TimeOut Mercado da Ribeira, Cais do Sodré, Lisbon Open daily from 10am to 11pm Open daily from 10am to 11pm
“Selling exclusive print editions by some of the world’s leading urban-inspired artists and upcoming talents. Video of the opening below. If you’re in Lisbon, be sure to drop by and check out our range of goodies.”
After some serious renovation Lisbon got Espelho d’Água back.
Matching its exquisite menu mood, EEA will be working on a cultural program entirely dedicated to Portuguese international cultural heritage.
Stay tuned! Opening party next week!
“This exhibition presents a perspective on the furniture used in public buildings in Portugal during the forty years under the Estado Novo. It is the result of a research project held in the various archives of Public Works in search around the country of buildings and objects considered significant.
The dispersion of responsibilities in the field of furniture for public buildings existing during the 1930s was followed by efforts to centralize projects and orders.
In 1940, the “Comissão para Aquisição de Mobiliário” was established in the Ministério das Obras Pública. Its purpose was to develop “furniture studies and acquisitions for the first establishment for new State buildings and others where deep improvement and extension works were made” (Decreto Lei 30.359).
In practice, however, this committee would share responsibilities with a number of other agencies within the Public Works or other ministries, intended to promote the settlement of a number of functional programs.
The commissioning of furniture for official use in Portugal was an important stimulus for the economy of the sector. However, in the action of the State and its servers it is not found an investment in quality and accuracy nor any strategy aiming to make Portuguese industry more competitive as it happened in official offices in other countries.
Invariably, the results were conditioned by a set of problems which were at the time reported recurrently but never completely overcome: the lack of designers with specialized training, the lack of systematic and updated information, the inefficiency of the bureaucracy to enforce projects and select the most suitable companies.
This relative lack of ambition was expressed in the formula summarizing the main concern in the official furniture projects. The goal was to stage the image of the State, in its relationship with the citizens: bestow the public buildings with “a minimum of dignity, balance and good taste”, materialize “the respect and the discipline imposed upon all” (DGEMN/ CAM. Relatório, 1950).
In this exhibition are gathered about a hundred pieces of furniture. Almost without exception, it is the first time they all enter a Museum. Some of these pieces were still in use. The majority, however, was casted away. Many are already unique pieces of what once were numerous sets, now redeemed from the warehouses in which they were placed.
They are displayed in the exact condition in which we found them, without any renewal process. The marks of use, the scars, the improvised remedies make visible materials and construction processes otherwise not obvious. Just as stories of intense life, interaction with users, past or recent.
The three first nuclei of the exhibition show different aesthetic and ideological orientations materialized into furniture projects for specific public buildings:
1. internationalist attraction
2. conservative and authoritarian State
3. with the modern movement
The fourth nucleus – standard furniture – gathers pieces made to meet certain functions, without a single building as destination.
Highlighted are works, furniture, authors and manufacturers showing the emergence of design in Portugal; those which contribute to the identification of moments of rupture and to the valorisation of their major figures; to recognize impasses, incompleteness, inertia. Offering as many arguments for heritage safeguard actions, they leave clues for other researchers, to further studies, reviews and reassessments.”
text from www.mude.pt
From 24 July to 02 November 2014
João Paulo Martins
Pedro Ferreira and Rita João (Pedrita)
Workshop together with Frederico Duarte
Istituto Europeo di Design
European Design Labs Master Program
Madrid, Spain, February 2014
What do we eat today? What are the materials, processes, systems, tools and interfaces, but also the ideas, traditions, histories and rituals involved in the production and consumption of food in industrialised countries? And how have all those aspects been designed not just to efficiently feed everyone, every day, but also to preserve, celebrate and even create local, regional, national and transnational cultures? This one week workshop aims to look at how design shapes what, why, when and how we eat, but also how it is also shaped by “external forces” such as science, culture, trends, value – and profit. As privileged intermediaries between the making and consumption of goods and services, designers give both shape and meaning to things. As we’re approaching, or already living in a third industrial revolution that through significant changes in technology and communication has been challenging notions such as manufacture and mass production, how can we, by asking “what do we eat today?”, begin to find some of the most surprising and fascinating design solutions to our everyday needs and desires?
Tile panel for Projecto Travessa da Ermida
A muscovy duck risks to jump the wall of the marvelous Tropical Garden at Belém. From the very end of Marta’s Pinto street it spies on a busy road of one of Lisbon’s most emblematic neighborhoods.
