes of what is represented. There are interferences. Retro/Future is a moment of reflection, on the occasion of ModaLisboas twentieth anniversary, and taking a cue from its visual heritage, it is also a look over a period of time, its communication goals, its own evolution and different intentions while searching for an image of future. A path, between two points, which spawned an archive, suggesting a direction.

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MORTE AO DESIGN! VIVA O DESIGN!


O OBJECTO EM REFLEXO, 1980-2000 THE OBJECT IN QUERY, 1980-2000 2 OUT - 15 JAN 2012

Entrada Gratuita Free admission

Curador Curator Brbara Coutinho (PT)

Design Grfico Graphic Design Jorge Silva - Silva Design (PT)

MUDE - Museu do Design e da Moda Coleco Francisco Capelo Piso 1 Rua Augusta, 24 1100-053 Lisboa Ter-Qui e Dom Tue-Thu and Sun 10:0018:00 Sex-Sb Fri-Sat 10:0022:00 Encerra Seg Closed Mon

Arquitectura Arquitecture Lus Saraiva (PT)


SONIA RIKYEL

Elctrico Tram 15E, 18E, 25E Autocarro Bus 36, 44, 709, 711, 714, 732, 740, 745, 759, 760, 781, 782, 790, 794 Metro Subway Baixa-Chiado

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Em 1958, Bruno Munari d vida a um garfo, sugerindo emoes, atitudes e estados de alma. Dezasseis anos mais tarde, Alessandro Mendini lana fogo a uma cadeira colocada sobre um pedestal, questionando o prprio arqutipo de cadeira. Hoje, vivemos uma poca em que a natureza dos objectos comuns e o modo como nos relacionamos com eles passam por uma profunda mudana, dissociando-se a utilidade do seu significado e formatividade. A exposio Morte ao Design! Viva o Design! apresenta uma seleco do acervo do MUDE Museu do Design e da Moda, Coleco Francisco Capelo, com o propsito de contribuir para o tema em debate na Bienal EXD11 e aprofundar o estudo, divulgao e internacionalizao da coleco do museu. Centramo-nos no contexto ps-modernista, onde a funo se dissocia da forma, e no subsequente escrutnio identidade, natureza e fronteiras da disciplina do design. Em debate a prpria noo de objecto valor, smbolo, representao, linguagem e estetizao. A partir de 1980, os herdeiros dos movimentos Anti-Design e Design Radical que, desde finais dos anos 60, preconizaram uma crtica ao postulado racionalista pela sua cumplicidade com o sistema de produo aprofundam uma pesquisa que questiona a prpria definio de design e o seu patrimnio, abrindo um caminho que conduz at actualidade. Falamos de autores to diversos como Gaetano Pesce, Ettore Sottsass, Yohji Yamamoto, Comme des Garons, Martin Margiela, Walter Van Beirendonck, Alessandro Mendini, Andrea Branzi, Peter van der Jagt, Philippe

Starck, Danny Lane, Jean Paul Gaultier, Issey Miyake e Rody Graumans... ou de obras que defendem o primado da forma ou se afastam da mera provocao por exigirem um exerccio de descodificao e criarem uma relao emocional com o utilizador, exaltando o seu valor expressivo, poltico, potico e irnico. Foge-se a categorizaes e desafiam-se as tradicionais fronteiras entre o design, a arquitectura e a arte, na esfera de influncia das pesquisas conceptuais protagonizadas por Marcel Duchamp, Richard Artschwager, Donald Judd, Andy Warhol ou Joseph Kosuth. Proclama-se a morte do paradigma funcionalista para se exaltar o experimentalismo, a reinveno e o conceptualismo. Assiste-se a uma reflexo sobre o prprio objecto e a sua utilidade, a herana cultural do Design, a imagem e o seu valor, a relao com o sistema econmico e produtivo, o carcter de representao/significao e a relao com a palavra/conceito. Em consequncia, o Design vive um momento de grande criatividade, afirmando-se cada vez mais plural, vivo, actuante e abrangente. In 1958, Bruno Munari gives life to a fork, suggesting emotions, attitudes and moods. Sixteen years later, Alessandro Mendini sets fire to a chair placed on a pedestal, questioning the chair archetype. Nowadays, the nature of common objects and the way we relate to them is in deep change resulting in the split between meanings, formats and usefulness. Morte ao Design! Viva o Design! presents a selection of pieces from MUDE Museu do Design e da Moda, Coleco Francisco Capelo with the aim of contributing to the topic under discussion at the Biennale EXD11 and also developing the study, promotion and internationalization of the museums collection. This exhibition focuses on the Post-modernist period, which dissociates function from form, and the subsequent scrutiny identity, nature and boundaries of the discipline of Design. On debate is the notion of object value, symbol, representation, language and aesthetics. Since 1980, the heirs of Anti-Design and Radical Design groups who since the end of the sixties criticized the Rationalist idea of Design for its complicity with the system

of production went deeper on a research that questions the definition of Design and its heritage, opening a path that leads to the present. We talk about authors such as Gaetano Pesce, Ettore Sottsass, Yohji Yamamoto, Comme des Garons, Martin Margiela, Walter Van Beirendonck, Alessandro Mendini, Andrea Branzi, Peter van der Jagt, Philippe Starck, Danny Lane, Jean Paul Gaultier, Issey Miyake and Rody Graumans... or about works that underline form or move away from the simple provocation requiring an exercise of decoding while creating an emotional relationship with the user, extolling its expressive, political, poetic and ironic values. Escaping from any categorization and defying the traditional boundaries between design, architecture and art, under the influence sphere of conceptual research led by Marcel Duchamp, Richard Artschwager, Donald Judd, Andy Warhol or Joseph Kosuth. The functionalist paradigm is proclaimed dead and experimentation, reinvention and conceptual research are exalted. We are seeing a reflection on the object itself and its usefulness, the cultural heritage of Design, image and value, relationship with the economic and productive system, nature of representation/meaning and its relationship with the word/concept. In result, Design is living a period of large creativity, becoming increasingly more diverse, lively, active and inclusive.

Brbara Coutinho Brbara Coutinho (n. 1971) Directora do MUDE Museu de Design e Moda, da Coleco Francisco Capelo e Membro do Conselho de Gesto da Coleco Francisco Capelo. Professora Auxiliar Convidada (Instituto Superior Tcnico) e colaboradora no Mestrado de Estudos Curatoriais (Faculdade de Belas Artes de Lisboa). Mestre em Histria da Arte Contempornea, desenvolve doutoramento sobre fenomenologia do espao expositivo. Curadora da exposio permanente do MUDE e das exposies proibido proibir! (2009), Sementes, Valor Capital (2010) e 7 Ambientes/7 designers (2002). Autora de Sena da Silva, Designer (2009) e de nico e Mltiplo (2011), tem assinado ensaios e artigos sobre criao artstica contempornea, design, arquitectura e museologia. Tem participado em colquios, seminrios e jris. Curadora dos cursos de formao de arte/design/arquitectura e coordenadora do Servio Educativo do Centro Cultural de Belm (1998 a 2006). Brbara Coutinho (b. 1971) is the Director of MUDE Museu de Design e Moda, Coleco Francisco Capelo and Member of Francisco Capelos Collection Management Board. Invited Assistant Professor (Instituto Superior Tcnico) and collaborator in the Curatorial Studies Master (Lisbon University). Master in Contemporary Art History, is developing a PhD on the phenomenology of the exhibition space. Curator of MUDE permanent exhibition, Sementes, Valor Capital (2010) and 7 Ambientes/7 designers (2002). Author of Sena da Silva, Designer (2009) and nico e Mltiplo (2011), she signed essays and articles on contemporary artistic creation, design, architecture and museology. Has participated in conferences, juries and seminars. Curator of courses about art/design/architecture and coordinator of the Centro Cultural de Belms Education Service (1998 to 2006).

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SERVIO EDUCATIVO EDUCATION SERVICE


Reforando a dinamizao cultural da Bienal EXD11 na comunidade, o Servio Educativo (SE) assume um papel mediador entre o pblico e os seus contedos. Como intermedirio para o tema Useless, o SE promove a sua contextualizao, interpretao dos conceitos curatoriais e a criao de dilogo. Face s mudanas constantes que se apresentam sociedade contempornea, sua misso delinear novos caminhos metodolgicos para actualizar saberes e experincias, respondendo aos desafios de forma verstil e flexvel. Neste sentido so criadas actividades complementares ao percurso curricular ou profissional onde o debate, a reflexo e a criatividade so os pontos de partida fundamentais. As abordagens so transversais, de ndole ldica e participativa, reunindo vrios contributos disciplinares para a compreenso do processo criativo projectual. The Education Service (ES) reinforces the cultural drive of EXD11 within the community, assuming a mediating role between the audience and the Biennales contents. Mediating the approach to the theme Useless, the ES promotes contextualization, the interpretation of the curatorial concepts and dialogue. Keeping up with the constant changes in contemporary society, its mission is to outline new methodologies to update knowledge and experience, answering challenges in a versatile and flexible way. From this perspective, complementary activities to the educational curriculum or professional practice are created, featuring debate, reflection and creativity as focal points. The approaches are transversal, both playful and participatory in their nature, bringing together various disciplinary inputs to the understanding of the creative process.

Programa Detalhado das Actidades do Servio Educativo Detailed Programme of the Education Service Activities www.experimentadesign.pt

Marcaes e Bilhetes Bookings and Tickets Seg - Sex Mon - Fri 10:00 18:00 +351 915 080 587 +351 210 963 866 edu@experimentadesign.pt

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Grupos escolares 1 a 3 ciclo Secundrio Superior Profissionais, Associaes, Adultos Famlias

School Groups Primary to middle school High school University Professionals Associations, Adults Families

ACTIVIDADES REGULARES Diariamente, por marcao, nos locais de exposio N. participantes: Mn. 15 Mx. 20 Visita orientada Para todos os graus de ensino, pblico adulto e profissional, so visitas orientadas s exposies da Bienal EXD11. As visitas so adaptadas a disciplinas e temas especficos numa lgica de debate transversal e participativo. No limitadas a estudantes e profissionais do design, participe! Durao: 1h Visita + Oficina Destinadas a grupos escolares ou associativos, em cada ncleo expositivo da Bienal, desenvolveramse oficinas pedaggicas adequadas s diferentes faixas etrias e com temticas diversificadas. Durao: 1h30 ACTIVIDADES ESPECIAIS Por inscrio, nos locais de exposio e Lounging Space Workshop Os workshops EXD11 representam oportunidades de formao e actualizao de conhecimento, para estudantes universitrios e profissionais. Coordenados por especialistas nas reas do design, arquitectura e artes visuais.

Conversa temtica Conduzidas por convidados especiais e partindo dos contedos das exposies o objectivo destes encontros questionar e partilhar ideias, de forma viva e participativa, num dilogo que se estende ao pblico. Open Day Abroad Rene diferentes universidades de pases como a Sua, Finlndia e Portugal, na apresentao dos seus programas, projectos e estratgias de ensino criativo nas reas do design e da arquitectura. Convidamos toda a comunidade acadmica a participar. Frum Encontro onde se convidam profissionais, tericos, investigadores e o pblico em geral reflexo sobre a temtica da Cultura Material e Imaterial no contexto portugus. REGULAR PRoGRAMME Daily activities, conducted at the exhibition venues, booking required No. participants: min. 15 max.20 Guided Tour Available for school groups or associations and professionals, at each of the core exhibitions of the Biennale. There are scripts for guided tours tailored to different age groups and with diverse themes directed towards debate and participation. Enriching for students of all areas, not just design! Duration: 1h

Workshop tours Available for school groups or associations and professionals at each of the EXDs core exhibitions. The Education Service has developed special educational handbooks and workshops tailored to different age groups and with diverse themes. Duration: 1h30 SPECIAL PRoGRAMME By advanced booking, at the exhibition venues and the Lounging Space Advanced workshops EXD11 Workshops are an opportunity to complement your knowledge in a specialized field or theme, for college students and professionals. They are coordinated by specialists in design, architecture and visual arts. Open Day Abroad Brings together universities from different countries like Switzerland, Finland and Portugal, to present their academic curricula, projects and creative teaching strategies in the fields of design and architecture. We invite all the academic community at large to participate. Forum Two day meeting where students, guest professionals, theorists, researchers, artisans and the general public are invited to think about Material and Immaterial Culture, in the portuguese context.

wORKSHOP MARCO BALESTEROS

Em 2011, o programa educativo da EXD11 prope Workshops, Visitas Orientadas, Oficinas, Conversas temticas, Open Day Abroad, Fruns. Em paralelo so desenvolvidos itinerrios criativos para grupos, com acompanhamento especializado, e tambm actividades online. O Servio Educativo EXD11 estabelece redes entre vrios intervenientes: escolas, universidades (nacionais e internacionais), instituies culturais, associaes e organizaes governamentais. Convida estudantes, professores e profissionais (designers, arquitectos, editores, entre outros) a participar em actividades de grupo, apostando na partilha de conhecimento. Contempla tambm a participao de famlias em actividades ao fim-de-semana.

In 2011, the EXD11 Education Service program offers Workshops, Guided Tours, Workshops, 8 Thematic Talks, the Open Day Abroad and Forums, simultaneously creative itineraries for groups, with specialized assistance, as well as online activities are developed. For EXD11, the Education Service establishes networks between various agents: schools, universities (national and international), cultural institutions, associations and government organizations. The Education Service invites students, teachers and professionals (designers, architects, editors, etc.) to participate in group activities, focused on sharing knowledge. It also includes the participation of families in weekend activities.

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TANGENCIAIS TANGENTS
Projectos independentes que se enquadram no mbito da Bienal pela sua relevncia, inovao e lgica conceptual, os Tangenciais afirmam a vitalidade da comunidade criativa portuguesa e de Lisboa enquanto plo cultural dinmico. Nesta edio, a EXD11 acolhe um nmero recorde de mais de 60 Tangenciais. De destacar o significativo nmero de projectos que reflectem ou integram uma vertente de investigao ou debate crtico, numa ntida aposta na gerao de novo contedo material e imaterial atravs de plataformas participativas. Independent projects that fit into the Biennales scope due to their relevance, innovation and conceptual logic, the Tangents attest to the vitality of the Portuguese creative community and Lisbons position as a hotbed for boundary-pushing cultural practice. This edition, EXD11 hosts a record number of over 60 Tangents. The number of projects that reflect or incorporate a strong feature of research or critical debate indicate the growing focus on new content generation - material and immaterial - through participatory platforms.

CRYSTIAN CRUZ

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PR SEMANA INAUGURAL PRE OPENING wEEK


Cartografias do Processo R2 & Andr Tavares At Until 27 Nov 10:00 20:00 Encerra Seg Closed Mon Palcio Quintela Rua do Alecrim, 70 Colectiva de design grfico com criaes inditas de membros da AGI - Alliance Graphique Internationale. A exposio comissariada por R2 com Andr Tavares apresenta uma seleco de 64 cartazes da autoria de 55 personalidades mundiais do design, como Paula Scher ou Stefan Sagmeister. Um conjunto mpar de representaes grficas que constituem mapas visuais do processo criativo, manifestos de reflexes, referncias, tcnicas e influncias de marcado carcter autoral. Collective communication design exhibition with creative works by members of AGI Alliance Graphique Internationale. The exhibition curated by R2 with Andr Tavares presents a selection of 64 posters by 55 acclaimed graphic designers such as Paula Scher or Stefan Sagmeister. A set of graphic representations constituting visual maps with references, techniques and personal influences, manifesting different reflections on the creative process.

