20140512 aktomag issuu by Marc Vaz

proactivity northern influences of a modern design

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s k i n x-ray analysis of King Fernando’s world famous romanticism poltron

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_ i n t e l . a r t technical reports [ by João Henrique Marrocano ]

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_silentium blending through universal expressions [ by Virginia Clauss Mendes ]

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_ e p i p h a n y the language of inspiration through the definition of art presenting Inês d’Orey photography

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_ c o n n e c t urban [art] movements from Santa Casa da Misericórdia de Lisboa

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autor _ numen.eu

AKTO magazine #01 Edição de Verão 2014 aktomag.com propriedade AKTO_Arts&Krafts Technologies nif 214263606 morada Rua Marcos Portugal, 91C, 1200-257 Lisboa, Portugal t. +351 213900551 m. +351 914860447 print-on-demand snapbook.pt periodicidade sazonal dep. legal 375803/14 ISSN 00000.00000 direção João Erse [ joaoerse@aktostudio.com _ +351 919608063 ] coordenação&marketing Joana Marques [ joanamarques@aktostudio.com _ +351 914860447 ] editorial Marc Vaz direção de arte|design Marc Vaz [ marc@aktostudio.com _ +351 927744527 ] colaboração 3Gatti . David Cordner . João Henrique Marrocano . Matthijs van Roon . Numen/For Use . Robert Kot . Rui de Sousa . Soraia Anjinho . Studio Job . Vincent Callebaut Architects . Zecc Architecten

capa _ Tape Installation em Hasselt, Bélgica

AKTOmag

remind footsteps of the 15th and 16th century

_ 42

_ 38

i n | s i g h t future equals restoration + restoration equals future [by Eduardo Souto Moura ] t

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_ 10 _ 14

o r i a l by Markus Schandle n

editorial

Inspirada nas ações evolutivas da arte, pela fluidez organicista do Back to Basics na sofisticação da linguagem e comunicação de uma era digital, a AKTO nasce sob a consciência de um movimento universal e integral onde o ser humano e as artes convergem, ou assim tendem, para uma origem e essência base. Numa palavra só, a multidisciplinariedade, em formato autónomo e singular mas naturalmente conetado às especificidades que nos identificam entre artes e ofícios, e de origem espontânea, num globo de ações contemporâneas. Hoje, a consequência da arte é resultado de uma abordagem que toca o design, que inspira a fotografia; um design que influencia a imagem, transforma a arquitetura e se dilui entre a pintura e ilustração; uma fotografia modelar pela relação com a escultura, matéria ou ofícios; um manifesto irrefletido, como que inato, da essência do homem na procura de uma “forma & função” de plena sintonia e harmonia com a era organicista que nos alberga.

AKTOmag

online

w .

no w

aktostudio .

com

_ introducing

FIRMSHIP 42

firmship.com

F irmshi p

4 2

AKTOmag

The boat’s forceful and bold exterior, designed by nautical architect Willem Nieland, contrasts with its refined interior that was designed by Studio Job, the design duo whose artistic ornaments have earned them a worldwide reputation. With great subtlety, icons of our seafaring past have been worked into the interior, but given an unexpected twist. The sofa is upholstered in prints showing anchors, Moby Dick and a skull and crossbones. A stained glass window between the cabin and the pilothouse displays the same ‘iconography’. At Studio Job, dream and reality become one. The interior can be added to as desired, with items selected from Studio Job’s custom-made designs – a bronze ship’s bell, for instance, or a marquetry cabinet. Even people who do not normally like boats are attracted to the Firmship. It is more than just a boat: it is a home. Currently, the Firmship is only available as a 42-foot boat. The next step will be the launch of a Firmship 60. But regardless of length and design, each Firmship is a boat that, though completely grey, also has a stained glass window in the cabin and a helm with a skull and crossbones. It is a boat that radiates both the toughness of the archetypal sailor and the timeless beauty of a sculpture.The Firmship creates a new nautical tradition: the floating work of art. Currently, the Firmship is only available as a 42-foot boat. The next step will be the launch of a Firmship 60. But regardless of length and design, each Firmship is a boat that, though completely grey, also has a stained glass window in the cabin and a helm with a skull and crossbones. It is a boat that radiates both the toughness of the archetypal sailor and the timeless beauty of a sculpture.The Firmship creates a new nautical tradition: the floating work of art. Currently, the Firmship is only available as a 42-foot boat. The next step will be the launch of a Firmship 60. But regardless of length and design, each Firmship is a boat that, though completely grey, also has a stained glass window in the cabin and a helm with a skull and crossbones. It is a boat that radiates both the toughness of the archetypal sailor and the timeless beauty of a sculpture.The Firmship creates a new nautical tradition: the floating work of art.