Will he have the courage to get to know the city? Will he dare to know the world? Or will it surrender to the beauty of the garden and wait for a visit of those how walk around?
“Pato Mudo is a unique initiative in Portugal combining the tradition of tiles and national contemporary design. On the wall of the Jardim Botânico Tropical, perpendicular to the Travessa do Marta Pinto, home of the project promoting this initiative, this panel will become a feature in the urban landscape of Lisbon and Belém. Created by Design studio Pedrita, Pato Mudo features a panel made of 559 15x15cm tiles recuperated from over 10 factories, most of them no longer in existence. This panel takes up an area of 4,5m (height) x 5,5m (width). For this creation, studio Pedrita used the ‘Grão technique’, which consists of a composition of photographic panels, with the use discontinued Portuguese industrial tiles. Using a digital base, dozens of tiles are laid side-by-side composing a wider image. This technique is suitable to be applied to surfaces (façades, gables, walls, etc.), that comprise two possible readings of a specific image, each corresponding to a specific distance between the panel and the observer: the distance of human scale, for those who walk near the panel and see the various drawings and motifs on the tiles that compose it, and the distance of urban scale, for those who walk at a greater distance, and manage to obtain, at a glance, the total perception of the reproduced image.”
Projecto Travessa da Ermida
Projecto Travessa da Ermida
Equipments and assemblies
José Vaz Fernandes
Carlos A. Lacerda
Câmara Municipal de Lisboa
Jardim Botânico Tropical
Junta de Freguesia de Santa Maria de Belém
Cortiço e Netos
Exhibition design together with António Pedro Louro and Gonçalo Prudêncio for Fundação EDP
What is Laugh? What makes you, us, Laught? What kind of Laught is it? Humor vs Laughthing? What are the limits of Laughing? What about the morphology of Laughing?
The challenge brought by the need of a definition for Laughing as a gathering theme for this exhibition, was reflected in the design process for finding a set for the around 500 art and multimedia pieces selected. The result was probably the opposite of what’s usually thought and designed as a background for the art piece. Not neutral. Not immaculate. The need for a lively and metaphorical space, but still flexible and able to engage and organise the visitor while discovering a considerable dense and eclectic number of contents, lead us through to this solution.
The result is an orthogonal grid 70x70x70cm in natural pinewood profile that fills the voids of the impotent industrial exhibition venue at Museu da Electricidade. With more then 12 meter high, the solution taken is a dense, but still transparent and human volume lined in between the original industrial metallic structures from the original space. The gaps in this volume shape the visitors path on a rhythmic assortment of corridors, small rooms, large rooms, narrow corridors, tunnels or squares.The sequence aims to surprise the visitor while revealing the pieces according to thematic groups within the Laughing umbrella. The transparency of the volume allows a visual crossed contamination from different thematic groups reconnecting with the idea of the immateriality and boundless of Laughting as a subject.
The adopted constructive system was designed focusing on the disassemble of the exhibition concerning the full preservation and reuse of all used constructive elements for future transformation into other projects.
José Manuel dos Santos
Nuno Artur Silva
Joana Simões Henriques
António Pedro Louro
Margarida Almeida Chantre
Conservation and Register
Margarida Almeida Chantre
Joana Simões Henriques
Management and Legal Assistance
António Guimarães Verdial
Museu da Eletricidade
Raquel Eleutério (Coordenação)
Maria José Dantas
Installation for Performance Architecture together with Ricardo Jacinto
Performance Architecture is an international ideas competition aimed at choosing proposals for five temporary urban interventions in the scope of Guimarães 2012 European Capital of Culture. The competition intends to draw up architectural and urban strategies that, in reactivating performance art approaches, provide new directions as to the roles of architects, artists and designers in the urban context. The competition selects multidisciplinary teams proposing temporary concepts and structures that will stimulate the appropriation of controversial public spaces by the city inhabitants.
Competition Open Call text
U N I D A D E
It breeds semi-mobile individual seats, conformed in concrete into a textile mold, serving the local population at designate locations around the city. These units become part of the urban landscape of Guimarães. They can be arranged in various public spaces serving different purposes: a concert, chatting between neighbors, occasionally stops for a rest, or just to hang out with friends. The fact of being semi-mobile will help to spread them naturally around public space allowing a direct configuration of the urban landscape according to its users needs. This same factor will also allow, in a long term period, the gradual insertion of the seats on the private community spreading its impact in the city.