Introspective uma viagem sincrnica no pensamento e modus operandi do designer Filipe Alarco. Apresenta, na 3 edio do Creative Lab, um conjunto de objectos diversificado em termos de escalas e grau de desenvolvimento: projectos em fase experimental e conceptual, sries limitadas bem como projectos preparados para produo industrial e outros que aqui so mostrados pela primeira vez. Respeitando a filosofia do Creative Lab, tambm o desenho da exposio e a concepo do livro que a acompanha, so fruto da reflexo e abordagem criativa do autor e do seu mtodo de trabalho projectual. Introspective is a synchronous journey through the process and modus operandi of the designer Filipe Alarco. In the 3rd edition of Creative Lab, it presents a set of very diverse objects in terms of scale and stage of development: projects in their experimental and conceptual phase, limited series, projects ready for industrial production and others shown here for the first time. Respecting the philosophy of Creative Lab, the exhibition design and the design of the book acompanying it, are the product of the authors thought process and creative approach and his working method in design project. Vdeo Home System Ruy Otero, Bruno Ceclio e Fernando Fadigas At Until 2 Out 12:00 00:00 Espao Nimas Avenida 5 de Outubro, 42B

artistas portugueses de diferentes geraes. A programao alia contedos permanentes - exposioinstalao nas zonas exteriores sala de cinema - com estreias e sesses nicas de curtas-metragens, sesses de video-screening, performances de palco, a par de concertos de msica experimental e Jazz. VHS termina com uma conferncia ligada ao subtema do evento Desobedincia civil na ptica das artes do espectculo e suas linguagens actuais. An event that brings together several artistic areas around the visual culture of the VHS system that marked the 80s. Curated by Ruy Otero, Bruno Ceclio and Fernando Fadigas, Video Home System (VHS) is the result of a creative process based on a dialogue between more than 40 Portuguese artists of different generations. The program combines permanent content - an exhibition-installation in the areas outside the movie theater with single sessions and premieres of short films, video-screening sessions, stage performances, as well as concerts of experimental music and jazz. VHS closes with a conference connected to the sub-theme of the event - Civil disobedience in the perspective of the performing arts and their current languages.

projecto lanou-se um concurso para artistas e designers para a produo de objectos a partir da sua leitura deste conceito, expressando a sua previso para os objectos do futuro. How to interact with an object that points to multiple directions? When the objects language confuses us about its function... Between simplicity and playfulness, some objects generate multiple choices, making us think about their function and the importance of the communication with the user. Function is ambiguous. The cosmic ambience directs us to the future, but we predict unpolished, subtle, more communicative objects. That is how this tea set came to be. Meant for a break or moment of reflection, its concept is desmystified not just through use but also through the objects expressed form. As part of this project a contest was launched among artists and designers to produce objects reflecting their interpretation of the concept and expressing their prediction of the objects of the future will look like. Portugal Imaginado Joana & Mariana At Until 27 Nov 00:0024:00 Todos os dias 24 / 7 Montra Shopwindow Palcio Foz Praa dos Restauradores

This project emerges from an ongoing research, consisting in an historical and critical study of national identity, through the analysis and construction of graphic production developed in the Portuguese context. This search through graphic iconography deals with the methods of representation and promotion of government bodies, namely Tourism, while seeking to reflect on their collective and social construction. The part of the project now presented, initiated in 2009, is a survey of the chronological variation, in both expressiveness and meaning, of the name Portugal. Refilador Nada + thecommunicationoffice At Until 28 Nov 00:0024:00 Todos os dias 24 / 7 Portugal REFILADOR (Servio Pblico para as Pessoas) um projecto experimental de design social em formato linha telefnica que questiona a ideia da (in)utilidade da sua prpria existncia no actual enquadramento scio-econmico repleto de material refilador. Actua como agent provocateur de interaco que desafia ao acto de refilar e reflecte sobre a sua funo e mais-valia social. Na abertura oficial da linha (28 de Setembro s 0h) o REFILADOR faz o convite nacional: Liga e deixa a tua mensagem (as chamadas so annimas). REFILADOR (Public Service for People) is an experimental social design project in the form of a phone line that questions the idea of the useless of its own existence in the current socio-economic environment, filled with reasons to complain about (in Portuguese, refilar). It acts as an agent provocateur of interaction that challenges people to engage in the act of complaining, reflecting on its role and social added value. At the official opening of the line (September 28 at midnight) REFILADOR puts out a nation-wide invitation: Call and leave your message (all calls are anonymous).

28 SETEMBRO
00:00
Useless but not amuseless Design players www.not-amuseless.com At Until 27 Nov Como interagir com um objecto que nos indica vrias direces? Quando a sua linguagem nos dribla a funo? Entre o simples e o ldico surgem objectos que nos deixam num impasse de escolhas mltiplas e nos fazem pensar sobre a sua funo e na importante comunicao com o utilizador. A funo tem uma voz ambgua. O ambiente csmico remete para o futuro, mas ns prevemos objectos toscos, subtis e mais comunicativos. Surge assim um servio de ch para um momento de pausa e reflexo, sendo o conceito desmistificado no s na utilizao como tambm na forma que estes objectos expressam. No mbito deste

22 SETEMBRO
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Introspective Filipe Alarco At Until 15 Jan 2012 Ter-Qui e Dom Tue-Thu and Sun 10:0018:00 Sex-Sb Fri-Sat 10:0022:00 Encerra Seg Closed Mon MUDE Museu da Moda e do Design Rua Augusta, 21

um evento que conjuga vrias reas artsticas em torno da cultura visual do sistema VHS que marcou os anos 80. Comissariada por Ruy Otero, Bruno Ceclio e Fernando Fadigas, VDEO HOME SYSTEM (VHS) resulta de um processo de criao baseado no dilogo entre mais de 40

Este projecto surge de uma investigao em curso e consiste num estudo histrico e crtico da identidade nacional atravs da anlise e construo da produo grfica desenvolvida em contexto portugus. Esta busca pela iconografia grfica aborda os mtodos de representao e promoo dos aparelhos de Estado, nomeadamente o Turismo, ao mesmo tempo que procura reflectir sobre a sua construo social e colectiva. A parte do projecto agora apresentado, iniciado em 2009, um levantamento do nome Portugal na variao cronolgica da sua expressividade e sentido.

06:30
Um prdio na pradaria Bruno Carvalho Semana Inaugural Opening Week Estaes Metro Subway Stations Rossio, Restauradores, Cais Sodr, Terreiro Pao

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Um postal de uma casa numa pradaria portuguesa. Um ponto de partida. Atravs da tcnica de corte e colagem so realizadas diversas paisagens utpicas, de tipologia urbana; construdas com materiais tradicionais para um novo contexto rural. ...no Portugal rural, do antigamente, a construo de casas era feita pela comunidade, num verdadeiro esprito de entreajuda. As pessoas andavam menos endividadas! A postcard from a house on a Portuguese prairie. A starting point. Through cut and collage technique, several utopic landscapes are made, within an urban typology; built with traditional materials for a new rural context. ...in the rural Portugal of the old days, houses were built by the community based on a true spirit of mutual assistance. People were less in debt!

The Santini ice-cream shop is the perfect excuse for talking about design with the same delight that one tries the available flavors. The authors create a series of souvenirs that hide meanings dear to those who know by heart all the colors of these ice creams (or even to the ones that try them for the first time). They are simple (and maybe insignificant) objects that keep the precious memory of a spoonful shared on some sunny Summer afternoon. SOUVENIR is a visual installation that feeds itself from the pleasure of the useful act of creation, materializing in the useless pleasure of taking with us the range of flavors that wait us in the shop. Flavors tried and repeated over and over again now belong to us too to remember some time later, on a boring Winter afternoon.

to visit their new studio at Calada do Tojal n71A in Benfica. The goal is to show what they do, share ideas, methodologies, ways of working, to both tell and listen to stories, catch up with friends and colleagues or meet new people.

17:00
SHoW ME - Design Editors Vrios autores Several authors At Until 4 Out Seg - Sb Mon - Sat 11:00 19:00 Dom Sun 14:00 19:00 Bairro Alto, Rua Dirio de Notcias, 59 Marca de produo de design cuja finalidade acompanhar, produzir e promover projectos cujo resultado se materializa em edies limitadas e peas nicas exclusivas da galeria Show me - design & art gallery, em Braga. Nesta exposio esto representados 15 designers e diferentes tipologias projectuais. Nas muitas expresses artsticas de uma actividade multidisciplinar como o design, procurar caractersticas diferenciadoras e apurar a sua coerncia esttica independentemente da vertente utilitria, em cada projecto e na posterior produo, um dos objectivos Show me design editors. Show me - design editors is a design production trademark that aims at accompanying, producing and promoting projects in the design area. Its end results materialize in limited editions and unique pieces exclusive to the Show me design & art gallery in Braga. This exhibition presents 15 designers and different design typologies. In the many artistic expressions of a multidisciplinary activity such as design, one of the goals of the Show me - design editor trademark is to look for differentiating features and determine their aesthetic coherence, regardless of their utilitarian aspects, in each project and its subsequent production.

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Pedrita Pedrita (Rita Joo e Pedro Ferreira) At Until 28 Nov Por marcao By appointment Qua Wed 16:00 18:00 Estdio Pedrita Calada do Tojal, 71A

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Souvenir Catarina Carreiras + Marta Villar At Until 4 Out Seg - Dom Mon-Sun 11:00 00:00 Gelataria Santini Rua do Carmo, 9 A geladaria Santini a desculpa para se falar de design com o mesmo deleite que se experimentam os sabores. As autoras criam uma srie de souvenirs que escondem significados queridos a quem conhece de cor as cores destes gelados (ou mesmo a quem experimenta pela primeira vez). So objectos simples (e talvez insignificantes) que guardam a memria preciosa de uma colherada partilhada em mais uma tarde de Vero. Souvenir uma instalao visual que se alimenta do prazer til de criar e se materializa no prazer intil de levar connosco um espectro de sabores que espreitam na loja. Sabores que se experimentam, se repetem e que agora nos pertencem tambm - para mais tarde, numa aborrecida tarde de Inverno, recordar.
GUSTAVO MILLON

O projecto foi desenvolvido para o contexto de Downtown Los Angeles, onde um conjunto de agentes mediadores do ambiente so integrados no espao urbano criando um jardim liminoid. Surge face problemtica dos espaos urbanos transitrios e desertificao da cidade, quase exclusivamente votada ao automvel. A interveno prope criar espaos de interaco com o contexto urbano, possibilitando ao habitante manipular a estrutura do jardim, que ao mesmo tempo apresenta um comportamento independente gerado pelas condies envolventes, como poluio e actividade nas ruas. Um jardim urbano interactivo que respira e se alimenta dos movimentos e actividades que ocorrem em tempo real na cidade. A exposio e o website incluem posters e desenhos ilustrativos do projecto e documentao/filme do prottipo, testado em Downtown Los Angeles. This project was developed for the context of Downtown Los Angeles, where a group of environment mediating agents is integrated into the urban space to create liminoid gardens. It responds to the desertification of transient urban spaces and urban desertification, as cities are almost exclusively dedicated to cars. This intervention proposes urban spaces of interaction with the surrounding environment providing the city dweller with the opportunity to manipulate the garden structures in real time. At the same time the garden displays independent behavior, generated by the surrounding environment conditions such as pollution levels and street and pedestrian activity. The exhibition and website includes drawings/illustrations of the project in poster format as well as a video of the physical prototype that was tested in Downtown Los Angeles.

com o ttulo Para Que Serve a Arte?. A funo deste texto ensaiar uma resposta pergunta do ttulo. Esta pea apresenta, por isso mesmo, uma estrutura em mise en abyme. Ensaio_Essay consists of a twentypage book, printed in black and white in 2011. It includes an essay entitled Whats Art For? The function of this text is to try to answer its titles question; therefore, the piece presents a structure close to a mise en abyme. Most Things relate when they are in a circle Joana Astolfi & Lidija Kolovrat At Until 12 Out Seg - Sb Mon - Sat 12:00 19:00 Soto do Espao Kolovrat Rua D. Pedro V, 79

pieces will be exhibited at opposite ends, communicating directly with each other. Each designer will approach the theme from her own perspective, endowing the pieces with performative qualities that are directly related to the art of display.

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Objectos Reflectidos Ctia Verssimo, Maria Joana Monteiro & Oficina Design Studio At Until 28 Out Seg - Sex Mon - Fri 10:00 18:30 Largo Raphael Bordallo Pinheiro, 29, 2 um projecto onde vrios designers industriais, com diferentes vises e metodologias, foram desafiados a transgredir com a utilizao tradicional dos materiais espelhados. So explorados novos caminhos de utilizao ao nvel tecnolgico e produtivo, estabelecendo novas e sustentadas relaes entre designer e Indstria, promovendo o desenvolvimento econmico. Divide-se em 3 fases: lanamento de um concurso nacional; convite a jovens designers emergentes a desenvolverem propostas de projecto sob o tema; e por fim a mostra de Design de Produto dos vencedores do concurso e dos designers convidados. A multi-author project that gathers and challenges a group of industrial designers with different backgrounds and methodologies to be disruptive with traditional use of reflective materials. It explores new ways of using them on a technological and industrial level, setting new and sustained relationships between themselves and the industry, promoting economic development. The project was divided into 3 phases: launching of a national contest; inviting young designers to develop new projects under the theme; and finally the exhibition that will gather both winners of the contest and invited designers.

J houve outras histrias dos Pedrita que comearam com bolos e esta mais uma. At 28 de Novembro, todas as quartas-feiras entre as 16h e as 18h, convidam para o lanche. Bolo, sumo, caf e conversa o que sugerem para dar a conhecer o espao do estdio na Calada do Tojal n71A em Benfica. O objectivo mostrar o que fazem, partilhar ideias e mtodos de trabalho, contar e ouvir histrias, rever amigos ou colegas e conhecer outras pessoas. There have been other stories from Pedrita studio that started with cakes... this is just one more. Till November 28, every Wednesday between 4 and 6pm, they invite you to tea with cake, juice, coffee and a chance to chat. This is an invitation

Esta instalao a criao de uma loja no sto do espao Kolovrat, atravs de peas de mobilirio manipuladas, tornadas disfuncionais, incapacitadas, desfiguradas ou absurdas. A interveno nas peas retira-lhes a funo, criando uma nova relao entre objectos e pblico. O layout da instalao ser em formato circular, onde as peas expostas, umas de Lidija e outras de Joana, comunicam directamente entre si, em lados opostos. Cada designer aborda o tema na sua perspectiva, ganhando as peas um poder performativo, directamente associado arte do display. This installation is the creation of a shop in the attic of Kolovrat space using manipulated furniture pieces, renderend dysfunctional, disfigured, incapacitated or absurd. The interventions on these pieces remove their function, creating a new relationship between them and the public. The layout of the installation will be in a circular format, where Lidijas and Joanas

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Liminoid Ecologies Filipa Valente At Until 27 Nov Ter - Sb Tue - Sat 10:00 20:00 Seg Mon 14:00 - 20:00 Loja gourmet Nuts&Spices Av. Maria Helena Viera da Silva, 31B

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Ensaio Essay Filipe Pinto Inauguraes Exposies da EXD11 EXD11 Exhibition Openings Ensaio_Essay consiste num livro com 20 pginas, impresso a preto e branco em 2011. Contm um ensaio

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Coelhos Alentejanos Pedrita (Rita Joo & Pedro Ferreira) At Until 27 Nov Ter - Sex Tue - Fri 14:00 19:00 Sb Sat 11:00 14:00 Galeria 56 Artes Rua D. Joo V, 56 Loja A

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Esta uma coleco que cresceu em torno de conversas, da memria da olaria, das pessoas, de So Pedro do Corval e dos coelhos que tomam conta da paisagem alentejana. A convite da 56 Artes, o estdio Pedrita em conjunto com a Olaria Polido & Filho prepararam a 2 a edio da coleco Coelhos Alentejanos. Assim como na 1a edio, realizada em 2004 no mbito de uma aco de dinamizao da Olaria de So Pedro do Corval organizada pelo Cencal, as peas agora apresentadas pela 56 Artes reflectem tipologias tradicionais e exploram novas ferramentas de decorao. This is a collection that grew around conversations, the memory of pottery, the people of So Pedro do Corval and the rabbits that often take over Alentejos landscape. At the invitation of 56 Arts, Pedrita studio together with the pottery manufactureds Polido & Filho prepared the second edition of the collection Coelhos Alentejanos. As in the first edition, realized in 2004 in an initiative organized by Cencal for the preservation of Corvals legacy, the pieces now presented at 56 Artes also reflect traditional typologies and explore new decorating techniques. Inutenslios Experimentveis Pedro America & Eduardo Agualusa At Until 27 Nov Seg - Sex Mon - Fri 10:00 19:00 Sb Sat 11:00 19:00 A Linha da Vizinha Av. Cons. Fernando de Sousa, 27A

sem objectivo aparente que no a experincia de experimentar. Tal criana perante um novo brinquedo, quando muitas vezes o uso dado supera o imaginado. O desafio lanado a Agualusa foi encontrar novos Inutenslios, escolhendo a mquina para alisar nuvens e amaciar trovoadas. Jcome, the inventor of impossible things, is a character from Jos Eduardo Agualusas book Estranhes e Bizarrocos, that creates a series of Useless Tools. In this project we have faced a double challenge: to interpret the useless tools created by the writer and to find an approach or language that may fit this universe. A useless tool, by definition, has no use. But it may be tried, built, touched or merely observed, with no other purpose than the experience of the experience. Just like a childs attitude towards a new toy, as he uses it in so many different ways that the function is surpassed by imagination. To find out new useless tools was the challenge proposed to Agualusa, choosing the Thunder Softener and Clouds Smoothing Machine.

production are the reference when looking for an answer and raising new questions on design practice. To what extent can the designers role absorb from reflections and use them as a precursor in his/her work? In this context, it is asked of the designer to stimulate comprehensive reflections, which assume collaboration and promote design culture. Afixao permitida Pedro Soares Neves Espao onde permitido afixar, livre de constrangimentos, elementos grficos sem regra nem limite. Espao de anlise e exerccio de leitura que se relaciona com outros fenmenos do espao pblico, como situaes onde indicado afixao proibida. Contrapondo, aqui sugerida a verso positiva afixao permitida. O exerccio consiste na anlise do desenho do espao pblico, em particular no campo da comunicao que se desenvolve informal e espontnea. Por um lado aborda temas em torno das regras e sua subverso e por outro, foca a abertura que o desenho do espao pblico dever contemplar de forma a absorver positivamente todas as formas de apropriao. It is a space where the posting of graphic elements is allowed, free of constraints, without rules or limits. A space for analysis and a reading exercise, which relates to similar phenomena in the public space, normally in situations where it is indicated no posting alloud. Here, its positive counterpart posting allowed is suggested. The exercise is to analyze the design of public spaces, particularly in the area of communication that develops informally and spontaneously. It addresses issues that revolve around rules and their subversion on the one hand, and on the other, it focuses on the openness that the design of public spaces should consider in order to positively absorb all forms of appropriation.