www.fir mship.com

F irmshi p

4 2

The new Firmship 42 is a classic boat with a modern look. With its artistic design, Studio Job has modernised centuries-old nautical traditions – without losing any of today’s functional comfort. The Firmship is a classic boat of the type that was still being built fifty years ago; an honest boat exuding confidence that will still be admired fifty years from now. What makes the boat even more striking is that literally everything is grey, from the railing and the bollards to the sundeck and even the throttle. Yet the Firmship is anything but drab or boring. Bold, or firm actually: a Firmship. The boat has been finished with the craftsman’s precision, reinforcing its timelessness. Teak has been used for the doors, the outdoor furniture and the interior finish. The wood used for the cabin’s interior has been finished in such a way that the grain of the individual planks is seamlessly joined. Even the captain’s seat has been custom-made for the Firmship. Comfort is luxurious but not obtrusive; warm, rather, and welcoming. The boat’s forceful and bold exterior, designed by nautical architect Willem Nieland, contrasts with its refined interior that was designed by Studio Job, the design duo whose artistic ornaments have earned them a worldwide reputation. With great subtlety, icons of our seafaring past have been worked into the interior, but given an unexpected twist. The sofa is upholstered in prints showing anchors, Moby Dick and a skull and crossbones. A stained glass window between the cabin and the pilothouse displays the same ‘iconography’. At Studio Job, dream and reality become one. The interior can be added to as desired, with items selected from Studio Job’s custommade designs – a bronze ship’s bell, for instance, or a marquetry cabinet. Even people who do not normally like boats are attracted to the Firmship. It is more than just a boat: it is a home. Currently, the Firmship is only available as a 42-foot boat. The next step will be the launch of a Firmship 60. But regardless of length and design, each Firmship is a boat that, though completely grey, also has a stained glass window in the cabin and a helm with a skull and crossbones. It is a boat that radiates both the toughness of the archetypal sailor and the timeless beauty of a sculpture. The Firmship creates a new nautical tradition: the floating work of art.

AKTOmag

Currently, the Firmship is only available as a 42-foot boat. The next step will be the launch of a Firmship 60. But regardless of length and design, each Firmship is a boat that, though completely grey, also has a stained glass window in the cabin and a helm with a skull and crossbones. It is a boat that radiates both the toughness of the archetypal sailor and the timeless beauty of a sculpture. The Firmship creates a new nautical tradition: the floating work of art. Currently, the Firmship is only available as a 42-foot boat. The next step will be the launch of a Firmship 60. But regardless of length and design, each Firmship is a boat that, though completely grey, also has a stained glass window in the cabin and a helm with a skull and crossbones. It is a boat that radiates both the toughness of the archetypal sailor and the timeless beauty of a sculpture. The Firmship creates a new nautical tradition: the floating work of art.

www.fir mship.com

AKTOmag

autor _ author Studio Job www.studiojob.nl projecto _ project Firmship 42 localização _ location general promotor _ client private data 2010 copyrights courtesy of Studio Job

AKTOmag

www.studiojob.nl

S t u d io

J o b

Graduates of the renowned Design Academy Eindhoven, The Netherlands, Job Smeets (b.1970, Belgium) and Nynke Tynagel (b. 1977, The Netherlands), who both live as well as work together, form Studio Job. Having met in Eindhoven - she beginning her studies in graphic design and he having just graduated in three-dimensional design â&#x20AC;&#x201C; Mr. Smeets proceeded to open Studio Job in Antwerp, joined by Ms. Tynagel following her graduation. From the beginning, their collaboration resulted in highly expressive, usually one-off or limitededition works, often sculpt in bronze or, casted in ceramics or finely constructed in marquetry. Employing iconographic, pan-historic imagery which can be in the same moment both heraldic as well as cartoon-like, the results are consistently monumental and yet somehow primitive, and generally read neo-renaissance, clearly fantasist, and certainly more mannerist than modernist. Projecting a strong narrative quality, suggesting often a heroic battle between good and evil, their gorgeous collections seem born more from a medieval, guild-like process than an industrial approach. Graduates of the renowned Design Academy Eindhoven, The Netherlands, Job Smeets (b.1970, Belgium) and Nynke Tynagel (b. 1977, The Netherlands), who both live as well as work together, form Studio Job. Having met in Eindhoven - she beginning her studies in graphic design and he having just graduated in three-dimensional design â&#x20AC;&#x201C; Mr. Smeets proceeded to open Studio Job in Antwerp, joined by Ms. Tynagel following her graduation.

Altered Appliances by Piet Zwart Institute Students A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/ Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/ Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados.

AKTOmag

A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/ Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/ Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/ Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/ Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. Prof Danielle Mirkovic Coordenator @ SDE College Instotute

texto introdutório ao artigo em questão, em ambas as línguas, para apresentação do projeto em destaque na entrada etc. texto introdutório ao artigo em questão, em ambas as línguas, para apresentação do projeto em destaque na entrada etc. texto introdutório ao artigo em questão, em ambas as línguas, para apresentação do projeto em destaque na entrada etc. texto introdutório ao artigo em questão, em ambas as línguas, para apresentação do projeto em destaque na entrada etc.

_ introducing

THE RESIDENTIAL CHURCH XL

T he

R esi d entia l ch u rch

X L

AKTOmag

The boat’s forceful and bold exterior, designed by nautical architect Willem Nieland, contrasts with its refined interior that was designed by Studio Job, the design duo whose artistic ornaments have earned them a worldwide reputation. With great subtlety, icons of our seafaring past have been worked into the interior, but given an unexpected twist. The sofa is upholstered in prints showing anchors, Moby Dick and a skull and crossbones. A stained glass window between the cabin and the pilothouse displays the same ‘iconography’. At Studio Job, dream and reality become one. The interior can be added to as desired, with items selected from Studio Job’s custom-made designs – a bronze ship’s bell, for instance, or a marquetry cabinet. Even people who do not normally like boats are attracted to the Firmship. It is more than just a boat: it is a home. Currently, the Firmship is only available as a 42-foot boat. The next step will be the launch of a Firmship 60. But regardless of length and design, each Firmship is a boat that, though completely grey, also has a stained glass window in the cabin and a helm with a skull and crossbones. It is a boat that radiates both the toughness of the archetypal sailor and the timeless beauty of a sculpture. The Firmship creates a new nautical tradition: the floating work of art. Currently, the Firmship is only available as a 42-foot boat. The next step will be the launch of a Firmship 60. But regardless of length and design, each Firmship is a boat that, though completely grey, also has a stained glass window in the cabin and a helm with a skull and crossbones. It is a boat that radiates both the toughness of the archetypal sailor and the timeless beauty of a sculpture. The Firmship creates a new nautical tradition: the floating work of art. Currently, the Firmship is only available as a 42-foot boat. The next step will be the launch of a Firmship 60. But regardless of length and design, each Firmship is a boat that, though completely grey, also has a stained glass window in the cabin and a helm with a skull and crossbones. It is a boat that radiates both the toughness of the archetypal sailor and the timeless beauty of a sculpture. The Firmship creates a new nautical tradition: the floating work of art.