Mounted on wheels, the machine can be moved between the various points of interest in the city in order to better serve and work for local events. The presence of the U N I D A D E should enhance the exploration and use of less central spaces thus creating new centers of interest in unexpected areas of Guimarães.
With 3 workstations, self-sufficient, the machine is equipped with an industrial mixer, a tank for consumables, a water tank, a car for filling and drying, three cycle power seats, a pipe for mechanical sound boosting and a rotating siren.
Sound will take an important role imposing the presence of the U N I D A D E
in the city calling peoples’ attention for its working periods: a rotating siren marks the duration of the production and mechanical pieces are equipped with parts that vocalize the physical actions that are taking place, thus establishing this machine as a new sound-mark on the city. Although using a sound type (siren) that is usually associated with specific places (industry/schools) and very strict labour periods, the U N I D A D E re-contextualises this characteristics in an informal time and space. Its sound-performance inhabits different places and sound-marks non previously established moments during the day.
The machine will be introduced to the local community in three performative actions of demonstration: the first one has a premiere and first public use of the machine. It will be performed by the U N I D A D E production team in order
to introduce the machine and its operations to the local community; a second action of demonstration where the production team will actively involve local people in all the production steps starting to instruct a local team for future operations; the third action will correspond to the “key delivery” ceremony where an exclusive local team will be supervised by the production team in their first stand-alone use of the machine.
Pedrita + Ricardo Jacinto
Largo do Toural, Guimarães
from 26 to 30 September 2012
Workshop for competition organised by
Vitra Design Museum and Domaine de Boisbuchet
In partnership with Corticeira Amorim
Boisbuchet, France, September 2012
The international community of designers and architects was challenged to design new and innovative uses for cork products or improve the existing portfolio of cork-based products. From a total of 367 submissions, arrived from 39 different countries, 20 were short listed and invited to participate in a specialised workshop at Domaine de Boisbuchet. The goal of the workshop was to develop prototypes of the selected ideas. Ana Loskiewicz, a Polish designer, was the winner of the competition. Ana designed CORK BEEHIVE, a modern beehive, drastically innovating one of the most ancient uses of cork, in complete symbiosis with nature. According to Anna Loskiewicz, this modern beehive model fits in the spirit of a sustainable urban landscape such as New York or London, cities where beekeeping is becoming increasingly popular. In view of the relevance of the designs and the high quality of the resulting prototype, it was also decided to give five honourable mentions to the following finalist projects: Cork, a material with many faces, by Fabio Molinas; Cork Chair, by Sou Fujimoto Architects Songs; headphones by Pauline Ariaux & Jacopo Ferrari; Strip, an electric plug by Natalia Suwalski; and Day off, a cool box by Zaven studio.
The jury was made up of representatives of Corticeira Amorim, Alexander von Vegesack (a representative of Domaine de Boisbuchet and Vitra Design Museum), Gabriele Pezzini (Hermès design consultant – Paris), Cathleen O’Rourke (Director for Europe of Parsons the New School for Design – Paris), Luisa González-Portillo (Coordinator of the IED Master and Academic Director of Domaine de Boisbuchet), and Rita João and Pedro Ferreira.
This is the second edition of A Gente Transforma [We Transform] (AGT), a project created by the designer Marcelo Rosenbaum.
It aims to expand and elevate the manufacturing of handicrafts, making them an integral part of Brazilian decoration and contributing to an appreciation of “designed with roots” items.
In 2012, the project takes place in Várzea Queimada (PI), a village located in one of Brazil’s poorest regions. With the mission of generating new economic opportunities and improve overall quality of living, AGT will act in two main areas: (1) the production of quality handicrafts for the Brazilian decoration market and (2) the building, using permaculture solutions, of a community space that will accommodate craft-related activities and be used as a recreational space.
Just in front the design group: The collection is all set
Day #10 of the A Gente Transforma project has come and gone here in the village of Várzea Queimada, part of the Jaicós municipality. And the good news from AGT’s Design Group is that the collection created in conjunction with the village artisans has already been defined.
The collection is made up of over 10 product families, totaling about 30 pieces: baskets, lamps, masks, rugs, fruit bowls, rings, necklaces and other decorative objects.
The design process behind these items, coordinated by Marcelo Rosenbaum and Pedro Ferreira and Rita João, the Portuguese designer duo behind Pedrita Studio, was born from research and observation of traditional techniques and local artifacts, such as the surrão and the bogoió – straw baskets used in the transportation and storage of foods farmed by the villagers or purchased in markets throughout the region.