# Another Contemporary Chair Joo Valente Este projecto tem como ponto de partida a experimentao conceptual do objecto cadeira e existe enquanto conceito que contm a informao da sombra do prprio objecto. A cadeira a pea de referncia do designer, pois ao reflectir o pensamento de quem a desenha a que melhor tem comunicado as diferentes correntes estticas do design de produto. O projecto explora o conceito de Useless que possa estar associado a este objecto, criando assim um contraste entre o vazio da sala e a importncia que a cadeira tem no espao expositivo.

autores, o valor do contedo um factor to ou mais importante que o do contentor. The collection of glass objects Ben Dinat (Eating Well in Catalan) is a reference of presences and absences. These are collectible sculptures that generate reflection on consumption: the memory of the consumable, the reality of the empty package, its use and possibilities of acquiring new value. This work dealing with common consumption objects leads to a formal connection with the production of well-known designers, alluding to the idea of luxury, the apparent absence of use and market value linked to authenticity and authorship. For the authors, the contents value is a factor as important or more important than that of the container. Design Act Edited by Magnus Ericson & Ramia Maz Debate Lecture 30 Set 18:00 - 20:00

The DESIGN ACT book complements the project, presenting historical and contemporary perspectives, a discussion of emerging themes and tactics, and platforms discussing the role of designers today. The book is produced by Iaspis in collaboration with the Interactive Institute, copublished by Sternberg Press in 2011, and edited by Magnus Ericson and Ramia Maz. La Clinica Ciszak Dalmas La Clinica uma coleco de mobilirio fabricado por artesos de Madrid, lanada por Ciszak Dalmas em 2010. Compe-se de peas de madeira macia pintada, desenhadas para serem totalmente desmontveis diminuindo assim o custo de transporte e espao de arrumao. Surge da interaco entre jovens designers e artesos experientes, combinando novas ideias com saberes centenrios. Os 18 meses de investigao, desenho e experimentao resultaram num conjunto de peas que combina simplicidade formal e construo de elevada qualidade. Cada pea eficiente, natural e nica: uma homenagem incrvel tcnica dos artesos que do vida coleco.

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(in)til Flor A Flor, empresa fundada em 2000, dedica-se ao branding e ao design. Questiona: O que o til, o que o intil? Pensamentos filosficos e sociais sobre conceitos de necessidade, consumo e produo so referncia para procurar uma resposta e levantar novas questes sobre a prtica projectual. At que ponto o papel do designer pode beber destas reflexes e utiliz-las enquanto elemento percursor no seu trabalho? Pede-se neste contexto ao designer que estimule reflexes abrangentes, que tenham como pressuposto a colaborao e promovam a prpria cultura do design. Flor is a design and branding company founded in 2000. It poses the question: What is useful, what is useless? Philosophical and social considerations on the concepts of necessity, consumerism and

This project is based on a conceptual experimentation of the chair, existing as a concept that contains in its shape the information of the shadow of the object itself. The idea is that the chair functions as a reference piece, given how designers tend to use this object as a canvas to express their points of view, concerns and thoughts. The project explores the concept of Useless, which can be associated with this object, thus creating a contrast between the emptiness of the room and the importance that this chair has in the exhibition space. Ben Dinat WORKXFOOD A coleco de objectos de vidro Ben Dinat (Comer Bem em catalo) uma referncia de presenas e ausncias. So esculturas coleccionveis que geram uma reflexo sobre o consumo: a memria do consumvel, a realidade da embalagem vazia do seu uso e as possibilidades de adquirirem um novo valor. Este trabalho sobre objectos de consumo comum leva-nos a uma conexo formal com a produo de designers conhecidos, induzindo ideia de luxo, aparente ausncia de uso e valor de mercado ligados autenticidade e autoria. Para os

Jcome, inventor de coisas impossveis, uma personagem do livro Estranhes e Bizarrocos de Jos Eduardo Agualusa, que realiza uma srie de Inutenslios. Este projecto encerra um duplo desafio: interpretar o conceito de Inutenslios criado pelo escritor e encontrar uma abordagem ou linguagem que se adapte a esse universo. Por definio um Inutenslio no tem utilidade. Mas pode ser experimentado (construdo, manuseado ou apenas observado)

Design Act, Socially and politically engaged design today - critical roles and emerging tactics um projecto que apresenta e discute prticas de design contemporneo envolvendo questes polticas e sociais. Exemplo do pensamento crtico aplicado e tctica experimental, o processo por detrs do projecto considerado como actividade curatorial, participativa e aberta. Vai ser apresentado e discutido o livro Design Act, que complementa este projecto. Contendo perspectivas histricas e contemporneas, conduz discusso de tcticas e temas emergentes e questiona o papel dos designers na actualidade. O livro produzido por Iaspis em colaborao com o Interactive Institute, co-publicado pela Sternberg Press em 2011, e editado por Magnus Ericson e Ramia Maz. DESIGN ACT Socially and politically engaged design today critical roles and emerging tactics is a project that presents and discusses contemporary design practices that engage with political and social issues. Itself an example of applied critical thinking and experimental tactics, the process behind the DESIGN ACT project is considered as a curatorial, participatory and open-ended activity.

In 2010 Ciszak Dalmas launched La Clinica, a collection of handcrafted furniture produced by local artisans in Madrid. Each piece is made from solid wood and painted with waterbased colors. They are designed to be completely disassembled, lowering the costs of shipping and storage. La Clinica is based on the interaction between young designers and experienced artisans, combining new ideas with century-old know-how. Eighteen months of research, design and experimentation have led to a collection that combines simplicity of design and quality of production. Each product of this collection is simple, efficient, natural and unique: a testament to the amazing carpentry skills of the artisans, who give a soul to the furniture.

CRYSTIAN CRUZ

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Como recordar o que nunca aconteceu Ambas as duas + uma

Control Bernardo Gaeiras Objectos manufacturados que se relacionam com a esfera tecnolgica mas rompem com caractersticaspadro do design: Inutenslios (2009) e Gizmo 2010, so peas que procuram associar-se ao pensamento de carcter operativo. Inutenslios inspira-se numa falsa arqueologia para se fazer passar por objet trouv, e Gizmo 2010 faz aluso ao mundo tecnolgico contemporneo onde gadgets e interfaces so parte intrnseca de tarefas dirias. Gizmo 2010 incorpora 3 elementos iguais de forma a contextualiz-la em meios industriais de produo em massa. A peculiaridade das 2 peas que, apesar de serem arqutipos de ferramentas funcionais, no assumem uma funo especfica. Simplesmente porque no a tm. Manufactured objects that clearly relate to the technological realm but break with standard attributes of design. Examples that illustrate such an idea are Inutenslios (2009) and Gizmo 2010, which aim at conveying a direct association with operative thinking. Inutenslios draws inspiration from fake archaeology and seeks to disguise itself as objet trouv, and Gizmo 2010 alludes to the contemporary technological world where gadgets and interfaces are intrinsic parts of everyday activity. Gizmo 2010 is made of three identical objects so to situate it in industrial means of mass-production. What is peculiar in both cases is that, although the objects are archetypes of functional tools, they do not assume a specific functionality. Simply because they lack one. CoLoRS 79 Collector Sam Baron No seu 20 aniversrio, a revista COLORS dedicou o seu nmero de Inverno 2010-2011 a coleccionadores: aqueles que recolhem, organizam e catalogam a mesma tipologia de objectos. Criaes da natureza, obras de arte, objectos de uso quotidiano, etc. Estes objectos de desejo, procurados, cobiados, trocados, so o pretexto para uma viagem histria do design, das artes grficas e da produo industrial, mas tambm aos hbitos, interesses e necessidades

humanos. COLORS 79 Collector, organizada por Sam Baron em colaborao com o Departamento de Design da Fabrica, uma revista e tambm uma exposio internacional itinerante. Mostra-nos uma seleco de histrias e objectos compilados na revista. uma revista que se pode ver, tocar e ler ao vivo e a cores. In the year of its 20th anniversary, COLORS magazine decided to dedicate the 2010-2011 winter edition to collectors: those who amass, categorize and catalogue objects of the same type. Collectors of nature, works of art, everyday objects, etc. These objects of desire, refined, coveted and exchanged, thus become the pretext for a journey into the history of design, graphics and industrial production, and at the same time, into the habits, interests and needs of human beings. COLORS 79 Collector, edited by Sam Baron, in collaboration with the design department at FABRICA, is a magazine but also a travelling exhibition. Its a selection of stories and objects from the issue. It is now a magazine that you can see, touch, and enjoy live. Edition of Six Edition of Six

dos materiais. Com a colaborao da CNA Vicenza, Edition of Six a continuao de AAA - Cercasi nuovo artesiano (2010), programa que ensaiou novas hipteses de colaborao entre designers e artesos. Can craftsmanship go together with design? This exhibition approaches a new answer, introducing a limited edition of pieces by 6 international designers, made together with Italian artisans. Craft traditions and materials, careful high-quality finishing and attention to details receive new impulses from innovative design. Traditional craftwork is complemented by research into new action fields and applications expertising with techniques, new typologies and pushing the limits of materials. Organized in collaboration with CNA Vicenza, Edition of Six is the follow-up of AAA - Cercasi nuovo artigiano (New artisan wanted, 2010), a program that tested new avenues of collaboration between designers and artisans. Eye for an eye UVA uma reflexo sobre o consumo hedonista. Esbate-se o correlato entre capital e mercadoria, e desvitalizase o dinheiro da normal utilizao para o celebrar enquanto objecto de prazer per se. As mquinas de venda de brindes, objectos por natureza excessivos, idealizados e orientados para o encontro com a surpresa uma alternativa ao tdio do consumo so o smbolo infantilizado de uma economia prspera e sedenta de objectos. Eye for an eye sublinha a inutilidade desta mquina, da sua utilizao e da carga simblica do dinheiro. Eye for an eye is an insight into hedonist consumption. The relationship between capital and goods is fading, and money loses its value and regular use to instead celebrate itself as an object-ofpleasure, per se. Vending machines, by their very nature excessive objects, idealized and oriented towards momentary surprise a substitute for the boredom of consumption are infantile symbols of a thriving economy that is still thirsty for more objects to own. Eye for an eye

underlines the futility of this machine, its use and the symbolism of money. HUGS: Hydroponic Urban Growing System www.urbangrow.com Aquaponia um sistema simbitico que surge da juno entre aquacultura (produo de peixe) e sistemas de cultivo sem terra (hidroponia). A Urbangrow instalou um mdulo que combina os conceitos de Aquaponia, Vermiponia, Hidroponia Vertical e Cultivo de interior, reunidos numa proposta de modelo de Agricultura Urbana revolucionrio, onde se pode produzir uma grande quantidade de vegetais e alguns peixes e crustceos, de qualidade orgnica, com o mnimo de recursos de gua, energia e espao. O facto de se usar um sistema simbitico reduz os custos: a fertilizao de plantas conseguida com os dejectos dos peixes; a filtragem da gua dos peixes, efectuada pela plantas.

as caractersticas e qualidades individuais de cada elemento do grupo. Depois da primeira mostra nos antigos Silos de cereais das Caldas da Rainha, foi feita uma actualizao aos trabalhos e um convite a novos reforos com o objectivo de se mostrarem no seu melhor durante a Bienal EXD11. The exhibition JOIO derives from the wish of several designers who recently graduated from college, to show their work, revealing the characteristics and individual qualities of each element of the group. After the first showcase at the old Grain Silos in Caldas da Rainha, they updated their works and invited new elements with the purpose of showing themselves at their best during the EXD11 Biennal. Linha Branca Made Out Portugal Linha Branca assume um conjunto de intenes, traduzidas em projectos indefinidos, temporariamente de cor branca no contexto da exposio. So ideias ausentes de marca e sem linha de produo - projectos Useless! Uma exposio de ideias pensadas para um contexto portugus e que procuram uma colaborao com Portugal projectos Useful! Linha Branca uma proposta da plataforma Made Out Portugal e um desafio a designers portugueses actualmente a residir no estrangeiro, para desenvolverem projectos pensados fora e sentidos por dentro.
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uma abordagem ao projecto de Design como fico. A ideia parte da Lis81 Bienal Internacional de Desenho de Lisboa que, prevista para acontecer na Galeria Nacional de Arte Moderna de Belm, acabou consumida por chamas, durante a montagem, restando apenas o catlogo como modo de a ficcionar. Convidaram-se os artistas que h 30 anos participaram na Lis81 a projectar para o no-acontecimento. O mote recordar o que nunca aconteceu e como palco de exposio tm um espao cultural de Lisboa que, actualmente, no exista, esteja devoluto ou tenha outras funes. A possibilidade de acesso a estes no-acontecimentos atravs da produo de objectos de comunicao para as exposies/apresentaes ficcionadas. A comunicao aqui o nico acontecimento. It is an approach to the Design project as fiction. The idea stem from Lis81 The International Drawing Biennale of Lisbon, which was expected to take place at the National Gallery of Modern Art of Belm, but ended up consumed in a fire, during its installation, the only thing left is the catalogue, as a way of fictionalizing it. The artists that 30 years ago participated in Lis81 were invited to design for the non-event. The idea is to reminisce on what has never happened, and as an exhibition stage has a cultural space in Lisbon that, nowadays, does not exist, was unoccupied or has other functions. The possibility of access to these non-events is through the production of communication materials for fictionalized exhibitions/ presentations. Here, communication is the only event.

Qual a fronteira entre artesanato e design? Esta exposio prope uma resposta atravs da edio limitada de objectos de 6 designers internacionais, desenvolvidos com artesos italianos. As qualidades tpicas do saber fazer artesanal, como a escolha de materiais, o rigor no detalhe e o cuidado no acabamento, recebem novo olhar graas a propostas inovadoras dos designers. O trabalho artesanal tradicional completase com a pesquisa de novos campos de interveno, atravs da experimentao da tcnica, explorando novas tipologias e limites

Aquaponics is a symbiotic system that arises from the junction of aquaculture (fish production) and growth systems without soil (hydroponics). The Urbangrow installed a module that combines the concepts of Aquaponics, Vermiponics, Vertical Hydroponics and indoor growing, cobined in a proposal for a revolutionary model of urban agriculture, which can produce a large amount of vegetables and some fish and crustaceans, of organic quality, with minimal water resources, energy and space. Using a symbiotic system reduces costs: the fertilization of plants is achieved with fish waste, the water for the fish is filtered by the plants. JoIo Colectivo Joio A exposio JOIO surge da vontade de vrios designers recm-licenciados mostrarem o seu trabalho, revelando

Linha Branca assumes a group of intentions translated into undefined projects, temporarily colored white in the exhibitions context. Ideas without a settled production line or label Useless! An exhibition of ideas thought out for the Portuguese reality and looking to collaborate

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with Portugal Useful projects! Linha Branca is a proposition from the Made Out Portugal Platform and a challenge to Portuguese designers currently residing outside Portugal, to design ideas thought abroad and felt within. PIN Anonimum PIN - Associao Portuguesa de Joalharia Contempornea Compe-se de 3 partes: repto internacional para realizar um pin sob o tema Useless; exposio annima; venda, angariando fundos para a PIN. Um work/expo in process que comea por apresentar uma coleco de pins de autores de mltiplas disciplinas. Tambm o pblico pode realizar o seu pin para exposio. Os pins so doados PIN e vendidos por um valor simblico. S aps a venda se divulga o autor. PIN questiona o valor do objecto enquanto obra plstica per se, independente da mais-valia autoral bem como do valor material intrnseco. o reavaliar de conceitos - e preconceitos - ligados utilidade, questionando a inutilidade inerente presena e ausncia da jia no corpo e na sociedade.

with usefulness, questioning the uselessness inherent to the presence and absence of a jewel, either on the body or in society. Processo n2010/11 ESAD.CR Exposio de uma seleco de trabalhos dos 2 ltimos anos desenvolvidos por alunos das Licenciaturas em Design da ESAD. CR. Exemplos das abordagens variadas dos cursos, estes projectos so fruto de exerccios pensados por professores ou resultado do processo individual de aprendizagem. A prtica pedaggica centra-se no fazer, onde a actividade projectual assume um papel central. Os projectos so realizados at execuo, desenvolvendo capacidades de reflexo crtica e concretizao, fundamentais na prtica do design. Alguns so de natureza experimental outros respondem mais directamente ao contexto profissional, numa atitude crtica e proactiva face actualidade.