T he R esi d entia l ch u rch X L The new Firmship 42 is a classic boat with a modern look. With its artistic design, Studio Job has modernised centuries-old nautical traditions – without losing any of today’s functional comfort. The Firmship is a classic boat of the type that was still being built fifty years ago; an honest boat exuding confidence that will still be admired fifty years from now. What makes the boat even more striking is that literally everything is grey, from the railing and the bollards to the sundeck and even the throttle. Yet the Firmship is anything but drab or boring. Bold, or firm actually: a Firmship. The boat has been finished with the craftsman’s precision, reinforcing its timelessness. Teak has been used for the doors, the outdoor furniture and the interior finish. The wood used for the cabin’s interior has been finished in such a way that the grain of the individual planks is seamlessly joined. 32

AKTOmag

The boat’s forceful and bold exterior, designed by nautical architect Willem Nieland, contrasts with its refined interior that was designed by Studio Job, the design duo whose artistic ornaments have earned them a worldwide reputation. With great subtlety, icons of our seafaring past have been worked into the interior, but given an unexpected twist. The sofa is upholstered in prints showing anchors, Moby Dick and a skull and crossbones. A stained glass window between the cabin and the pilothouse displays the same ‘iconography’. At Studio Job, dream and reality become one. The interior can be added to as desired, with items selected from Studio Job’s custommade designs – a bronze ship’s bell, for instance, or a marquetry cabinet. Even people who do not normally like boats are attracted to the Firmship. It is more than just a boat: it is a home. Currently, the Firmship is only available as a 42-foot boat. The next step will be the launch of a Firmship 60. But regardless of length and design, each Firmship is a boat that, though completely grey, also has a stained glass window in the cabin and a helm with a skull and crossbones. It is a boat that radiates both the toughness of the archetypal sailor and the timeless beauty of a sculpture. The Firmship creates a new nautical tradition: the floating work of art. Currently, the Firmship is only available as a 42-foot boat. The next step will be the launch of a Firmship 60. But regardless of length and design, each Firmship is a boat that, though completely grey, also has a stained glass window in the cabin and a helm with a skull and crossbones. It is a boat that radiates both the toughness of the archetypal sailor and the timeless beauty of a sculpture. The Firmship creates a new nautical tradition: the floating work of art.

AKTOmag

autor _ author Zecc Architects www.zeccarchitects.nl projecto _ project Residential Church XL localização _ location Ulrecht The Netherlands promotor _ client private data 2012 copyrights © Peter Phanning

AKTOmag

Z ecc A rchitects

From the beginning, their collaboration resulted in highly expressive, usually one-off or limited-edition works, often sculpt in bronze or, casted in ceramics or finely constructed in marquetry. Employing iconographic, pan-historic imagery which can be in the same moment both heraldic as well as cartoonlike, the results are consistently monumental and yet somehow primitive, and generally read neo-renaissance, clearly fantasist, and certainly more mannerist than modernist. Projecting a strong narrative quality, suggesting often a heroic battle between good and evil, their gorgeous collections seem From the beginning, their colborn more from a medieval, guild-like process than an industrial approach. laboration resulted in highly expressive, usually one-off or limitGraduates of the renowned Design Academy Eindhoven, The Netherlands, ed-edition works, often sculpt in Job Smeets (b.1970, Belgium) and Nynke Tynagel (b. 1977,The Netherlands), bronze or, casted in ceramics or who both live as well as work together, form Studio Job. Having met in Eind- finely constructed in marquetry. hoven - she beginning her studies in graphic design and he having just Employing iconographic, pangraduated in three-dimensional design – Mr. Smeets proceeded to open historic imagery which can be in the same moment both heraldic Studio Job in Antwerp, joined by Ms. Tynagel following her graduation. as well as cartoon-like, the results are consistently monumental and yet somehow primitive, and w w w . z e c c a r c h i t e c t s . n l generally read neo-renaissance, clearly fantasist, and certainly more mannerist than modernist. Projecting a strong narrative quality, suggesting often a heroic battle between good and evil, their gorgeous collections seem born more from a medieval, guild-like process than an industrial approach.

with Generator Hostels A Design Dynamo Destination

a perspective of how to adapt space

AKTOmag

Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes.

AKTOmag

PALÁCIO

DE SETEAIS

com

E m contato N eoc l ássico

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I n contact w ith the N eoc l assic The new Firmship 42 is a classic boat with a modern look. With its artistic design, Studio Job has modernised centuries-old nautical traditions – without losing any of today’s functional comfort. The Firmship is a classic boat of the type that was still being built fifty years ago; an honest boat exuding confidence that will still be admired fifty years from now. What makes the boat even more striking is that literally everything is grey, from the railing and the bollards to the sundeck and even the throttle. Yet the Firmship is anything but drab or boring. Bold, or firm actually: a Firmship. The boat has been finished with the craftsman’s precision, reinforcing its timelessness. Teak has been used for the doors, the outdoor furniture and the interior finish. The wood used for the cabin’s interior has been finished in such a way that the grain of the individual planks is seamlessly joined. Even the captain’s seat has been custom-made for the Firmship. Comfort is luxurious but not obtrusive; warm, rather, and welcoming. The boat has been finished with the craftsman’s precision, reinforcing its timelessness. Teak has been used for the doors, the outdoor furniture and the interior finish. The wood used for the cabin’s interior has been finished in such a way that the grain of the individual planks is seamlessly joined. Even the captain’s seat has been custom-made for the Firmship. Comfort is luxurious but not obtrusive; warm, rather, and welcoming.