Marcelo, Rita and Pedro chose to base this collection on large objects. One of the factors that defined the scale of these items was the straw weaving and finishing techniques mastered by the village craftswomen.
Along with their work in creating the collection, AGT’s Design Group has gone ahead with systematizing and organizing its production. Together the Várzea Queimada United Women Association, they defined patterns for cutting the carnauba palm straw and also the varying widths of the weaves made by the women.
Here’s a sneak preview of the collection’s very first finished item on he AGT blog: a giant rosary, carved by the hands of our rubber warriors. We’d like express our thanks to designer Kalina Ramelo, who hails from Piauí and has been working alongside Marcelo with the artisans.
And as we believe nothing happens by chance, may the rosary designed and made in Várzea Queimada bring us plenty of light and divine protection, and spread the village’s around the world.
Workshop together with Simone Ridyard, Shelley McNulty
and Fabrizio Cocchiarella
with MMU (BA hons) Interior Design students from Manchester Metropolitan University and ESAD—CR Spatial Design graduation students from IPL
Lisbon, Portugal, November 2011
The theme of the 6th edition of EXD’11 launches an exploratory analysis on the idea of Useful. In a society increasingly obsessed with the achievement of tangible goals and material possessions, the idea of being without occupation or purpose is absurd. Worse: it is politically and socially incorrect. (…) From a creative or intellectual standpoint, the idea of useless outlines the hidden yet overwhelming potential of experiments, “dead-end” or “failed” trials, abandoned prototypes and perplexing finds for which, apparently, no use has yet been found. EXD’11/LISBOA proposes a thorough reappraisal of uselessness. Uselessness, like beauty, is in the eye of the beholder. Like pure pleasure, it is disinterested. A useless experience can soothe or heighten our desire. It can lead us to debate tangible concerns, with an established scope of applicability and execution, or, alternatively inspire a symbolic, almost lyrical reflection on the significance of dimensions of intellectual and physical life such as beauty, dream and invention.
Any rugs follow the traditional portuguese multicolor crochet hot-cloth’s where no threat is wasted. According to established rules, wool left overs from Piodão’s factory production are downloaded on a stand by drawing on set. The result, always different and with a strong visual character reflects on the factory production.
Any is part of the Prêt-a-porter collection by Piodão Group that also includes designs from Zaven and The Office.
Pottery limited edition for 56 Artes
São Pedro do Corval, 2011
This is a collection that grew up around conversations, the memory of pottery, the people of São Pedro do Corval and the rabbits that often take over Alentejo’s landscape. At the invitation of 56 Artes, Pedrita studio prepared together with the pottery Polido & Filho the second edition of the “Coelhos Alentejanos” series. As in the first edition, held in 2004 in an action organized by Cencal (Centro de Formação Profissional para a Indústria Cerâmica) for the perservation of Corval’s legacy, the pieces now presented at 56 Artes also reflect old typologies and explore new decorating techniques.
Vitra Summer workshops
With the great support of Amorim
Boisbuchet, France, July 2011
Cork is a traditional portuguese material. Part of our cultural heritage it has been around for long but only recently reinterpreted as a potential material for daily life goods. It is the ultimate green material: natural, sustainable and easy to transform. Hands-on the material will be our method as various material samples will be available for experimentations and model making of what could become future cork products. Manual skills for building and drawing are a must for this workshop as we recommend no computer in order to best enjoy both people and place.
Fora de Escala — Manuel Baptista — Drawings and Sculptures 1960-70
Exhibition design together with António Pedro Louro and Gonçalo Prudêncio for Fundação EDP
In February 2011, Fundação EDP | Museu da Electricidade presented “Fora de Escala” (out of scale) an exhibition that reveilles the unknown work of Manuel Baptista.
Together with António Pedro Louro and Gonçalo Prudêncio we designed the exhibition layout and had the pleasure to work directly with the artist in the production of around 20 sculptures projected in the 60’s and 70’s and made today according to modern technologies.
The present exhibition is a rare historical opportunity: the presentation of projects created from the mid-1960s to the mid-1970s, but never built until now. We are facing a new kind of conceptual situation, which must be taken into consideration in historical terms.
Generally timeless everyday objects (envelopes, shirts with ties, tables…), elements taken from natural and/or landscaped settings (bushes, cliffs, flower bouquets) and certain objects with symbolic value (cocoons and balls of wool), make up the body of work shown here.