O projecto questiona o facto de alguns objectos ocuparem lugar no nosso corao. Para base de reflexo escolheu-se um estendal da roupa, visto ser um exemplo de objecto que no suscita grandes sentimentos. O produto concebido de modo a ser o mais discreto e eficiente (dobrvel/ arrumvel = perodo de vida useless). Os autores lanam a hiptese de que entre o design e o uso se origina um ciclo que tende a manter o objecto numa posio desagradvel. Ciclo que pode ser quebrado ao dar uma presena real ao objecto dentro do habitat. O projecto prope uma visita atravs de desenhos e instalaes que destacam a poesia deste produto pouco convidativo. The project questions the fact that some objects have a place in our hearts. As a basis for reflection, a drying rack was chosen, as an example of an object that doesnt stir any significant sentimental attachments. This product is always designed in order to be as discreet and efficient as possible (foldable/ storeable = useless period of life). The authors hypothesize that between design and use, a cycle is created which tends to keep the object in an unpleasant position. This cycle can be interrupted if we decide to give this object a real presence within the habitat. Projecto corao/razo proposes a journey through drawings and installations that highlight the poetry of this uninviting product. Reflection Toni Grilo Apresenta uma seleo de mobilirio desenvolvido no ltimo ano, em parceria com uma fbrica do Norte de Portugal. A pesquisa alia uma reflexo esttica e tcnica volta de um material nico, o Ao Inox, sempre com a viso da realidade de uma marca num contexto de mercado. As peas tomam forma de espelhos volumtricos, esculturas onde o material foi trabalhado mo, sendo polido durante horas at reflectir o mundo sua volta. Features a selection of furniture developed in the last year, in partnership with a factory in northern Portugal. The research combines a technical and aesthetic reflection around a single material, the stainless

steel, always with the vision of the reality of a brand in a market context. The pieces take the form of volumetric mirrors, sculptures where the material was worked by hand, being polished for hours to reflect the world around. Step into my office Gonalo Campos Este um convite para visitar o espao de trabalho de um designer, com todas as ferramentas que utiliza e objectos que o rodeiam, contribuindo para um clima propenso criao. Um estdio em plena funo, onde se poder conversar com o designer e testemunhar todo o percurso de projecto, desde esboos iniciais at aos produtos finais, compondo um espao que varia entre o processo e o resultado, entre o caos e a ordem. This is an invitation to visit the work space of a designer, surrounded by all his tools and objects that inspire, providing the perfect climate for creation. A working studio where one can dialogue with the designer to understand the entire course of the project, from the early sketches to final products, making for a setting that shifts from process to results, chaos to order.

e relao com o espao. Face ao seu silencioso desaparecimento dos lugares de origem e perda de ligao funo original, urgente reconhecer o seu valor patrimonial. No reflectem estes artefactos uma histria artstica/grfica/tipogrfica, que justifica a sua manuteno, renovao, e sobretudo classificao? Ou deveremos descart-los como parte de um momento e funo que chegaram ao fim? A exposio e workshop propostos centram-se nestas questes.

The worldwide trend of rural depopulation is also felt in Portugal, where the urban population continues to grow at a rate of 1.5% per year. The urban world, where time is money and every second counts, moves increasingly faster. Usma works as clock but without visual interface, only playing the sound of church bells every 30 minutes. The goal is to bring the notion and perception of time from a rural contenxt to an urban one, with an object that will have sound as its sole reference to time. Wall Rui Aleixo Mais do que o mural resultante da justaposio de postais aparentemente idnticos, mas individualizados no reverso a aco de longa durao da instalao (por parte do artista) e a sucessiva desinstalao (por parte do visitante) so a imagem resultante em Wall. A forma padronizada sofre constante transformao desde o comeo da instalao at que dela reste apenas a sua memria e documentao. O projecto funciona como uma mquina em que todas as engrenagens so visveis. Na sala encontram-se materiais de apoio aco e indica-se o custo de produo de cada mdulo do padro. O visitante pode escolher as parcelas (postais) que deseja retirar da parede e contribuir para que o artista deixe de ser o mecenas. Ao ser concluda a desinstalao, o trabalho ter um custo zero para o artista. More than the wall resulting from the juxtaposition of postcards apparently identical, but individualized in the back the longdrawn action of the installation (by the artist) and subsequent disinstallation (by the visitor) are the resulting image in Wall. The standardized form undergoes constant transformation from the start of the installation until nothing remains of it except its memory

The project is composed of 3 parts: the launch of an international challenge to make a pin under the theme Useless; an anonymous exhibition; sale as a form of fund raising for PIN. This is a work/ expo in process starting with the presentation of a collection of pins created by authors from multiple disciplines. Audience members are invited to make their own pin, which will later also become part of the exhibition. The pins are donated to PINs collection and sold for a symbolic price. Only after the sale is the pins author revealed. Thus, PINs intention is to question the value of the object as a creative plastic work per se, independent of values such as authorship and material worth. PIN hopes to contribute tothe re-evaluation of concepts - and prejudices - connected

Exhibition of a selection of works from the last two years, developed by design students from the ESAD. CR. Examples of the different curricular approaches, these projects are the result of exercises designed by teachers or the result of the individual learning process. The teaching practice focuses on doing, where project-oriented activity is central. The projects are developed to implementation, developing skills for critical reflection and completion, the basis for design practice. Some have an experimental nature, others respond more directly to the professional context, in a critical and proactive attitude towards the current context. Projeto corao / razo Gregory Brunisholz / Anade Davoudlarian

This project focuses on artifacts that transmit typographic designs and/or letterings, seen as valuable contributions to the construction of identity and history of the urban space, given their presence in time, the quality of the design and their special relation. Faced with the quiet disappearence of these artifacts from their original places and loss of connection from their intended function, it is essential to acknowledge their heritage value. Dont they reflect an artistic / graphic / typographic history that justifies their preservation, renovation and above all their classification? Or should we discard them as part of a moment and function that have come to an end? This exhibition and workshop will focus on these questions. USMA Cabracega + Andr Gonalves

Typography in architecture: Useless artifacts or useless to care about ? Exposio Exhibition Workshop 29 Set: Joana Lessa + Paulo T. Silva Ruben Dias, Ricardo Santos, Lus Ferreira, Manuel Lea Este projecto centra-se em artefactos que veiculam desenhos tipogrficos e/ou letterings que consideramos contributos valiosos para a construo da identidade e histria do lugar urbano, pelas sua presena temporal, qualidade do desenho

A tendncia mundial de desertificao rural sentida tambm em Portugal, onde a populao urbana continua a crescer a um ritmo de 1.5% ao ano. O mundo urbano, onde tempo dinheiro e cada segundo conta, move-se cada vez mais rpido. Usma funciona como um relgio mas sem interface visual, apenas emitindo o som dos sinos de igreja a cada 30 minutos. Pretende-se assim trazer a noo e visualizao de tempo prprias de um contexto rural para o contexto urbano, num objecto que para alm do som no ter qualquer referncia temporal.

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and documentation. This Project works like a machine in which all gears are visible. In the room the materials to perform the activity are gathered and the production cost for each pattern module is clearly indicated. The visitor can choose the portions (postcards) he/she wants to remove from the wall and contribute accordingly so the artist ceases to be the patron. Once it has been completely taken apart, the work will have zero cost for the artist.

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Branca-Lisboa Marco Sousa Santos At Until 9 Out 11:00 20:00 BCT Design Store Largo do Prncipe Real, 20 Branca-Lisboa uma nova marca de mobilirio e acessrios domsticos, que apresenta uma coleco de produtos onde cada pea resulta de uma abordagem experimental, apoiada na anlise das qualidades estruturais e estticas dos materiais. Fazendo ponto de honra em trabalhar com artesos de alta qualidade, combina a experincia e conhecimento destes com as novas tecnologias digitais de produo industrial. Os produtos Branca-Lisboa refletem cultura do design e cada objecto resulta de um dilogo entre designer e arteso. Unindo a tradio artesanal esttica contempornea, Branca-Lisboa espera reeditar a atitude de integridade, experincia e conhecimento com que noutros tempos os produtos utilitrios eram desenvolvidos.
MARCO SOUSA SANTOS

Branca-Lisboa is a new label of home furniture and accessories that introduces a product collection where each piece is the result of an experimental approach, based on detailed research into the aesthetic and structural qualities of materials. Taking pride in working with highly skilled craftsmen, it combines their experience and expertise with the latest digital production tools. The Branca-Lisboa products represent design culture, as each one is the result of an ongoing dialogue and experiments between the craftsman and the designer. By uniting Portuguese craft traditions with contemporary aesthetics, BrancaLisboa hopes to rekindle the spirit of a bygone era, when produts were developed with integrity, experiencia and knowledge. Coralie Bickford-Smith At Until 25 Nov Seg - Sex Mon - Fri 9:30 19:00 Espao B Rua do Baro, 10

In this exhibition, Luis Royal raises a series of questions on the work of Coralie Bickford-Smith for Penguin Books, in relation to the theme Useless: In a technology era, when e-books get more and more readers, what sense does it make to continue designing and producing paper books?; Can design transform a book into an object, with a memory and a life, close to our objects reality?; What motivates Coralie, a young designer, to pursue languages of other times and transform them into book covers? Can the classics still have a new and contemporary approach in our virtual society? And how useful can they be?

by customizing the environment and highlighting rooms in a new interpretation of furniture.

the opinion and the final judgment of each individual, is the big issue to be taken into account in our intervention.

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o Paradigma entre Livre Arbtrio e Juzo Ipotz Studio At Until 27 Nov Ter - Sb Tue - Sat 10:00 20:00 Av. de Ceuta, Ed. Alcntara Rio, 5 A/B Numa sociedade aparentemente aberta, transparente, globalizada constata-se a progressiva e abrupta opacidade das relaes interpessoais. difcil criar o prprio caminho, fazer escolhas e lidar com juzos de valor de terceiros. Procurar uma nova identidade, construindo um novo eu alicerado num mundo imaginrio e criativo fundamental. importante estabelecer uma dialctica entre conceitos como: da Ideia Matria, do Sagrado ao Profano, da tica Esttica. Vivemos numa sociedade em que dificilmente se distingue o que se pode, o que imposto e o que se quer, sem ter a noo do que til, intil e qui ftil. Desta forma estabelece-se e representa-se a dualidade entre mundos distintos, mas simetricamente reflectidos: um criativo (opaco) e um real (transparente). A liberdade de escolha, opinio e juzo final de cada indivduo, a grande questo desta interveno. In a seemingly open, transparent, globalized society we encounter a progressive and abrupt opacity in interpersonal relationships. It is difficult to create your own way, to make your own choices and deal with other peoples judgment. To search for a new identity, building a new self rooted in an elusive and creative, imaginary world is crucial. It is important to establish a dialogue between concepts such as: from Idea to Matter, from Sacred to Profane, from Ethics to Aesthetics. We live in a society where it is difficult to distinguish what can be done, what is compulsory and what is desired, of each individual notion of what is useful, useless or even futile. In this way we establish and represent the duality between different yet symmetrically reflected worlds: one creative (opaque) and one real (transparent). The freedom of choice,

FBRICA DO BRAO DE PRATA


Rua da Fbrica do Material de Guerra, 1

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A Bolha Invisvel Le Journal de la Maison At Until 27Nov Qua - Qui Wed - Thu 20:00 02:00 Sex e Sb Fri and Sat 20:00 - 04:00 O projecto A Bolha Invisvel tem como ponto de partida a reutilizao da cabine telefnica. Este objecto cada vez mais em desuso visto como uma bolha, um espao individual de conforto e segurana. Estes, por sua vez, esto colocados num espao exterior amplo, a esplanada da Fbrica Brao de Prata. Cada cabine apresenta uma instalao site specific, cujo principal suporte a fotografia. O espectador convidado a interagir e explorar os trabalhos, que abordam o tema da distncia e da comunicao interpessoal.

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Luxury Design Slvia Tundidor At Until 27 Nov Seg - Sex Mon - Fri 10:00 19:00 Ourivesaria Sarmento Rua do Ouro, 251 Exposio das coleces Gorgeous, Rainbow e Blues num espao de Arquitectura Pombalina, em simbiose com o requinte e charme natural das peas. Pretende aliar formas e tcnicas do passado, arte e design contemporneos. Acreditando na juno da tecnologia com tcnicas de fabrico tradicional e artesanato criativo, conferindo um carcter nico, inovador e surpreendente, de elevada qualidade e diferenciao de valor acrescentado ao design. Demonstra-se que possvel ter e usar arte de forma funcional num espao domstico, personalizando os ambientes e destacando divises, numa re-interpretao do mobilirio. An exhibition of the collections Gorgeous, Rainbow and Blues set in a Pombalina architecture space, in symbiosis with the natural refinement and charm of the works. It seems to combine forms and techniques from the past, art and contemporary design. Believing in the joining of technology, traditional handmade techniques and creative crafts, to archive a unique, innovative and surprising character, one whose quality and differentiation, adds value to design. It shows that it is possible to own and use a functional form of art in a domestic space

Tal como a folha de rascunho que amarrotamos e aparentemente no serve para nada, algo foi escrito e pensado para desenvolver uma ideia. Este projecto faz a ligao entre a folha de papel em branco, incio da criao, e a sua perda de utilidade, ao ser lanada no lixo aps usada, escrita, rabiscada, passando de suporte til a ferramenta intil. Ser que estas folhas rejeitadas esto inutilizadas? Este o ponto final do seu percurso e j nada podemos fazer delas? Interrogamo-nos se com elas ir alguma coisa que temos medo de perder... Ento desdobramo-las, abrimo-las e, quem sabe, damos incio a uma descoberta e a um novo momento de criao, abrindo o desafio ao conhecimento. Just like a draft sheet that we have crumple and serves no apparent purpose, something was thought and written to develop an idea. This project makes the connection between the blank sheet of paper, the starting point for creation, and its loss of usefulness when thrown in the trash, after having been used, written and scribbled on, going from a useful medium to a useless tool. Are these discarded sheets of paper useless? Is this the end of their journey, when there is nothing else we can use them for? We wonder if along with them goes something that we fear to lose... So then we uncrumple them, we open them, and maybe we find a new beginning, a new possibility of discovery, a new moment of creation, opening up the challenge to knowledge. LightNess Joana Guedes Cabrita Martins At Until 27Nov Qua, Qui e Dom Wed Thu and Sun 18:00 02:00 Sex e Sb Fri and Sat 18:00 04:00 Lightness - bebe um caf e iluminate a concretizao de ideias que surguram h 3 anos, que tm vindo a ganhar corpo. Embora nunca tenha sentido o aroma dos cafs Nespresso, as cpsulas fascinaram a autora pela cor, brilho, forma, tamanho perfeitas ou um perfeito desperdcio. Na era do consumo vs ecologia, a reutilizao destes objectos foi adquirindo variados contornos at se fazer luz e dar forma a diversos novos objectos.

Nesta exposio, Luis Royal levanta uma srie de questes sobre o trabalho de Coralie BickfordSmith para a Penguin Books, relacionando-o com o tema Useless: Numa era tecnolgica, em que os livros virtuais conquistam cada vez mais leitores, que sentido faz continuar-se a desenhar e a produzir livros em papel?; Poder o design transformar o livro num objecto, com uma memria e uma vida, perto da realidade dos nossos objectos?; O que motiva Coralie, uma designer com a sua idade, a perseguir linguagens de outras pocas e a transform-las em capas de livros? Podem os clssicos continuar a ter abordagens novas e contemporneas na nossa sociedade virtual? Quo teis podem ser?