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The boat’s forceful and bold exterior, designed by nautical architect Willem Nieland, contrasts with its refined interior that was designed by Studio Job, the design duo whose artistic ornaments have earned them a worldwide reputation. With great subtlety, icons of our seafaring past have been worked into the interior, but given an unexpected twist. The sofa is upholstered in prints showing anchors, Moby Dick and a skull and crossbones. A stained glass window between the cabin and the pilothouse displays the same ‘iconography’. At Studio Job, dream and reality become one. The interior can be added to as desired, with items selected from Studio Job’s custom-made designs – a bronze ship’s bell, for instance, or a marquetry cabinet. Even people who do not normally like boats are attracted to the Firmship. It is more than just a boat: it is a home. The boat’s forceful and bold exterior, designed by nautical architect Willem Nieland, contrasts with its refined interior that was designed by Studio Job, the design duo whose artistic ornaments have earned them a worldwide reputation. With great subtlety, icons of our seafaring past have been worked into the interior, but given an unexpected twist. The sofa is upholstered in prints showing anchors, Moby Dick and a skull and crossbones. A stained glass window between the cabin and the pilothouse displays the same ‘iconography’. At Studio Job, dream and reality become one. The interior can be added to as desired, with items selected from Studio Job’s custom-made designs – a bronze ship’s bell, for instance, or a marquetry cabinet. Even people who do not normally like boats are attracted to the Firmship. It is more than just a boat: it is a home.

Graduates of the renowned Design Academy Eindhoven, The Netherlands, Job Smeets (b.1970, Belgium) and Nynke Tynagel (b. 1977, The Netherlands), who both live as well as work together, form Studio Job. Having met in Eindhoven - she beginning her studies in graphic design and he having just graduated in three-dimensional design â&#x20AC;&#x201C; Mr. Smeets proceeded to open Studio Job in Antwerp, joined by Ms. Tynagel following her graduation. From the beginning, their collaboration resulted in highly expressive, usually one-off or limited-edition works, often sculpt in bronze or, casted in ceramics or finely constructed in marquetry. Employing iconographic, pan-historic imagery which can be in the same moment both heraldic as well as cartoon-like, the results are consistently monumental and yet somehow primitive, and generally read neo-renaissance, clearly fantasist, and certainly more mannerist than modernist. Projecting a strong narrative quality, suggesting often a heroic battle between good and evil, their gorgeous collections seem born more from a medieval, guildlike process than an industrial approach.

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Graduates of the renowned Design Academy Eindhoven, The Netherlands, Job Smeets (b.1970, Belgium) and Nynke Tynagel (b. 1977, The Netherlands), who both live as well as work together, form Studio Job. Having met in Eindhoven - she beginning her studies in graphic design and he having just graduated in three-dimensional design â&#x20AC;&#x201C; Mr. Smeets proceeded to open Studio Job in Antwerp, joined by Ms. Tynagel following her graduation. From the beginning, their collaboration resulted in highly expressive, usually one-off or limited-edition works, often sculpt in bronze or, casted in ceramics or finely constructed in marquetry. Employing iconographic, pan-historic imagery which can be in the same moment both heraldic as well as cartoon-like, the results are consistently monumental and yet somehow primitive, and generally read neo-renaissance, clearly fantasist, and certainly more mannerist than modernist. Projecting a strong narrative quality, suggesting often a heroic battle between good and evil, their gorgeous collections seem born more from a medieval, guild-like process than an industrial approach.

e q u i p a _

T eam

coordenador de projecto _ project coordenator João Erse responsável de obra _ project manager João Henrique Marrocano técnicos de restauro de pintura _ painting restoration experts Maria Sofia Pimentela Paulo Florença Pereira técnicos de restauro de metal _ metal restoration experts João Henrique Marrocano Joana Paixão técnicos de restauro móvel _ furniture restoration experts João Erse João Henrique Marrocano Laura Carvalho Pedro Miguel Proença projecto _ project restauro integral de salão nobre; restauro de pinturas do corredor norte; restauro de pinturas da Sala D Fernando; restauro de variados elementos metálidos do parque e miradouro; restauro das poltronas e cadeirões do salão nobre e Sala D Fernando; localização _ location Sintra | Portugal promotor _ client palacioseteais.com data fev _ feb 2014 copyrights publishing authorization: courtesy of Palácio de Seteais photos @ Marcelo Vaz Peixoto

Remember D Fernando’s Poltron? A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re) conetam, na fórmula de novos resultados. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re) conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de

produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/ Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re) conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/ Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re) conetam, na fórmula de novos resultados.

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of a Miss Bonapart painting

A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/ Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes.

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A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/ Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal. A AKTO (Arts & Krafts Technologies) é um projeto/empresa cujas bases resultam de ações criativas de produção, preservação e inovação. Criar, evoluir e transformar são apenas algumas das ferramentas essenciais, dos serviços de Design&Produção, Conservação&Restauro, e Interior Design/Reabilitação. Um projeto onde as suas áreas, enquanto serviços independentes, igualmente se cruzam, divergem e (re)conetam, na fórmula de novos resultados de produção, restauro e reabilitação, mais dinâmicas, funcionais e eficientes. No desenvolvimento de artes e ofícios, sob a regra de novas tecnologias, procuramos apresentar resultados de sustentabilidade, interculturalidade, multidisciplinariedade e linguagem universal.