The display of some of Manuel Baptista’s notebooks allows us to follow the development of his visual thinking. And the fifty drawings dated from 1969 to 1974 (with a few later incursions up to 2005) illustrate the persistence of the subjects and the degree of transference and/or overlapping between sketches and projects, autonomous two-dimensional works and the finished sculptures.
In terms of subjects, materials (neon lights, aluminium, plywood, Plexiglas, ropes, fibreglass…)and unfit scales, Manuel Baptista’s pieces have affinities with the art of their time.
We must now try to understand Manuel Baptista’s sculpture in the drifting and plural historic context of our time, thus his sculptures will be able to recover the euphoric ambition, joyous humour and genuine happiness that attended their conception.
lisbon, 31 january 2011
José Manuel dos Santos
Joana Simões Henriques
Exhibition Design and Sculptures’ Production Coordination
António Pedro Louro
Jorge Rodrigues (production assistant)
vivóeusébio – colectivo de design
Equipa do Museu da Electricidade
T is a graphic object, a plastic functional resource, a simplified macro flower that allows combinations, macro bouquets, regarding specific domestic landscapes exploring multiples or simple object relations.
The duality of the 2 used materials — aluminum and marble — took us to formal opposites where dichotomies like organic vs geometric, light vs heavy or bright vs pale, are combined according to extreme limits regarding function our material’s physical proprieties.
plate 380×398 mm
height 557/545/533 mm
Aluminum and marble
Carbu + Ermenegildo Sartori
About Edition of 6
Can craftmasnship go together with design?
This exhibition approaches a new answer to the age-old question, introducing a limited edition of pieces by six international designers, made together with Italian artisans. Craft traditions and materials,
care of high-quality finishings and attention to details draw new impulses upon innovative design.
Curated and organized by
in collaboration with
Vanzo Ferro Battuto
Ventura Lambrate 2011
Starting from an underdog position in the Milan Design Week, Ventura Lambrate 2010 immediately turned into the must-see design district in Milan for the period of the Salone, with a strong selection of 21 of the most interesting exhibitions.
The overwhelming success of Ventura Lambrates’ first edition resulted in hundreds of exhibitors applying to take part in the second edition.
For the 2011 edition Organisation in Design, the founders, art directors and organisation behind the Ventura Lambrate district, have decided to put a stronger focus on diversity and internationality.
Rufo is all bam and no noise. This young percussionist’s dream is guaranteed to entertain while keeping the peace with parents and neighbours alike.
An alternative take on the acoustic properties of cork (known for its excellent insulation capacity), Rufo introduces a softer soundscape in the shape of a near weightless, smooth-surfaced drum.
Three drums produce different sounds in a surprising range, but never loud enough to play on anybody’s nerves. Do I hear a soft jazzy rapping? D&B beats? Heavy metal bashing? Drum roll please: with Rufo, the playground, living room, car seat or restaurant table are your child’s stage.
Furniture collection for short rental apartments
The Lisbonaire Apartments embodies a new way to visit Lisbon
Located in a quiet street in the heart of downtown Lisbon, a short stroll from Chiado, Bairro Alto or the Castle, The Lisbonaire Apartments are your ideal starting point to visit or work in Lisbon, with the subway a few steps away and numerous sights, monuments, restaurants, theatres and bars immediately at your doorstep.
The 1960s building was fully rebuilt in 2011 and each apartment has the contribution of a Portuguese designer, which invokes a specific object or place from the surrounding area, making the apartments unique and special.The Lisbonaire boasts 19 studios and one bedroom apartments, fully furnished and decorated, subject to the idea of 100% Portuguese, with all the must-have utilities such as Wi-Fi and iPod docking stations in every apartment.
The apartments are a spacious and practical solution if you are visiting, working or travelling with family. We can provide your apartment with a push chair, high chair, cot and toys upon request.
Our aim is to welcome and inspire all visitors to discover the traditional and contemporary Lisbon and all the small things that make it so unique.
Come and visit us!
Stools and “The Basement” dinning table designed by Gonçalo Prudêncio and available here
Workshop at Istituto Europeo di Design
European Design Labs Master Program
Madrid, Spain, March 2011
Designing for the next week weather conditions. Students were challenged to build something for the IEDs terrace according to the weather conditions. Weather elements and their relation with the skyline took part of the design process acting as a production fase or interactivity for the outcome of an ephemeral installation.