The project The Invisible Bubble has, as a starting point, the reuse of the phone booth. This object, which is increasingly falling into desuse, is seen as a bubble, an individual space of safety and comfort. In turn, these are placed in an ample exterior space, the terrace of the Fbrica Brao de Prata. Each phone booth presents a site specific installation, whose main medium is photography. The visitor is invited to interact and explore the works on display, which encompass the themes of distance and interpersonal communication. Folha de rascunho Enabel At Until 27Nov Ter - Qui Tue - Thu 18:00 02:00 Sex e Sb Fri and Sat 18:00 - 04:00 Dom Sun 15:00 - 00:00

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NICHON GLERUM

Reutilizar cpsulas na composio de estruturas de iluminao, parte do imaginrio de todos, dos clssicos lustres at iluminao contempornea, o mote da exposio que se prope que os visitantes degustem... Num jogo de palavras, fundem-se 2 conceitos inerentes s peas levando a um terceiro: lightness (leveza) = Light (luz) + ness (nespresso).

formas individuais que no so determinadas pela designer, mas pelas possibilidades programadas no material. Os materiais afeioam-se ao corpo que revestem atingindo a forma final consoante o uso. Respeitar as diferenas na expresso fsica do indivduo o caminho para encorajar a tolerncia e a diversidade.

em demasia do que estritamente necessrio; o designer prope a fronteira entre til e intil. LESS apresenta peas inditas que perdem o excesso que as compe, mantendo a funcionalidade. The question of usefulness may have a dead conclusion, such as to be or not to be, black or white. Under a perspective of earths material resources use and their finitude, the answers complexify. The LESS exhibition approaches the theme by playing with the various possible readings, such as USE LESS. From the viewpoint of an economy of resources or communication, in that abuse and/or an excessive use of material resources or language may have useless results, abuse is understood as the excessive use of what is strictly necessary; the designer proposes this boundarie between useful and useless. LESS presents new works that lose the excess that forms them, maintaining their function.

created from everyday materials like chewing gum packs, bottle or even buttons, and all these materials give life to a different object and an unexpected function. The light and shadows produced by these assemblages confer a strong aesthetic sensibility, many of them producing patterns and motifs which have the appearance of being stitched onto the surrounding environment. These subsequent effects are a further component explored in this project, in that the shadow plays are exposed and drawn as an image independent from their source object. Mquina GBNT At Until 15 Out Ter - Sb Tue - Sat 14:00 19:30 Reflexo sobre a Mquina enquanto metfora de coisa que transforma uma coisa noutra, sob a forma de um metaprojecto, um projecto sobre o projecto. a diferena entre uma abordagem cientfica do Projecto e uma abordagem auto-performtica de tipo artstico. Tem como fim definir o futuro do Projecto e adaptar a metodologia de anlise e de trabalho, fazendo progredir em cada projecto a Cultura do Processo a empregar. Porque cada projecto se insere em contextos nicos de recursos, autoria, produo, tecnologia, prazos, pblicos, etc, actuando em cenrios complexos e em constante mutao, a metodologia do design no pode permanecer invarivel ou esttica, tem que ser dinmica, repensada, re-inventada. Reflection on the Machine as a metaphor for a thing that turns one thing into another, presented as a metaproject, a project about the project. It is the difference between a scientific approach to the Project and an artistic self-performative approach. Its goal is to define the future of the Project and adapt the methodology of analysis and work, advancing in each project the Process Culture to apply. Since each project is involved in unique contexts regarding resources, authorship, production, technology, timelines, audience, etc, acting in complex and ever-changing scenarios, the design methodology cannot remain unchanged or static, it has to be dynamic, rethought, reinvented.

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G.pt Gonalo Prudncio At Until 15 Out Seg - Sex Mon - Fri 07:45-19:00 Leitaria Camponeza Rua dos Sapateiros 155-157 Um projecto de mobilirio concebido, produzido e vendido pelo GPOD | Gonalo Prudncio Office for Design. Inspira-se naquilo que o movimento Indie representa na Indstria Musical. Ao manter-se independente, conquista o espao necessrio para a reflexo e para a definio do seu conjunto de regras operacionais - formais mas no s. Neste caso, mais do que formal, a reflexo incide nos aspectos de ordem social e econmica intrnsecos Indstria Manufactora. O projecto aposta em perceber a forma como os produtos chegam ao cliente final e o seu impacto social e ambiental, bem como a qualidade dos mesmos e dos mecanismos necessrios sua obteno. O projecto tem 4 premissas orientadoras base - Economia de Escala; Customizao em Massa; Glocal e tica.
ANTNIO NASCIMENTO

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Beautifulless Sam Baron At Until 10 Out Seg - Sb Mon - Sat 10:00 19:00 Vista Alegre Largo do Chiado, 20-23

Lightness- drink a coffee and be illuminated... is the materialization of ideas that came to life 3 years ago and have been taking shape since then. Although the author never felt the aroma of the Nespresso coffee, she has always been fascinated by their capsules color, shine, shape, size... Perfect or... a perfect waste. In the era of consumption vs ecology, the reuse of these objects acquired varied contours until light appeared, shaping severalnew objects. Reusing capsules in the composition of lightning structures, part of a collective imaginary, from classic chandeliers to contemporary lightning, is the theme of the exhibition that visitors are invited to savour... In a wordplay, the fusion of 2 concepts closely related to the objects exhibited leads to a third: lightness = Light + ness (nespresso). WEARoUT Carolina Reis At Until 27Nov Ter - Qui Tue - Thu 18:00 02:00 WEAROUT nasce de um estudo social sobre a funo e o uso do vesturio. Se o discurso da moda actual valoriza a expresso individual, a verdade que ela continua a ser um modelo de uniformizao, identificao e estratificao social. Ser possvel criar vesturio sem impor uma moda? A exposio apresenta peas de vesturio que quando usadas se transformam segundo o movimento do corpo. Este processo revela

WEAROUT emerges from a social study on the function and use of clothing. Clothes are the most visible and immediate manifestation of the self but they also convey the values of society and give away precious information about its context. Is it possible to approach fashion design without imposing a certain fashiondictated model? Since movement is as individual as our fingerprints, a design that takes into account motion becomes singular to each person. The mechanism applied to the fabric breaks when there is pressure and adjusts to the wearer. By using movement as a catalyst forchange in the object, the garment achieves its final shape once each person has used it. Valuing differences and respecting individual specificities is the best e path to encourage tolerance and celebrate diversity. LESS Pedro Sottomayor Inaugurao Opening 20:00 At Until 5 Nov Ter - Sex Tue - Fri 10:00-19:00 Sb Sat 15:00-19:00 WHO Galeria Rua Luz Soriano, 71 A questo da utilidade poder ter uma concluso dicotmica como ser ou no ser, preto ou branco. Sob a perspectiva do uso dos recursos materiais do planeta e sua finitude, as respostas tornam-se complexas. A exposio LESSaborda o tema jogando com as leituras que poder ter como USE LESS. Sob o ponto de vista da economia de recursos ou de comunicao, na medida em que o abuso e/ou excesso de utilizao de recursos materiais, ou de linguagem, podero ter resultados inteis, o abuso compreendido como uso

PLATAFORMA REVLVER
Rua da Boavista 84 2

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Elogio da Sombra Andreia Tocha At Until 10 Nov Ter - Sb Tue - Sat 14:00 19:30 Um apresentao de objectos de luz criados a partir do conceito de Bruno Munari Das coisas nascem coisas em que a plataforma de criao a reutilizao. Os objectos so feitos na sua maioria, de desperdcios, como embalagem de pastilhas elsticas, garrafas ou at botes e toda esta matria-prima origina um novo objecto e nova funo. As luzes/sombras produzidas conferem um forte sentido esttico pea, formando padres semelhantes a bordados na parede. Estes efeitos so tambm uma componente explorada no projecto, em que as sombras so desenhadas e expostas, criando uma imagem independente do objecto. This is a presentation of a series of light objects that originate in Bruno Munaris concept : Things born from things, in which the basis of all creation is reutilization. In this installation, the objects have been

uma coleco limitada, desenvolvida pelo designer francs Sam Baron e a Vista Alegre, fabricante de porcelana de projeco internacional. Consiste num conjunto de peas rejeitadas por estarem for a dos padres de qualidade. Objectos com fendas, formas irregulares e colagens aleatrias so recuperados pelo designer com elementos decorativos do reportrio da VA. As peas adquirem assim um novo valor, so elevadas a um novo paradigma esttico sendo-lhes conferida uma nova utilidade. Esta srie representa a fragilidade, humanismo e complexidade da porcelana, um material delicado que requer um conhecimento e pacincia profundos. Introducing a limited collection developed by French designer Sam Baron and Vista Alegre, a porcelain manufacturer of international standing. It consists of a set of pieces rejected for not fitting into the quality standards. The designer recovers objects with cracks, irregular shapes and random collages as decorative elements of the VA repertoire. These pieces thus acquire a new value, they are elevated to a new aesthetic paradigm, and a new usefulness is conferred to them. This series represents the fragility, humanism and complexity of porcelain, a delicate material that requires profound knowledge and patience. Blackware Colonia At Until 29 Out Seg - Sb Mon - Sat 10:00 20:00 Fabrica Features Lisboa Rua Garret, 83, 4

G.pt is a furniture project designed, manufactured and sold by GPOD | Gonalo Prudncio Office for Design. It is inspired on what Indie means to the music industry. By remaining independent it conquers the necessary space for pure reflection, and for defining its own set of operating rules - aesthetic and otherwise. Its reflection, more than formal, focuses mostly on the social and economic aspects surrounding the design industry. It is aimed at understanding quality and the necessary mechanisms to achieve it, as well as how design products become part of everyones life. The project follows 4 structutral premises - Ecolomy of Scale; Mass Customization; Glocal and Ethical.

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Projecto de design ficcional sobre um micro-dispositivo que armazena os dados encriptados do seu proprietrio. Funciona como um buraco negro identitrio, uma cpsula contentora que se situa no plo oposto da lgica das redes sociais. usado para despartilhar e des-publicar, obscurece a informao, encriptando-a para alm da desencriptao. Diferente do que disponibilizado no mercado, o dispositivo algo que pode ser camuflado e ir alm do mero transporte da nossa informao pessoal, com mais significado. Blackware explora novas utilizaes da nossa informao mais sensvel, questionando de que forma esta pode ser usada e relacionada com o nosso corpo atravs de um dispositivo contentor imperceptvel. This is a fictional design project about a micro-device that stores its owners encrypted data. It functions as an identitary black hole, a container capsule that is situated in the opposite end of the logic of social networks. It is used to un-share and un-post, obscuring information, encrypting it beyond decryption. The device is different from what is available on the market, in the sense that it is something that can be camouflaged and go beyond the mere transportation of our personal information, with more meaning. Blackware explores new uses of our most sensitive information, questioning in what way it can be used and related to our body through an imperceptible container device. Les Choses Sam Baron invites Catarina Carreiras & Gonalo Campos At Until 5 Out 11:00 19:00 Sam Baron & Co Largo de Baro de Quintela, 3, R/C Dto Somos coleccionadores peritos de souvenirs de vida sem utilidade aparente. Sam Baron convida Gonalo Campos e Catarina Carreiras a trabalhar sobre a relao entre o valor emocional e o valor funcional/formal de um objecto essencialmente decorativo. Atravs da re-interpretao de objectos que pertencem a universos distintos, contam-se histrias e adicionam-se detalhes teis a formas inteis. Les Choses so bibelots transformados

em peas contemporneas e utilitrias, que interrogam a percepo do design e sublinham tantos outros valores que vo alm do til so promessa de uma dimenso mais humana na produo em design. We are expert collectors of life souvenirs without obvious utility. Sam Baron invites Gonalo Campos and Catarina Carreiras to work on the relation between the emotional value and the functional/formal value of essentially decorative objects. Stories are told and useful details are added to useless shapes through the re-interpretation of objects belonging to different universes. Les Choses are bibelots transformed into contemporary useful design pieces that question our perception of design and underline values that exist beyond utility they are the promise of a more human perspective in design production. Lisbon - Its Useless To Show You Mariana Fernandes, Fabrica At Until 29 Out Seg - Sb Mon - Sat 10:00 20:00 Fabrica Features Lisboa Rua Garret, 83, 4 Lisboa desmontada e solhe retirados todos os museus, monumentos, circuitos tursticos e edifcios de bvio interesse, para ser reconstruda atravs de detalhes eventualmente inteis mas que, de alguma forma, so mapas feitos por quem vive o dia-a-dia da cidade. Delineou-se um percurso alternativo em postais ilustrados, onde se podem descobrir algumas particularidades. Uma exposio e o lanamento de um desdobrvel de postais destacveis que rene as ilustraes. Este objecto, sendo interventivo, completa o conceito do projecto: depois do convite visita, pode tambm fazer parte da experincia de cada lugar e por fim, ser partilhado. The city of Lisbon is dissaembled and bared of all its museums, monuments, buildings and tourist itineraries of obvious interest to be reconstructed through useless details which are, somehow, maps drawn by the people who live in the city. An alternative route was outlined in the form of picture postcards in which one some peculiarities may be found. All the illustrations are included in the

exhibition and released in a foldout postcard collection. This object completes the projects concept: after the actual visit, you may include it in your experience of each site and finally, share it. SLoW DATING Munna At Until 2 Out 12:00 22:00 Hotel da Estrela Rua Saraiva de Carvalho, 35 Numa sociedade intensa que promove o individualismo e o relacionamento virtual e efmero, necessrio recuperar o amor, como vivido noutros tempos. Esta instalao centra-se no conceito da pea clssica namoradeira, recuperando o seu sentido original: proporcionar uma conversa discreta entre duas pessoas, de intimidade e cumplicidade, unindo-as num dilogo de amor. A pea apresentada, a namoradeira Yes No Maybe So tem 5 cores que simbolizam 5 etapas de uma relao: Atraco, Desejo, Flirt, Compromisso, Amor. O pblico, casais e no casais, convidado a relacionar-se, a explorar possibilidades e a reflectir sobre os seus relacionamentos.

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Lagarta by Corque Ana Mestre / CORQUE DESIGN At Until 31 Out Seg - Sb Mon - Sat 11:00 22:00 Fabrico Infinito Rua D. Pedro V, 74 LAGARTA BY CORQUE o lanamento oficial da coleco de 2011 em Portugal, centrado na apresentao da pea LAGARTA. Trata-se de um assento esfrico e ldico, baseado num sistema modular infinito, flexvel e multi-funcional produzido a partir de Aglomerado Negro Expandido, um dos compsitos de cortia mais eco-eficientes e finalizado com uma camada de verniz base de gua. Design de Ana Mestre, com a colaborao de Ins Pereira. As suas dimenses so 940 x 640 x 640 mm. LAGARTA BY CORQUE is the official launch of the 2011 collection in Portugal and is centred on the presentation of the LAGARTA stool. This is an interactive, flexible, multifunctional, playful infinite modular seating system made from expanded agglomerate cork, one of the most ecoefficient cork composites, and finished with a water base varnish. Designed by Ana Mestre, with the collaboration of Ins Pereira. Its dimensions are 940 x 640 x 640 mm.
AUGUSTO BRZIO

1 OUTUBRO
16:00
Swoon Jlio Dolbeth At Until 12 Nov Seg - Sb Mon - Sat 15:00 20:00 Loja Alexandra Moura Rua D. Pedro V, 77 Swoon em traduo livre do ingls quer dizer desmaio ou desfalecimento, e surge como tema para esta exposio de Ilustrao. Retrata uma srie de personagens reais ou inventadas no momento de suspenso entre o xtase e a perda dos sentidos. O motivo do desmaio est relacionado com a contemplao de algo que no referido no desenho. Esta ambiguidade est reforada por uma certa ironia onde a dor se pode confundir com o prazer ou o delrio com o xtase. Nesta exposio procura-se explorar atravs dos retratos, uma perturbao psicossomtica conhecida como sndrome de Stendhal. A definio surgiu publicada pela primeira vez em 1817, quando Stendhal descreve a sua experincia da seguinte forma: Absorto na contemplao de to sublime beleza, atingi o ponto no qual me deparei com sensaes celestiais. Tive palpitaes, a minha vida parecia estar a esvair-se. Swoon stands for fainting or collapse and appears as the subject for this Illustration exhibition. It proposes a series of portraits of real or imaginary characters in the moment of suspension between ecstasy and loss of consciousness. The reason for fainting is related to the contemplation of something that is not mentioned in the drawing. The ambiguity is reinforced by a certain irony, where pain can be confused with pleasure or delirium blends with ecstasy. Swoon will try to explore what a psychosomatic disorder known as Stendhal syndrome. It first appeared in print in 1817, when Stendhal thus describes his experience: Absorbed in the contemplation of such sublime beauty, I reached the point where I came across heavenly sensations. I had palpitations, my life seemed to be draining away...