V I N C E N T CA L presents L E B AU T

Vincent Calebaut, the great visionaire of how to readapt our habitat to a natural, organic and sustainable living, remerging new concepts and lifestyles that will help us see and eperience our globe, the universe around us, as nature first entended us to. _ meet the

Lilypad project

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2 1 0 A LARGE CROWD OF ECOLOGICAL REFUGEES

Further to the anthropogenic activity, the climate warms up and the ocean level increases. According to the principle of Archimedes and contrary to preconceived notions, the melting of the arctic ice-floe will not change the rising of the water exactly as an ice cube melting in a glass of water does not make its level rise. However, there are two huge ice reservoirs that are not on the water and whose melting will transfer their volume towards the oceans, leading to their rising. It deals with the ice caps of Antarctic and Greenland on the one hand, and the continental glaciers on the other hand. Another reason of the ocean rising, that does not have anything to do with the ice melting is the water dilatation under the effect of the temperature. According to the less alarming forecasts of the GIEC (Intergovernmental group on the evolution of the climate), the ocean level should rise from 20 to 90 cm during the 21st Century with a status quo by 50 cm (versus 10 cm in the 20th Century). The international scientific scene assets that a temperature elevation of 1Â°C will lead to a water rising of 1 meter.This increase of 1 m would bring ground losses emerged of approximately 0.05% in Uruguay, 1% in Egypt, 6% in the Netherlands, 17.5% in Bangladesh and up to 80% approximately in the atoll Majuro in Oceania (Marshall and Kiribati islands and step by step the Maldives islands). Further to the anthropogenic activity, the climate warms up and the ocean level increases. According to the principle of Archimedes and contrary to preconceived notions, the melting of the arctic ice-floe will not change the rising of the water exactly as an ice cube melting in a glass of water does not make its level rise. However, there are two huge ice reservoirs that are not on the water and whose melting will transfer their volume towards the oceans, leading to their rising. It deals with the ice caps of Antarctic and Greenland on the one hand, and the continental glaciers on the other hand. Another reason of the ocean rising, that does not have anything to do with the ice melting is the water dilatation under the effect of the temperature. According to the less alarming forecasts of the GIEC (Intergovernmental group on the evolution of the climate), the ocean level should rise from 20 to 90 cm during the 21st Century with a status quo by 50 cm (versus 10 cm in the 20th Century). The international scientific scene assets that a temperature elevation of 1Â°C will lead to a water rising of 1 meter.This increase of 1 m would bring ground losses emerged of approximately 0.05% in Uruguay, 1% in Egypt, 6% in the Netherlands, 17.5% in Bangladesh and up to 80% approximately in the atoll Majuro in Oceania (Marshall and Kiribati islands and step by step the Maldives islands).

If the first meter is not very funny with more than 50 million of people affected in the developing countries, the situation is worse with the second one. Countries like Vietnam, Egypt, Bangladesh, Guyana or Bahamas will see their most inhabited places swamped at each flood and their most fertile fields devastated by the invasion of salt water damaging the local ecosystems. New York, Bombay, Calcutta, Hô Chi Minh City, Shanghai, Miami, Lagos, Abidjan, Djakarta, Alexandria… not les that 250 million of climatic refugees and 9% of the GDP threatened if we not build protections related to such a threat. It is the demonstration inflicted to reluctant spirits by a climatological study of the OECD (Organization for Economic Cooperation and Development) and that challenges our imagination of eco-conception! The water rising being not written in the agenda of the Grenelle agreements on environment in France, it is primordial in terms of environmental crisis and climatic exodus to pass from now on from a strategy of reaction in emergency to a strategy of a adaptation and long-lasting anticipation. It is surprising, whereas some islands prepare their disappearing to see that the management of the rising of the ocean level does not seem to worry the governments beyond measure. More surprising to see that the populations of the developed countries continue to rush on the littoral to build districts over there; houses and buildings dedicated to a certain flood.

L I LYP A D A P R O T O T YP E O F A U T O - S U F F I C I E N T AMPH I BI O US CITY Whereas the Netherlands and the United Arabic Emirates « fatten » their beach with billion of euros to build their short-living polders and their protective dams for a decade, the project «Lilypad» deals with a tenable solution to the water rising! Actually, facing the worldwide ecological crisis, this floating Ecopolis has the double objective not only to widen sustainabely in offshore the territories of the most developed countries such as the Monaco principality but above all to grant the housing of future climatic refugees of he next submerged ultra-marine territories such as the Polynesian atolls. New biotechnological prototype of ecologic resilience dedicated to the nomadism and the urban ecology in the sea, Lilypad travels on the water line of the oceans, from the equator to the poles following the marine streams warm ascending of the Gulf Stream or cold descending of the Labrador. It is a true amphibian half aquatic and half terrestrial city, able to accommodate 50,000 inhabitants and inviting the biodiversity to develop its fauna and flora around a central lagoon of soft water collecting and purifying the rain waters.This artificial lagoon is entirely immersed ballasting thus the city. It enables to live in the heart of the subaquatic depths. The multifunctional programming is based on three marinas and three mountains dedicated respectively to the work, the shops and the entertainments. The whole set is covered by a stratum of planted housing in suspended gardens and crossed by a network of streets and alleyways with organic outline.The goal is to create a harmonious coexistence of the couple Human / Nature and to explore new modes of living the sea by building with fluidity collective spaces in proximity, overwhelming spaces of social inclusion suitable to the meeting of all the inhabitants – denizen or foreign-born, recent or old, young or aged people.

AKTOmag

L I LYP A D A P R O T O T YP E O F A U T O - S U F F I C I E N T A MP H I B I O U S C I T Y Whereas the Netherlands and the United Arabic Emirates « fatten » their beach with billion of euros to build their short-living polders and their protective dams for a decade, the project «Lilypad» deals with a tenable solution to the water rising! Actually, facing the worldwide ecological crisis, this floating Ecopolis has the double objective not only to widen sustainabely in offshore the territories of the most developed countries such as the Monaco principality but above all to grant the housing of future climatic refugees of he next submerged ultra-marine territories such as the Polynesian atolls. New biotechnological prototype of ecologic resilience dedicated to the nomadism and the urban ecology in the sea, Lilypad travels on the water line of the oceans, from the equator to the poles following the marine streams warm ascending of the Gulf Stream or cold descending of the Labrador. It is a true amphibian half aquatic and half terrestrial city, able to accommodate 50,000 inhabitants and inviting the biodiversity to develop its fauna and flora around a central lagoon of soft water collecting and purifying the rain waters.This artificial lagoon is entirely immersed ballasting thus the city. It enables to live in the heart of the subaquatic depths. The multifunctional programming is based on three marinas and three mountains dedicated respectively to the work, the shops and the entertainments. The whole set is covered by a stratum of planted housing in suspended gardens and crossed by a network of streets and alleyways with organic outline.The goal is to create a harmonious coexistence of the couple Human / Nature and to explore new modes of living the sea by building with fluidity collective spaces in proximity, overwhelming spaces of social inclusion suitable to the meeting of all the inhabitants – denizen or foreign-born, recent or old, young or aged people.

AKTOmag

The floating structure in « branches » of the Ecopolis is directly inspired of the highly ribbed leave of the great lilypad of Amazonia Victoria Regia increased 250 times. Coming from the family of Nympheas, this aquatic plant with exceptional plasticity was discovered by the German botanist Thaddeaus Haenke and dedicated to the Queen Victoria of England in the 19th Century. The double skin is made of polyester fibres covered by a layer of titanium dioxide (TiO2) like an anatase which by reacting to the ultraviolet rays enable to absorb the atmospheric pollution by photocatalytic effect. Entirely autosufficient, Lilypad takes up the four main challenges launched by the OECD in March 2008: climate, biodiversity, water and health. It reached a positive energetic balance with zero carbone emission by the integration of all the renewable energies (solar, thermal and photovoltaic energies, wind energy, hydraulic, tidal power station, osmotic energies, phytopurification, biomass) producing thus durably more energy that it consumes! True biotope entirely recyclable, this floating Ecopolis tends thus towards the positive eco-accountancy of the building in the oceanic ecosystems by producing and softening itself the oxygen and the electricity, by recycling the CO2 and the waste, by purifying and softening biologically the used waters and by integrating ecological niches, aquaculture fields and biotic corridors on and under its body to meet its own food needs. To reply to the mutation of the migratory flows coming from the hydroclimatic factors, Lilypad join thus on the mode of anticipation particular to the Jules Verne’s literature, the alternative possibility of a multicultural floating Ecopolis whose metabolism would be in perfect symbiosis with the cycles of the nature. It will be one of the major challenges of the 21st Century to create an international convention inventing new special means to accommodate the environmental migrants by recognizing their rights and obligations. Political and social challenge, the urban sustainable development must more than ever enter in resonance worldly with the human sustainable development!

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militates continuously for the long lasting development of the new Ecopolis via «parasitical» strategies for an investigation architecture mixing biology to information and communication technologies >From New York to Hong Kong crossing Brussels and Paris, Vincent Callebaut proposes with determination and conviction prospective and ecological projects by insufflating locally dialogs and meetings that try to raise our questionings on the society in which we live as citizen of a global world! In 2000, Vincent Callebaut, 23 years old, graduated with the Great Architecture Prize René Serrure awarding the best diploma project at the Institute Victor Horta in Brussels for its Parisian project « Metamuseum of Arts and Civilisations » Quay Branly. Then, thanks to the bursary Leonardo da Vinci attributed by the European Community, he decided to live in Paris to extend its critical thinking and its spatial inventiveness during two years of internship in agencies that fascinate him (Odile Decq Benoit Cornette Architectes Urbanistes, Massimiliano Fuksas). In 2001, he competed in box and won the Grand Architecture Prize Napoléon Godecharle of the Académie Royale des Beaux-Arts of Brussels awarding the best hope of the Belgian architecture with its ecological project « Elasticity, an aquatic city of 50 000 inhabitants entirely autonomous».The jury appreciated at the same time « his dynamism, his expression force and the coherence of his concept » and recognised « a personality endowed with a remarkable aptitude giving well-founded expectations of great success and able thus to contribute to the fact that reputation of Belgium becomes a truth ». In 2005, he was the finalist of the RE-New Architecture Pleasures awarding the 12 best figures of the Architecture in the French Community of Belgium. During the same year, the Edition Company Damdi of Seoul dedicated him at the age of 28 its first architecture monograph detailing the story of its awarded and exhibited projects during worldwide spontaneous proposals and international competitions. Since then, in the framework of his agency and great collaborations (Jakob+MacFarlane, Claude Vasconi, Jacques Rougerie), he militates continuously for the long lasting development of the new Ecopolis via «parasitical» strategies for an investigation architecture mixing biology to information and communication technologies >From New York to Hong Kong crossing Brussels and Paris, Vincent Callebaut proposes with determination and conviction prospective and ecological projects by insufflating locally dialogs and meetings that try to raise our questionings on the society in which we live as citizen of a global world! In 2000, Vincent Callebaut, 23 years old, graduated with the Great Architecture Prize René Serrure awarding the best diploma project at the Institute Victor Horta in Brussels for its Parisian project « Metamuseum of Arts and Civilisations » Quay Branly. Then, thanks to the bursary Leonardo da Vinci attributed by the European Community, he decided to live in Paris to extend its critical thinking and its spatial inventiveness during two years of internship in agencies that fascinate him (Odile Decq Benoit Cornette Architectes Urbanistes, Massimiliano Fuksas). In 2001, he competed in box and won the Grand Architecture Prize Napoléon Godecharle of the Académie Royale des BeauxArts of Brussels awarding the best hope of the Belgian architecture with its ecological project « Elasticity, an aquatic city of 50 000 inhabitants entirely autonomous».The jury appreciated at the same time « his dynamism, his expression force and the coherence of his concept » and recognised « a personality endowed with a remarkable aptitude giving well-founded expectations of great success and able thus to contribute to the fact that reputation of Belgium becomes a truth ». In 2005, he was the finalist of the RE-New Architecture Pleasures awarding the 12 best figures of the Architecture in the French Community of Belgium. During the same year, the Edition Company Damdi of Seoul dedicated him at the age of 28 its first architecture monograph detailing the story of its awarded and exhibited projects during worldwide spontaneous proposals and international competitions. Since then, in the framework of his agency and great collaborations (Jakob+MacFarlane, Claude Vasconi, Jacques Rougerie), he