17:00
Do Moderno Carolie Pags Gallery At Until 29 Out Seg - Sb Mon - Sat 15:00 20:00 Caroline Pags Gallery Rua Tenente Ferreira Duro, 12, 1 Dto A Caroline Pags Gallery vai exibir design capaz de questionar paradigmas da criao artstica, cultura material e a sua criao tal como a entendemos. Trabalhando sob esta condio, Toni Grilo (PT) e Daniel Enoksson (SE) representam duas vertentes possveis deste design. Criam objectos cujo valor ultrapassa o argumento prtico a que se proporiam enquanto objectos. So respostas funcionais, conceptuais e estticas para fazer frente arte, sem outra funo ou utilizao que no a de ser apenas arte. O estranho luxo dos objectos de ambos os autores tem uma acuidade formal que lhes acrescenta um valor essencial, numa abordagem ps-moderna que os liga aos modernistas do incio do sculo XX.

In a fast-paced society that promotes individualism and virtual and ephemeral relationships, it is necessary to recover the concept of love, as it was lived in times gone by. This installation focuses on the concept of the classical piece the tte--tte sofa, recovering its original intent: to enable a discreet, face to face conversation between two people that preserves a sense of intimacy and involvement, originating a love talk. The tte--tte sofa presented, Yes No Maybe So, has 5 different colors, which stand for the 5 stages of a relationship: Attraction, Desire, Flirt, Compromise, Love. Visitors are encouraged to relate to one another, to explore possibilities and think about their own relationships. own relationships.

23:00
FRoM A To C Miguel Vieira Baptista At Until 12 Nov 12:00 22:00 Encerra Seg Closed Mon Loja da Atalaia Av. D. Henrique Calada da Pedra a S. Apolnia From A to C - Novos objectos de Miguel Vieira Baptista. From A to C - New objects by Miguel Vieira Baptista.

The Caroline Pags Gallery in Lisbon will show design that is able to question the paradigms of artistic creation, material culture and its creation as we understand it. The two selected designers, Toni Grilo (PT) and Daniel Enoksson (SE) operate under this condition and create objects whose value exceeds the practical aspect they propose as objects. They are functional, aesthetic and conceptual responses that are confronted with art with no other function than to just be art. The strange luxury of their objects has a formal perceptiveness that conveys an essential value, in a postmodern approach that links them to the early modernists of the 20th century.

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18:00
CUT furniture Mariana Costa e Silva At Until 30 Out Seg - Sb Mon - Sat 11:00-19:00 BCT Design Store Praa do Principe Real, 20/21 Juntando menos material, menos mo-de-obra, menos ferramentas e menos espao obtem-se a CUT furniture. Escolha o material: Valchromat um painel de fibras de madeira, hidrfugo, no txico e colorido em toda a espessura. Desenhe peas de mobilirio estruturadas e estveis com as formas de cada componente aninhadas evitando desperdcio. Em poucos minutos, corte uma placa numa fresadora CNC. Acabe com uma fina camada de verniz para que sejam mais fceis de limpar. E est pronto, divirta-se! Monte e desmonte sem ajuda de ferramentas, sem pregos, parafusos, cola ou ferragens. Put together less material, less labour, less tools, less space and youll have CUT furniture. Choose one material: Valchromat a wood fiberboard, moisture resistant, non-toxic and colored throughout. Design structured and stable pieces of furniture with all components nested to reduce waste. Take a few minutes to cut out the board in a CNC milling machine. Finish with a slight layer of varnish to make it easier to clean. And there you have it, enjoy! Assemble and disassemble without the need for tools, nails, screws, glue or fittings. I need nothing-uma odisseia quase intil Coceito + Burdman At Until 26 Nov Seg - Sex Mon - Fri 14:00 20:00 Sb Sat 14:00 21:00 Encerra Dom Closed Sun Matria Prima Rua da Rosa, 197 Repositrios de histrias e emoes que as enriquecem, as capas que acomodam os diversos estilos musicais so o motivo da exposio. Capas de discos que tantas vezes conquistam quando a msica ainda mal se ouve. Verdadeiros desastres grficos ou cones, injustamente ignoradas ou testemunhos de uma

poca, as capas garantem que o ouvir acompanhado pelo ver e tocar, coleccionar, guardar, partilhar. De capa em capa, ligando as vrias histrias, escrevemos outra ao som de uma msica que repete: i need nothing, ive everything i need. Foram convidados 15 artistas grficos portugueses para ilustrar e a Moopie para filmar. A msica dos Parenthetical Girls e a Matria Prima foi cmplice de tudo. Repositories of stories and its enriching emotions, the covers that accommodate the existing multitude of musical genres are the motto for this exhibition. Album covers that often capture our attention when the music has still just barely reached our ears. Major graphic disasters or revered icons, unfairly ignored or zeitgeists, these covers provide listening with a visual and tactile dimension, bringing it into the sphere of collecting and sharing. From cover to cover, going through all the stories (and histories), we wrote a new one to the sound of a song on repeat: I need nothing, Ive everything I need. 15 portuguese graphic designers were invited to illustrate and Moopie to shoot the video. The music is by the Parenthetical Girls and Matria Prima helped make it all happen.

PS SEMANA INAUGURAL POST OPENING wEEK


2 OUTUBRO
21:30
Super Pecha Kucha Delux Lounging Space Pecha Kucha (em japons o som da conversa), concebida por Astrid Klein e Mark Dytham (Klein Dytham architecture), teve origem em 2003 em Tquio com o objectivo de criar uma plataforma para jovens profissionais das diversas reas criativas se reunirem, conhecerem e apresentarem publicamente o seu trabalho. O evento segue um formato especfico de conferncia: 20 oradores por sesso; 20 imagens por orador num total de 640 minutos por interveno, promovendo um discurso fluido e dando oportunidade a mais pessoas de participar. Uma plataforma de visibilidade informal e flexvel, Pecha Kucha hoje um fenmeno global, tendo-se espalhado a centenas de cidades em todo o mundo. Pecha Kucha (Japanese term for the sound of conversation - chit chat), Night was devised in Tokyo in 2003 by Astrid Klein and Mark Dytham (Klein Dytham architecture), as a platform for young designers to meet, network, and show their work in public. The organizers outlined and patented a specific format (4 year editions; 20 speakers for session; 20 images per speaker; 20 seconds per image in a total of 6 40 by presentation) that promotes a fluid speech, catches the audience and gives opportunity to more people to present their work on the same night. Pecha Kucha is a global phenomenon that expanded globally to hundreds of cities all over the world.
CLUDIA DAMAS

6 OUTUBRO

6Th Unidcom/Iade International Conference Lounging Space Organizada pelo IADE, um dos pontos altos da actividade da sua Unidade de investigao e pesquisa em Design e Comunicao. De 6 a 8 de Outubro apresenta um intenso programa de comunicaes sobre reas ligadas cultural visual e criatividade contempornea como o marketing, publicidade, desenho e ergonomia, desenho analgico e digital, exclusividade e espao pblico, fotografia, entre outros. Destacam-se os oradores principais: Gillo Dorfles, Clive Dilnot e Mrio J. Miranda. Ser antecedida por um evento em rede no dia 5 de Outubro, o Drawing Research Network Conference. Hosted byIADE,this isoneof the highlightson the Investigation and Research Unit in Design andCommunication activity.FromOctober6 to 8it integrates anintensive program ofpapers presentationsonareas related to visualcultureand contemporary creativityas marketing, advertising, designand ergonomics,analog and digitaldesign, exclusivity andpublic space, photography, amongothers. The keynote speakers are Gillo Dorfles, Clive Dilnot and Mrio J. Miranda. It will be preceded by a network event on October 5, the Drawing Research Network Conference.

percurso dos discentes para que a partir da reflexo crtica e histria da cultura e prtica do design, se edifique um corpus digno de ser contemplado pelos visitantes. A exposio multiplica-se por vrios espaos da Faculdade de Belas-Artes e o programa integra tambm workshops, conferncias, apresentaes e visitas guiadas. It is an exhibition of students projects from the Communication Design Major of the Fine Arts Faculty of the University of Lisbon, incorporated in the study areas of Project, Edition, Typography, Multimedia and Web. It is an accompaniment of the students progress so that from the critical reflection and the history of design practice and culture we can identify a corpus worth being pondered by visitors. The exhibition multiplies itself through several spaces within the Fine Arts Faculty and the programme also integrates workshops, conferences, presentations and tours.

4 documentaries on architecture. They are testimonies and individual readings of directors on a given territory and its main protagonists the architects. How much does your building weigh Mr. Foster? (Amadro Norberto Lopez and Carlos Carcas), Oscar Niemeyer - An architect committed to his Century (MarcHenri Wajnberg) I. M. Pei - First Person Singular (Peter Rosen); Sky - Jrn Utzon (Pi Michael).

4 NOVEMBRO
20:00
Argamatriz Hugo Madureira At Until 26 Nov Seg - Sb Mon - Sat 11:00 20:00 KOLOVRAT 79 Rua Dom Pedro V, 79 Vade-mecum/matriz: Uma marca (ou mais) impressa em artigos de metais preciosos certificam o seu nvel de pureza; este sentido pode ser transportado da joalharia para o significado do corpo. Num ambiente ou material no qual alguma coisa nasce, a sua estrutura circundante determina o domnio, o reino da disciplina. A joalharia cinge ambos, significado e sistema. Este ltimo pode tornar incerto o espectador devido possibilidade de furar qualquer coisa e transform-la num anel. Argamatriz fala tambm da grande quantidade de matria, tomos e molculas retratados em formas clssicas de jias, ourivesaria, prataria e de maquinetas.

8 OUTUBRO
18:30
ARGUMENTo ARQUITECTURA: 4 DIAS, 4 PRITZKERS 8/15/22/29 Out-Oct Sb Sat 18:30 Lounging Space No mbito das comemoraes do Dia Mundial da Arquitectura 2011 (3 de Outubro), a Ordem dos Arquitectos e aMuestra Internacional de Programas Audiovisuales apresentam 4 documentrios de arquitectura. So testemunhos e leituras individuais dos realizadores sobre um determinado territrio e os seus principais protagonistas - os arquitectos. How much does your building weigh Mr. Foster? (Norberto Lpez Amadro e Carlos Carcas); Oscar Niemeyer - An architect committed to his Century (MarcHenri Wajnberg); I. M. Pei - First Person Singular (Peter Rosen); Sky - Jrn Utzon (Pi Michael). As part of the celebrations of World Day of Architecture 2011, (October 3), the Ordem dos Arquitectos and the Muestra Internacional de Programas Audiovisuales present

7 OUTUBRO
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DES/GN FBAUL2011 - Design de Comunicao Faculdade de Belas-Artes da Universidade de Lisboa Largo da Academia Nacional de Belas-Artes uma exposio de projectos dos alunos do curso de Design de Comunicao daFaculdade de Belas-Artes da Universidade de Lisboa no mbito dos estudos nas reas de Projecto, Edio, Tipografia, Multimdia e Web. Um acompanhamento da evoluo do

Vade-mecum/matrix: A mark (or more) stamped on items made from precious metals certifies their purity level; this sense can be conveyed by portable arts such as jewelry to the meaning of the body. In an environment or material where something develops, its surrounding structure determines the domain, the realm of the discipline. Jewelry enfolds both meaning and system. The latter may

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leave the viewer uncertain due to the possibility of drilling a hole into an object and transforming it into a ring. Argamatriz also deals with the large body of matter, atoms and molecules depicted in classical shapes found in jewels, goldsmithery, silverware and small devices and contraptions.

11 NOVEMBRO
22:00
Retrato Possvel e Concerto Triangular (Performance ) Andrea Brando e Joo Ferro Martins Appleton Square Rua Accio Paiva, 27, R/C Este evento rene 2 trabalhos diferentes na formalizao mas que partilham a mesma gnese no processo: a construo de um objecto por acumulao. Trata-se de enunciar um terceiro objecto, simultneo. Retrato possvel, performance de Andrea Brando e Concerto triangular, improviso para percusso de Joo Ferro Martins.

uma instalao de arte contempornea que estabelece um dilogo com as peas da Casa Museu Medeiros e Almeida. Apresenta-se como um arranjo ornamental de grandes dimenses feito de plantas invasoras e de postais retratando plantas, criados a partir de fichas do Projecto Invader: Plantas Invasoras em Portugal. No sendo irnico, o trabalho reage a possveis noes de dominao e superficialidade associadas s plantas, arranjos e postais. Inspira-se em marcos temporais e espaciais de forte carga social e simblica, como cerimnias de Estado ou entregas de prmios. It is a contemporary art installation that seeks to establish a dialogue with the pieces in the Casa Museu Medeiros e Almeida. It presents itself as a large-sized ornamental arranjement made of invasive plants and postcards portraying plants, created from cards from the Project Invader: Invading Plants in Portugal. The project does not seek to be ironic, though it reacts to possible notions of invasion and superficiality associated with plants, flower arrangements and postcards. The work is inspired by socially and symbolically charged temporal and spatial landmarks, such as State and award ceremonies.

morais e dos sentimentos e desejos das pessoas de uma determinada poca. This exhibition covers fifty years of fashion photography in Germany but is more than just a history of fashion and how it was photographed. The curator F.C. Gundlach has selected 39 photographs and wherever possible, a thematic sequence of up to 6 pictures was selected, in order to show what is especially typical of the work of the respective photographer. More than portraying fashion trends, these images give information of extraordinary interest about the so-called Zeitgeist, or spirit of the times, about changes in society, moral codes and the feelings and longings of people at a certain period in time.

24 DE NOVEMBRO
Zeitgeist becomes form German Fashion Photography 19451995 At Until 22 Jan 2012 Ter - Sex Tue - Fri 10:00 19:00 Sb - Dom Sat - Sun 14:00 19:00 Encerra Seg Closed Mon Galeria Torreo Nascente da Cordoaria A exposio apresenta um riqussimo panorama de 50 anos de fotografia de moda na Alemanha. No entanto, ela inclui muito mais do que apenas temas ligados moda. O curador F.C.Gundlach seleccionou 39 fotografias de moda, procurando agrupar tematicametne at 6 imagens relacionadas que ilustrassem as caractersticas do trabalho de cada fotgrafo. Para alm de retratar as tendncias da moda, estas imagens constituem tambm um retrato social do denominado Zeitgeist, das transformaes sociais, dos cdigos

This event brings together 2 works different in their formalization but that share the same origin in their process: the construction of an object by accumulation. The purpose is to enounce a third, simultaneous object. Possible Portrait, performance by Andrea Brando and Triangular Concert, improvisation for percussion by Joo Ferro Martins.

22 NOVEMBRO
18:30
Azedas e Intrometidas Henrique Neves At Until 27 Nov Seg - Sex Mon - Fri 13:00 17:00 Casa-Museu Medeiros e Almeida Rua Rosa Arajo, 41

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ESPAOS VENUES
MUSEU ARQUELGICO DO CARMO

SIDELINES
B I B L I OT E C A M U N I C I PA L C A M ES

Biblioteca Municipal Cames A Biblioteca funciona no Palcio Valada-Azambuja ou Palcio dos Condes de Azambuja, inicialmente edificado no sculo XVI na freguesia de So Paulo. Aps o terramoto de 1755 foi objecto de total reconstruo e desde os finais do sculo XIX tem sofrido profundas alteraes que modificaram por completo a sua traa original. No entanto, a sua fachada mantm as caractersticas setecentistas e o trio de entrada exibe um interessante conjunto de painis de azulejos da poca. A partir do ano de 1925 o edifcio foi a sede do jornal A Lucta, vindo posteriormente a tornar-se num equipamento municipal denominado Biblioteca Municipal Cames em Outubro de 1981. Dentro das actividades que a Biblioteca oferece ao pblico de todas as idades, como a consulta de publicaes generalistas, debates ou projeces, os apreciadores de literatura policial podem consultar mais de 6000 volumes de autores portugueses e estrangeiros do gnero. The Library operates on ValadaAzambuja Palace or Palace of the Condes de Azambuja, first built in the sixteenth century in the parish of So Paulo. After the 1755 earthquake it was subject to total reconstruction, and since the late nineteenth century it has undergone profound alterations that have completely changed its original features. However, its faade maintains the eighteenth-century characteristics and the lobby displays an interesting set of tile panels of the time. From 1925 the building was the headquarters of the newspaper A Lucta, but eventually it became a municipal facility called Biblioteca Municipal Cames in October of 1981. Among the activities the library offers to the public of all ages, as the consultation of general publications, debates or projections, lovers of crime fiction have available to them more than 6000 volumes of Portuguese and international authors of the genre.