Durante a última década do séc.XX, com a convergência da computação e biogenética e consequente avanço científico com a descodificação do Genoma Humano, vivemos actualmente uma era pós-humana, a qual transformará por completo a perspectiva sobre o mundo, o modo de pensar e de interacção com o planeta. Nasce assim a Arquitectura Genética, baseada na noção filosófica de Génese. Todo o design e projecto da Arquitectura Genética é idealizado a partir de uma pesquisa tecnológica que procura gerar e criar sistemas de pele que sirvam de material de revestimento para um edifício. Investigadores da Beckman Institute, da University of Illinois, EUA, têm desenvolvido a última geração tecnológica de material auto-regenerador, a qual imita a pele humana mas com a particularidade de se auto-regenerar de tempo em tempo. Em paralelo, a FAB [Fidia Advanced Biopolymers s.r.l.] e Fidia Farmaceutici s.p.a., de Itália, têm produzido tecnologias inovadoras que permitam regenerar tecidos humanos em laboratório. Assim, com o ADN de uma partícula especifica da pele é possível produzir a mesma em quantidades variadas e sem limite, conforme o desejo ou necessidade de cada cliente. Aplicado num edifício, a pele transforma-o numa estrutura única e inteligente, adaptando-se e adequando-se a qualquer forma e situação. O próprio sistema de isolamento, seja acústico ou térmico, é uma parte integral da pele. Desta forma, e perda de calor no Verão será garantido pelo processo natural de transpiração da pele, a qual produz um efeito de arrefecimento no edifício. O processo inverso aplica-se de igual modo aquando a época de Inverno, sendo o calor armazenado uma vez que a pele produz pelos, os quais previnem a perda de calor. A mudança de cor da pele é também um factor relevante enquanto sistema de isolamento de temperatura onde, dependendo da cor da mesma, poderá ser controlada a libertação e perda de calor. A qualquer construção onde se verifique a aplicação deste sistema, a adição de novas formas e estruturas ao corpo preexistente é igualmente possível uma vez que a pele é constituída por uma propriedade elástica, adaptando-se e estendendo-se ao novo elemento. De acordo com a latitude e clima de cada território, poderá ser analisado um quadro de tipologia animal que ajuda a decifrar e decidir qual o sistema de pele mais adequado para cada construção, uma vez que a pele muda de tipologia consoante o sua localização territorial. Assim, a dureza, suavidade ou rugosidade da pele poderá ser prevista e determinada consoante o contexto de localização do edifício. Todo o processo de Arquitectura Genética é baseado no desenvolvimento de uma pele biologicamente activa através do ADN de diferentes organismos vivos ou animais. Pretende-se com isto que a arquitectura em questão possa imitar o comportamento do ambiente em que se insere, assim como tornar-se parte do meio ambiente de forma natural e total. Assim, integrado em construções de qualquer parte do mundo, a aplicação deste sistema exigirá propriedades distintas. Como exemplo, um edifício localizado numa região fria do hemisfério norte poderá aplicar, entre várias opções e combinações, uma pele fabricada através do ADN de uma rã marinha, para um revestimento espesso e aquecido, misturada com o ADN de um urso polar, para uma penugem densa e protectora.