Museu Arquelgico do Carmo Ocupa as runas do Carmo, antiga Igreja do Convento de Nossa Senhora do Vencimento do Monte do Carmo fundado por D. Nuno lvares Pereira e sagrado em 1423. Extremamente danificada pelo terremoto de 1755, esta importante igreja gtica foi alvo de reconstruo no reinado de D. Maria I, que no viria todavia a ser concluda por motivos de ordem financeira e operacional. Com a constituio da Real Associao dos Architectos Civis e Archelogos Portugueses em 1863, o Museu Arqueolgico do Carmo foi fundado um ano depois pelo arquitecto Joaquim Possidnio da Silva. O objectivo inicial foi o de preservar peas recuperadas de instituies religiosas aps a extino das casas monsticas em 1834. Desde ento o Museu tem vindo a ampliar o seu esplio de enorme valor histrico, incorporando hoje um vasto conjunto de peas datadas da Pr-Histria contemporaneidade. O icnico edifcio do Museu, com os seus arcos sem cobertura a enquadrar o cu, constitui hoje uma imagem mpar na silhueta de Lisboa. It occupies the ruins of Carmo, the former Church of the Convento de Nossa Senhora do Vencimento do Monte do Carmo, founded by D. Nuno lvares Pereira and consecrated in 1423. Badly damaged by the 1755 earthquake, this important Gothic church was rebuilt during the reign of Queen D. Maria I, however, it would not be completed for financial and operational reasons. With the establishment of the Real Associao dos Architectos Civis e Archelogos Portugueses in 1863, the Museu Arqueolgico do Carmo was founded a year later by the architect Joaquim Possidnio da Silva. The initial goal was to preserve recovered pieces of religious institutions after the dissolution of monastic houses in 1834. Since then the Museum has been expanding its estate of enormous historical value, which now incorporates a wide range of pieces dating from Prehistory to the contemporary. The iconic building of the Museum, with its roofless arches framing the sky, is today a unique image of Lisbons silhouette.

CONFERNCIAS DE LISBOA LISBON LECTURES

Cinema So Jorge Quando o Cinema So Jorge abriu as suas portas em 1950 era a maior e mais sofisticada sala de espectculos do pas, com lugar para 1827 pessoas, com ar condicionado, dois foyers e sala de projeco privada. Construdo com capitais luso-britnicos, distinguiase pelas suas excelentes condies tcnicas, acsticas e modernidade das linhas que valeu ao seu arquitecto, Fernando Silva, o Prmio Municipal de Arquitectura em 1951. Propriedade da Rank Filmes at 1985, o Cinema So Jorge sofreu obras profundas em 1982, sendo a sua sala principal dividida em trs salas independentes. Adquirido em 2000 pela Cmara Municipal de Lisboa, o Cinema reabriu ao pblico em Maio de 2006 aps extensas obras de beneficiao que permitiram alargar a sua oferta para incluir alm do cinema, a msica, o teatro exposies e debates. Estas novas valncias e dinmica programtica visam afirmar o Cinema So Jorge como plo central na revitalizao cultural da Avenida da Liberdade When Cinema So Jorge opened its doors in 1950, it was the largest and most sophisticated performance hall in Portugal, with a seating capacity of 1827 as well as air conditioning, two foyers and a private screening room. Built with Portuguese and British capital, it boasted superb technical and acoustic conditions as well as the sharp modernist lines that would earned its architect, Fernando Silva, the Citys Architecture Prize in 1951. The property of Rank Filmes until 1985, Cinema So Jorge underwent severe changes in 1982, when its main auditorium was divided into 3 independent rooms. Acquired in 2000 by the City of Lisbon, the Cinema reopened in May 2006 following extensive renovations that have allowed this venue to broaden its offer by hosting, in addition to film projections, music and theatre performances, exhibitions and debates. These new features and programme drive seek to turn Cinema So Jorge into a central element in the cultural revitalization of Avenida da Liberdade.

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Museu Geolgico Funciona no 2 andar do edifcio do antigo Convento de Nossa Senhora de Jesus da Ordem Terceira de S. Francisco. O edifcio comeou a ser construdo em finais do sculo XVI, prolongando-se a obra por dois sculos. O traado desenvolve-se em torno de um claustro quadrangular maneirista com um pequeno jardim e uma cisterna em pedra. Pertence a um conjunto edificado classificado de Interesse Pblico que inclui os vestgios da cerca conventual, a Igreja, a Capela e o Hospital adjacentes. Com a expulso das ordens religiosas em 1834, o edifcio foi doado Academia das Cincias de Lisboa, sendo parte do espao cedida Comisso Geolgica em 1858. A constituio da coleco do Museu comeou em 1859 com os trabalhos de pesquisa e recolha de amostras dos Servios Geolgicos de Portugal e do Instituto Geolgico e Mineiro. A mostra hoje existente tem a singularidade de apresentar referncias museolgicas do sculo XIX, pela sua disposio, mobilirio e caractersticas espaciais, um Museu dos Museus como referido por especialistas. The Museum operates on the 2nd floor of the former Convento de Nossa Senhora de Jesus da Ordem Terceira de S. Francisco. Building began in the late 16th century, and the construction work continued for the next two centuries. Its design was developed around a square cloister with a small garden and a stone cistern. It belongs to a group of buildings classified of Public Interest, which also includes the remains of the convents wall and the adjacent Church, Chapel and Hospital. With the expulsion of religious orders in 1834, the building was donated to the Academia das Cincias de Lisboa, and part of the space transferred to the Comisso Geolgica in 1858. The establishment of the Museums collection began in 1859 following research work and sampling by the Servios Geolgicos de Portugal and the Instituto Geolgico e Mineiro. The exhibition that exists today has the particularity of displaying museological references of the 19 th century, for its layout, furniture and spatial characteristics; it is the museum of museums, as stated by experts.

Museu de So Roque O Museu est instalado na antiga Casa Professa da Companhia de Jesus, um edifcio contguo Igreja maneirista de So Roque, um conjunto edificado no sculo XVI no permetro do Bairro Alto. A designao original de 1905, Museu do Tesouro da Capela de So Joo Baptista, referia-se coleco de arte italiana que acolhia. Tendo diversificado o seu esplio de crescente riqueza, na dcada de trinta surge como Museu de Arte Sacra de So Roque e trinta anos depois a prpria Igreja de So Roque foi associada ao seu contedo museolgico. Recentemente recuperaram-se os espaos de ligao entre a Igreja e a Casa Professa e tambm o seu claustro, permitindo uma maior unidade de conjunto. The Museum is housed in the former Casa Professa da Companhia de Jesus, a Mannerist building adjacent to the church of So Roque, a set built in the sixteenth century in the perimeter of Bairro Alto. The 1905 original designation, Museu do Tesouro da Capela de So Joo Baptista, referred to the collection of Italian art that it housed. Having diversified its estate of increasing wealth, it appears in the thirties as como Museu de Arte Sacra de So Roque, and thirty years later the Church of So Roque itself was attached to the museums content. Recently, the linking spaces between the Church and the Casa Professa as well as its cloister were recovered, allowing a greater unity of the aggregation.

M U S E U D A FA R M C I A

Museu de Artes Decorativas Portuguesas - FRESS O Museu ocupa o Palcio Azurara, um edifcio seiscentista situado entre duas torres da Cerca Moura, em Alfama. Em 1947 foi adquirido pelo mecenas e coleccionador Ricardo do Esprito Santo Silva que, com a colaborao do arquitecto Raul Lino, deu incio ao seu restauro. A sua inteno era transformar o Palcio numa casa aristocrtica do sculo XVIII, expondo peas decorativas da sua coleco particular numa cenografia museolgica. Inaugurado em 1953, o Museu oferece um contacto privilegiado com peas representativas do patrimnio das Artes Decorativas Portuguesas do sculo XV ao XIX. Organiza-se segundo as diversas reas temticas: Mobilirio, Txteis, Prataria e Ourivesaria, Porcelanas portuguesas e chinesas, Faiana, Pintura, Desenho, Encadernao. The Museum occupies the Azurara Palace, a seventeenth-century building situated between two towers of the Cerca Moura, in Alfama. In 1947 it was purchased by patron of the arts and collector Ricardo do Esprito Santo Silva who, in collaboration with the architect Raul Lino, began its restoration. His intention was to transform the Palace into an eighteencentury aristocratic house, to exhibit decorative pieces from his own collection in a museum scenography. Opened in 1953, the Museum offers a privileged contact with representative pieces of the heritage of fifteenth and sixteenth century Portuguese Decorative Arts. It is organized according to different thematic areas: Furniture, Textiles, Silver and Gold Jewelry, Portuguese and Chinese Porcelains, Ceramics, Painting, Drawing, Binding.

Museu da Farmcia Inaugurado em 1996, este Museu localiza-se na sede da Associao Nacional das Farmcias, um palacete construdo em 1860 sobre as runas da antiga Igreja de Santa Catarina. O seu acervo abrange 5000 anos de histria da Farmcia e da Sade, com peas de culturas e locais to diversos quanto o Egipto, Roma ou Mesopotmia. Entre os milhares de peas utilizadas no estudo e prtica da farmcia, desde a Antiguidade at contemporaneidade, apresenta a reconstituio integral de 4 farmcias, destacando-se a Farmcia de Macau e as farmcias portteis utilizadas na expedio ao Plo Norte em 1911, na viagem espacial do Space Shuttle Endeavour 2000 e na prova desportiva Lisboa-Dakar 2006. Opened in 1996, this museum is located at the headquarters of the Associao Nacional das Farmcias, a mansion built in 1860 on the ruins of the former Church of Santa Catarina. Its collection spans 5000 years of Pharmacy and Health history, with pieces of cultures and places as diverse as Egypt, Rome and Mesopotamia. Among the thousands of pieces used in the study and practice of pharmacy, from antiquity to the present, it presents a full reconstitution of four pharmacies, in particular the Macau Pharmacy and the portable pharmacies used on the expedition to the North Pole in 1911, on the Space Shuttle Endeavour 2000 space voyage, and at the Lisbon-Dakar 2006 sports event.

Museu do Teatro Romano Inaugurado em 2001, este Museu de cariz arqueolgico pretende contextualizar o legado do Teatro Romano existente na encosta da colina do Castelo de So Jorge. A narrativa museolgica formada pelas escavaes arqueolgicas do local, reflexo da intensa romanizao da cidade de Felicitas Iulia Olisipo, e pela exposio de testemunhos arqueolgicos e histricos no edifcio seiscentista contguo, que pertenceu ao Cabido da S. Os vestgios integram no s a poca de construo do Teatro (sculo I d.C.) mas tambm a evoluo da ocupao desta zona. Opened in 2001, this museum of archeological nature aims to contextualize the legacy of the Teatro Romano located on the hillside of the Castelo de So Jorge. The museological narrative is formed by archaeological excavations of the site, which reflects the intense romanization of the city of Felicitas Iulia Olisipo, as well as by the display of archaeological and historical evidence in the adjoining seventeenth century building, which belonged to the Cathedrals congregation of priests. These traces comprise not only the time of construction of the Theater (first century AD) but also the evolution of the occupation of the area.

M U S E U D O T E AT R O R O M A N O

MUSEU DE SO ROQUE CINTRA & CASTRO CALDAS, LDA

MUSEU GEOLGICO

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UTILITAS INTERRUPTA
F U N D A O A R PA D S Z E N ES VIEIRA DA SILVA

Fundao Arpad Szenes Vieira da Silva Instalada na antiga Fbrica de Tecidos de Seda no Jardim das Amoreiras, a Fundao Arpad Szenes-Vieira da Silva inaugurou em 1994. Integra o Centro de Documentao e Investigao dedicado ao estudo e divulgao da obra deste casal de artistas plsticos e tambm o Museu, que apresenta exposies temporrias. O edifcio situa-se no bairro operrio das Amoreiras fruto da planificao de Carlos Mardel na fase ps-terramoto de 1755, poca em que Sebastio Jos de Carvalho e Melo, Marqus de Pombal era Primeiro-Ministro plenipotencirio e foi o responsvel pela reconstruo de Lisboa. Integrando residncias operrias e oficinas associadas produo de sedas, o edifcio do sculo XVII tem hoje a classificao de imvel de Interesse Pblico. A sua recuperao e adaptao foi dirigida pelos arquitectos Jos Sommer Ribeiro e Richard Clarke. Mantendo a sua traa original de caractersticas geomtricas simples e uma escala harmoniosa com a cidade, este Museu intimista e discreto alberga um valioso acervo de doaes feitas por Vieira da Silva. Installed at the former Fbrica de Tecidos de Seda (Silk Textile Factory) in the Jardim das Amoreiras, the Arpad Szenes-Vieira da Silva Foundation was inaugurated in 1994. It integrates the Research and Documentation Center, which is dedicated to the study and dissemination of these two artists work, and also the Museum, which features temporary exhibitions. The building is located in the workingclass neighborhood of Amoreiras, the result of Carlos Mardels planning in the 1755 post-earthquake phase, at which time Sebastio Jos de Carvalho e Melo, Marquis of Pombal was the plenipotentiary Prime Minister and responsible for rebuilding Lisbon. Combining workers residences and workshops associated with the production of silks, the seventeenthcentury building now has the classification of property of Public Interest. Its recovery and adaptation was conducted by the architects Jos Sommer Ribeiro and Richard Clarke. Maintaining its original features of simple geometric characteristics and a harmonious balance with the city, this intimate and discreet Museum houses a valuable collection of donations made by Vieira da Silva.

Jardim das Amoreiras Com a toponmia de Jardim Marcelino Mesquita em homenagem ao escritor e dramaturgo, situa-se na Praa das Amoreiras, e foi inaugurado em 1759 pelo Marqus de Pombal. O jardim integrava-se num bairro de caractersticas operrias, projectado durante a reforma urbanstica da cidade aps o terramoto, para instalao de um conjunto de equipamentos e recursos complementares indstria da seda. De caractersticas romnticas, integrava uma plantao de 331 amoreiras que alimentavam o bicho da seda, tendo sido retiradas em 1863. Com uma rea de 6.000m2, o jardim delimitado pelos arcos do Aqueduto das guas Livres (1748), pela capela de Nossa Senhora de Monserrate (1878), pela antiga Fbrica de Tecidos de Seda, hoje Fundao Arpad Szenes-Vieira da Silva e por diversas habitaes operrias do sculo XVIII. Um stio de excepo para um momento de pausa, protegido da azfama do contguo Largo do Rato. With the toponymy of Jardim Marcelino Mesquita in honor of this writer and playwright, it is located at the Praa das Amoreiras, and it was inaugurated by the Marquis of Pombal, in 1759. The garden is part of a neighborhood of workingclass characteristics, designed during the urban reform of the city after the earthquake, to install a series of facilities and resources complementary to the silk industry. Of Romantic characteristics, it was part of a plantation of 331 mulberry trees that fed silkworms, but that were withdrawn in 1863. Comprising an area of 6.000m2, the garden is enclosed by the arches of the guas Livres Aqueduct (1748), the chapel of Nossa Senhora de Monserrate (1878), the former Fbrica de Tecidos de Seda (now the Arpad Szenes-Vieira da Silva Foundation), and several eighteencentury workers dwellings. It is an exceptional site ideal for a relaxing pause, protected from the bustle of the adjacent Largo do Rato.

Museu da Me Dgua O reservatrio da Me dgua das Amoreiras foi iniciado segundo o plano do arquitecto hngaro Carlos Mardel em 1752, por ordem do Marqus de Pombal. Aps a morte do autor, o projecto foi retomado por Reinaldo Manuel dos Santos em 1772, que alterou o desenho inicial sendo a obra concluda em 1834, no reinado de D. Maria II. Com uma cisterna de 5.500m3 de capacidade, a 7,5m de profundidade, a sua funo era armazenar e distribuir cidade de Lisboa a gua trazida pelo Aqueduto das guas Livres. Com um ambiente interior singular, esta edificao classificada como imvel de Interesse Pblico oferece ainda na sua cobertura um amplo terrao com vista sobre Lisboa. actualmente um dos ncleos do Museu da gua da EPAL, utilizado para exposies, concertos, performances e outras iniciativas culturais. The Me dgua das Amoreiras reservoir was initiated according to the plan of the Hungarian architect Carlos Mardel in 1752, at the request of the Marquis of Pombal. After the death of the author, the project was taken up by Reinaldo dos Santos in 1772, who altered the initial design, and the work was completed in 1834, during the reign of Queen D. Maria II. With a tank capacity of 5.500m3, and of 7.5 m of depth, its function was to store and distribute through the city of Lisbon the water brought by the guas Livres Aqueduct. With a unique interior environment, this building, which has been classified as property of Public Interest, also offers in its coverage a large terrace overlooking Lisbon. It is currently one of the centers of the do Museu da gua da EPAL, and is used for exhibitions, concerts, performances and other cultural initiatives.

MUSEU DA ME DGUA

JARDIM DAS AMOREIRAS

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USELESS?

MUDE - Museu do Design e da Moda. Coleco Francisco Capelo O MUDE est instalado no edifcio do antigo Banco Nacional Ultramarino, um projecto inicial de 1952 do arquitecto Cristino da Silva que ocupa um quarteiro da Baixa Pombalina. Em 2009 o edifcio foi adquirido pela Cmara Municipal de Lisboa, iniciando-se a sua adaptao a Museu, projectada por Ricardo Carvalho e Joana Vilhena. A imagem actual integra o impressionante balco de atendimento em pedra, a estrutura de beto vista e outros materiais pouco comuns como telas, paletes, rguas fluorescentes e pinturas industriais. O MUDE funciona como uma instalao provisria em constante transformao que vive como um work in progress, no estando a prpria obra ainda concluda. O MUDE destaca as vrias reas do design atravs de mostras da coleco e programao temporria, contemplando o debate, a rea editorial e actividade educativa. Desde a sua abertura em Maio de 2009 tem sido um equipamento da maior importncia na revitalizao da Baixa, atraindo milhares de visitantes nacionais e estrangeiros. MUDE is installed in the building of the former bank Banco Nacional Ultramarino, a 1952 initial project of the architect Cristino da Silva, which occupies a block of the Pombaline downtown area. In 2009 the building was acquired by the Lisbon City Hall, which began to adapt it into the Museum, designed by the architects Ricardo Carvalho and Joana Vilhena. The current image includes the impressive stone service desk, the exposed concrete structure and other unusual materials such as canvases, pallets, fluorescent rulers and industrial paintings. MUDE acts as a temporary installation in constant transformation that exists as a work in progress, even the building itself is not yet completed. MUDE highlights several areas of design through collection exhibitions and a temporary programme, focusing on debate, the editorial field and educational activity. Since opening in May 2009, it has been one of the most important facilities in the revitalization of downtown Lisbon, attracting thousands of national and international visitors. It is fundamentally a vibrant urban cultural center, a space for experimentation, and a generator of dialogue between the various fields of creativity, whether technical, artistic or of performance.

FERNANDO BRZIO

Antigo Convento da Trindade Situado sobre um antigo convento do sculo XIV e retendo caractersticas da arquitectura religiosa, este edifcio pombalino de planta rectangular irregular destaca-se pela marcada horizontalidade e regularidade formal da fachada, pontuada por janelas e uma varanda corrida no andar nobre. Um dos principais atractivos a decorao em azulejo, encontrando-se a fachada principal revestida a azulejo barroco e joanino de padro aproveitado do Antigo Convento da Santssima Trindade. No interior, as paredes do trio de entrada esto revestidas a meia altura por azulejo joanino de figura. Decorada com azulejo cobalto e azul com albarradas, a escadaria secundria no terceiro piso encimada por um nicho embutido Maneirista do antigo convento da Trindade em mrmore branco e rosa Vendido em 1836 aquando da extino das Ordens Religiosas em Portugal, o primeiro andar deste edifcio acolhe desde essa data a j clebre Cervejaria Trindade, que ocupa o antigo refeitrio do Convento. Situated on the sight of an ancient 14th century convent, this building retains traits of religious architecture, still visible through its predominantly 18th century Pombaline features: rectangular floorplan, markedly horizontal layout and a geometrically even, formal faade with windows at regular intervals and a balcony running the length of the third and last floor. The building is set apart by its ceramic tile decoration: its main faade is entirely covered with Baroque and 18th century Joanine patterned tiles recovred from the former Santssima Trindade Convent. Inside, the walls of the ground floor hall are covered mid-height in Joanine figurative tile. Lined with cobalt and blue tile depicting albarradas or floral vases, the secondary staircase is topped on the third floor by a Mannerist niche in white and pink marble embedded into the wall, also salvaged from the former Convent. Sold in 1836 following the extinction of Religious Orders in Portugal, the first floor of this building has since housed the now famous Cervejaria Trindade, that occupies the Convents former refectory.

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LOUGING SPACE
PEDRO SEIXO RODRIGUES

Antigo Tribunal da Boa-Hora Originalmente um convento fundado em 1633 por D. Lus de Castro do Rio, o edifcio albergou vrias congregaes e ordens religiosas durante as dcadas seguintes. Seriamente danificado pelo terramoto de 1755, foi reconstrudo pelo arquitecto Eugnio dos Santos, sob indicaes de Manuel da Maia, autor da Baixa Pombalina. Com a extino das Ordens Religiosas em 1834, o convento serviu de quartel ao 1o Batalho dos Voluntrios do Comrcio e de sede da Guarda Nacional de Lisboa antes de ficar na dependncia do Ministrio da Justia, transformando-se no Tribunal da Boa-Hora. Palco de julgamentos marcantes sobre as leis da liberdade de imprensa durante a Primeira Repblica, a viria a funcionar o Tribunal Plenrio, instrumento de perseguio poltica durante o regime de Salazar, onde foram arguidos, entre outros, lvaro Cunhal e Mrio Soares. Com 165 anos de histria, este espao emblemtico da justia criminal portuguesa foi encerrado em 2009. Originally a convent founded in 1633 by D. Lus de Castro do Rio, the Tribunal da BoaHora sheltered several religious orders and congregations in the decadesfollowing. Seriously damaged by the 1755 earthquake, it was rebuilt by the architect Eugnio dos Santos, under the tutelage of Manuel de Maia, who was responsible for the iconic 18th century architecture of downtown Lisbon. With the extinction of the Religious Orders in 1834, the convent served as barracks for the 1st Battalion of the Commerce Voluntaries and as headquarters for Lisbons National Guard before it became attached to the Ministry of Justice, thus becoming the Tribunal (courthouse) da Boa Hora. The backdrop of notable trials on liberty laws during the Portuguese First Republic, the courthouse would come to function as the Tribunal Plenrio, a political persecution instrument during Salazars dictatorial regime, where important resistance figures such as lvaro Cunhal and Mrio Soares stood trial. With 165 years of history, this emblematic space of Portuguese criminal justice was closed in 2009.

CICLO DE CINEMA

Cinemateca Portuguesa A Cinemateca Portuguesa Museu do Cinema est instalada em Lisboa, desde o princpio dos anos 80. O seu edifcio, antiga moradia construda em 1887, foi restaurado e ampliado em 2002. Desde que reabriu, em 2003, a Cinemateca possui duas salas de cinema (com cinco sesses dirias de segunda a sbado), um espao museogrfico conhecido como 39 Degraus, a melhor cabine de projeco de Lisboa, salas de exposio permanente e temporria, biblioteca, centro de documentao, restaurante e esplanada (que no Vero acolhe sesses de cinema ao ar livre). A diviso de Arquivo da Cinemateca, o ANIM (Arquivo Nacional das Imagens em Movimento) est instalada no Freixial, num edifcio construdo de raiz e inaugurado em 1995. No Palcio Foz funciona a Cinemateca Jnior, com exposies permanentes na rea do pr-cinema e uma programao de cinema dirigida sobretudo a crianas e jovens. The Cinemateca Portuguesa Museu do Cinema is based in Lisbon since the early 80s. Its building, an old family house built in 1887, was restaurated and expanded in 2002. Since its reopening in 2003, the Cinemateca has two cinemas rooms (hosting five daily screenings from Monday to Saturday), plus a museum area (The 39 Steps), the best projection room in Lisbon, permanent and temporary exhibitions rooms, library, documentation centre, a restaurant and a terrace (that in summer hosts outdoor sessions). The Cinemateca Portuguesa archive, ANIM (National Archive of Moving Pictures) is located in Freixial, in a brand new building that opened in 1995. Cinemateca Jnior is based in Palcio Foz, with permanent exhibitions in the area of pre-cinema and a film selection targeting mainly children and young audiences.

REDUNDNCIA

Praa da Figueira uma das Praas centrais de Lisboa, concebida no mbito dos planos psterramoto, sobre as runas do Hospital de Todos os Santos. Inicialmente teve a funo de mercado central para venda de frutos e legumes em regime aberto, vindo a ser modificado em 1882 com a deciso de construir um edifcio rectangular em estrutura metlica que cobria uma rea de quase 8.000m2. Era um espao animado, pela sua centralidade e bulcio da actividade comercial, onde se realizavam grandes arraiais por ocasio dos Santos Populares. Em 1947 o Municpio decidiu que o mercado seria demolido, com vista melhoria da circulao viria na cidade. Em 1971 erguida a esttua equestre de D. Joo I, da autoria de Leopoldo de Almeida, que ainda hoje um elemento marcante neste espao. It is one of the central squares of Lisbon, designed within the plans after the earthquake, on the ruins of the Hospital de Todos os Santos. Initially, it had the function of a central market to sell fruits and vegetables in the open, but it was modified in 1882, with the decision to build a rectangular building in a metal structure covering an area of nearly 8.000m2. It was a lively space for its centrality and the bustle of commercial activity, where large festivals were held on the occasion of the popular saints holidays. In 1947, the municipality decided that the market was to be demolished in order to improve road circulation in the city. In 1971, it was erected a statue of King D. Joo I, authored by Leopoldo de Almeida, which is still today a striking element in this space.

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BILHETES TICKETS
CONFERNCIAS DE LISBOA LISBON LECTURES
1 dia 1 day Normal Regular 5,00 Estudantes e +65 Students and + 65 3,00 Passe 3 dias 3 days Pass Normal Regular 12,00 Estudantes e +65 Students and + 65 7,50 Bilhetes venda no local Tickets for sale at the venue

SIDELINES
Passe 5 Museus 5 Museum Pass 4,00 Passe venda exclusivamente no Lounging Space. Vlido at 27 Nov. Pass for sale at Lounging Space only Valid Until 27 Nov. Museu Geolgico 2,50 Museu da Farmcia 5,00 Biblioteca Municipal Cames Entrada Gratuita Free Admission Museu Arqueolgico do Carmo 3,50 Museu de S. Roque 2,50 Museu do Teatro Romano Entrada Gratuita Free Admission Museu das Artes Decorativas Portuguesas 4,00 Bilhetes venda no local Tickets for sale at the venue

CICLO DE CINEMA FILM CYCLE


Cinemateca Portuguesa 3,00 por sesso per session Bilhetes venda no local Tickets for sale at the venue

UTILITAS INTERRUPTA
Fundao Arpad Szenes Vieira da Silva + Museu da Me dgua 3,00 Bilhetes venda nos locais. O bilhete comprado num dos locais d acesso ao outro no mesmo dia. Guarde o seu bilhete. Tickets for sale at the venues. The ticket purchased at one of the venues is valid for the other if used on the same day. Keep your ticket.

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PARCEIROS INSTITUCIONAIS INSTITUTIONAL PARTNERS

PATROCINADO POR SPONSORED BY

Com o Alto Patrocnio de Sua Excelncia o Presidente Da Repblica Prof. Dr. Anibal Cavaco Silva. Estatuto de Interesse Cultural no mbito da Lei de Mecenato.

With the High Patronage of the President of the Portuguese Republic, Professor Anbal Cavaco Silva. Statute of Cultural Interest under the Patronage of the Arts Law.

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PATROCINADOR OPEN TALKS OPEN TALKS SPONSOR

CO-PRODUTORES CO-PRODUCERS

MARCAS ASSOCIADA ASSOCIATED BRAND

PARCEIROS ACTION FOR AGE PARTNERS ACTION FOR AGE

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PROTOCOLOS DE COLABORAO & PARCERIAS COOPERATION PROTOCOLS

PARCEIROS MEDIA MEDIA PARTNERS

APOIOS SUPPORTERS

Cmara Municipal

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APOIOS MEDIA MEDIA SUPPORTERS

EQUIPA TEAM

Directora Director Guta Moura Guedes Director Executivo Executive Director Mrio Carneiro Directora Financeira Financial Manager Teresa Oliveira Assistente de Direco Assistant to the Board Ana Caldeano Assistente de Direco Financeira Financial Manager Assistant Raquel Prazeres Assistente Administrativa Administrative Assistant Teresa Sequeira

DEPARTAMENTO DE COMUNICAO COMUNICATION DEPARTMENT


Director Criativo Creative Director Ian Anderson Coordenadora de Comunicao Head of Communication Sara Battesti Assessoria Media Nacional National Press Officer Ana Abrantes Assessoria Media Internacional International Press Officer Vera Sacchetti Edio Editor Rute Paredes, Paula Melneo Web Design Marco Reixa Assistentes de Comunicao Communication Assistants Catarina Monteiro, Ins Honrado, Mafalda Carvalho Designer GrficoSnior Senior Graphic Designer Nuno Luz Designers Grficos Graphic Designers Carolina Cantante, Tiago Machado Coordenadora Servio Educativo Head of Education Service Susana Gaudncio Assistente Servio Educativo Education Service Assistant Maria Joo Vieira Coordenador Design Response Head of Design Response Pedro Rocha Vieira

PARCERIAS SERVIO EDUCATIVO EDUCATION SERVICE PARTNERS

PRODUO E DESENVOLVIMENTO PRODUCTION & DEVELOPMENT


Coordenadora de Produoe Desenvolvimento Head of Production and Development Carla Cardoso Produo Production Lus Ferreira, Sofia Baptista, Ins Vidal, Lus Santos, Ana Palma, Marta Padilha, Renata Candeias

SET 2011 20.000 exemplares copies Fonte Typeface Lexia Storno Grfica Ondagrafe

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AGRADECIMENTOS ACKNOwLEDGEMENTS

A. Manha e Cerca; Alberto Perazza; Alexandra Martins; Amy Silver; Ana Mestre; Ana Patrcia Resende; Ana Pinho; Ana Teresa; Antnio Pinho Botelho; Artecnica; Atelier Van Lieshout; Authentis; Barbara Visser; Bertlio ; Bonaldo; Carlos Pereira; Cervejaria Trindade; Cervejaria Trindade; Chiara Saini; Chris Taylor; Claudia Oliva; Colgate/Palmolive; Constantin Boym ; Cristina Lamas; Cutipol; Daniel Basiletti; Daniel Eatock; Despomar; Dimenso; Droog; Ekaterina Golovatyuk; Elke Doppelbauer; Eugnio; Fabrizio Gallanti; Ftima Reis; Federao Portuguesa de Golf; Francisco Barbosa; Fredrico Duarte; Fundao Galp Energia; Galerie Kreo; GlaxoSmithKline; Hlder Cotrim; HELMRINDERKNECHT Gallery; Igor; Ikea; Ins de la Jardinire Aresta Branco; Ins Silva; Interecycling; Isabel Antunes; Isabel Nunes; Isabel Pereira; Ivan Martins; Jaime Hayon; Jessica Pearson; Jiang Jun; Joana Nunes; Joo Pombeiro; Joo Tiago Freire; Jorge Npoles; Jorge Rodrigues; Jos Coelho; Jos Reis Nunes ; Jos Viriato; Julia Lohmann; Jurgen Bey; Karen Ryan; Kartell; Katharina Wahl; Keren Cheung; Kim Bruinsma; Kimberly Clark; Konstantin Gricic; Laboratrios Vitria, S.A.; Laura Rossi; Laurence Leon Boym; Lorraine Two; Lotte van Grimbergen; Luis Henriques; Luis Jardim; Magis; Manuel Moutinho; Manuel Reis; Margarida Serra; Maria do Carmo Rosa; Maria Santos; Mario Moura; Martin Rinderknecht; Mason White; Michael Renner; Miguel Vieira Baptista; Mikko Koria; Moda Lisboa; Moroso; MUDE - Museu da Moda e do Design; Murray Moss Gallery; Nuno Rodrigues; Nymphenburg; Padre Amrico Aguiar; Parque Escolar; Patrcia Gonalves; Paulo Mendes; Pedro Franco; Pedro Silva; Philip Cabau; Plank; Plusmark; Raffaella Dallosto; responsvel pela obra OPWAY; Rita Palma; Rita Pires dos Santos; Rosrio Melo; Ruy Otero; Safak Kurkut; Salom Lamas; Sampleskate; Sandra Borges - Design de Interiores, LDA; Sandra Clara; Siemens; Sofia Gonalves; Snia Graa; Steelcase; Stephane Barbier Bouvet; SwannMorton; Teresa Vendeirinho; Thomas Demand; Titleist; Tord boontje; Victor Almeida; Vipex; Volker Albus; Volvocars; Xana ; Yougkwang Cho. s famlias da equipa da EXD11 e a todos os que colaboraram nesta edio The families of the EXD11 team members and all those who collaborated in this edition

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