With the convergence of computation and biogenetics in the latter part of the 20th century and subsequent completion of the Human Genome Project, we are now witnessing the emergence of a post-human era, which will transform the way we think and interact with the world at large. Genetic architecture is based on the philosophical notion of genesis. The design ideates from an existing technological research to generate skin systems as cladding material for a building: Researchers at the Beckman Institute, University of Illinois, US, have developed the next generation of self healing material, which mimics human skin by healing itself time after time. Fidia Advanced Biopolymers s.r.l. (FAB), Fidia Farmaceutici s.p.a., Italy has produced innovative technologies that enable human tissues such as cartilage and skin to be regenerated in a laboratory. With the DNA of a particular type of skin, same skin is produced by the company in required amounts. The skin transforms the building into an intelligent structure with automated adaptive systems to suit variable situations. Insulation systems form an integral part of the skin. Heat loss in summer will be ensured by the process of perspiration of the skin producing a cooling effect on the building. Similarly, heat storage in winters is ensured b generation of hair like structures on the skin which prevent the loss of heat by insulation. Change of colour (analogy::chameleon) is also instrumental in heat insulation systems. Depending upon the colour of the skin the heat liberation is controlled. Elasticity: Addition of new structures to the existing building in the form of projections is aided by the elastic property of the skin. The skin remains the same, only to mask a new shape. Latitude responsive skin: The skin changes the typology according to the latitude and climate in which the building sites. A typological animal chart helps decide the system for such a transition. Variance in hardness: The hardness of the skin can be varied according to the situational context of the building. Imageability of the skin: The image portrayed by the building can be decided by the feel of the skin. Accordingly a skin can be sensual or rough. Imitating the behaviour of the nature will make the building inserted in the environment in a more performative possible way. Genetic Architecture is based in the development of a biological living skin that takes its DNA from different existing organisms and animals on earth. Each building located in different zones of the world will require different properties for the outside skin. We can imagine that a building located in a cold region can use a skin made with the DNA of a sea dog, for its thick fat coat, mixed with the DNA of a bear, for its dense protecting fur.

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Francesco Gatti nasce em Roma, em 1973. Formado em Arquitectura, conclui o curso e mestrado pela Roma TRE University, em Itália. Alguns anos depois, em 2002, constitui atelier próprio denominado por 3Gatti Architecture Studio, estendendo o trabalho do atelier para Shanghai, em 2004, onde abriu nova sede. Entre os diversos concursos e prémios atribuídos ao atelier, Gatti destaca o “Buchanan Underground Station”, em Glasgow, Escócia; o planeamento urbano “Tra la murgia e il maré”, em Andria, Itália; o “500M3 design” na GBO Art Residential District, de Beijing, China; o “2006 Modern Decoration Interior Design Media Prize” em Shenzen, China; e o concurso para o Museu do Automóvel de Nanjing. Actualmente, Gatti dá aulas na Roma TRE University, em Itália, e na TongJi & JiaTong University, na China, onde também colaborou como mestre na Archiprix International. Francesco Gatti was born in Rome in 1973. He graduated with honours degree in ROMA TRE university. In 2002 he established the 3GATTI ARCHITECTURE STUDIO. In 2004 he opened a new branch of the office in Shanghai where he completed many projects as the “ShenYang shopping mall”, the “In Factory” old factories renovations, and prestigious interiours as the Red Object office space, “The Cut” interactive disco club and the “ZeBar”. Gatti won many competition and awards as: the “Buchanan Underground Station” (Glasgow-Scotland), the “Tra la murgia e il mare” urban development (Andria-Italy), the “500M³ design “ GBD art residential district (Beijing-China), the “06 Modern Decoration interior design media price” (Shenzen-China) and recently won the international competition for the construction of the Automobile Museum in Nanjing. His work was published in many international reviews. Today Gatti teach in ROMA TRE university (Italy) and in TongJi and JiaTong university (China) where he also participated as master of the Archiprix International.

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Creating fantastical structures from commonplace appliances, Toronto based photographer David Trautrimas unlocks the mind from a state of static recognition as his photographic compositions reveal an alternative take on architecture & landscape. His digital constructions of buildings made from abject and dismantled house wares at once announce the limits of industrial proliferation as they bring levity to the possibility of recycled innovation. Trautrimas’s fictitious documentation of buildings that never were glean the look of a post apocalyptic world where larger than life structures loom over the surrounding landscape, but they also breath fresh air into architecture’s infinite promise of pushing the boundaries of physics in order to renovate the way we live. Safe to say, Trautrimas’s work serves as both catalysts for creativity as it does cautionary tale for what we ultimately do with it.

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autor _ author Inês d’Orey www.inesdorey.pt projecto _ project The Spyfrost Project http://le-gallery.ca/ localização _ location Porto | Portugal data 2013 copyrights courtesy of Inês d’Orey

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Mikser is the biggest design festival in South-East Europe. The installation was located under a roof of a loading platform and connected the platform to the silo on one side and a grain-transport bridge on the other. Â The installation was executed within four days (approximately 160 working hours) utilizing almost 700 conventional transparent tapes (45 km of tape).

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In The Spyfrost Project, photographer David Trautrimas hypothesizes the origins of iconic modern appliances by reassembling them into top secret, Cold War era military outposts. These skunk work structures, hybrids of both machinery and architecture, stand as colossal weaponized ancestors to common objects such as refrigerators, lawnmowers and washing machines. Fashioned with aspiring futurism, yet an ominous sense of militaristic purpose; these installations link the parallel development of capitalism’s postwar consumer culture and the Military Industrial Complex. Creating fantastical structures from commonplace appliances, Toronto based photographer David Trautrimas unlocks the mind from a state of static recognition as his photographic compositions reveal an alternative take on architecture & landscape. His digital constructions of buildings made from abject and dismantled house wares at once announce the limits of industrial proliferation as they bring levity to the possibility of recycled innovation. Trautrimas’s fictitious documentation of buildings that never were glean the look of a post apocalyptic world where larger than life structures loom over the surrounding landscape, but they also breath fresh air into architecture’s infinite promise of pushing the boundaries of physics in order to renovate the way we live. Safe to say, Trautrimas’s work serves as both catalysts for creativity as it does cautionary tale for what we ultimately do with it. In The Spyfrost Project, photographer David Trautrimas hypothesizes the origins of iconic modern appliances by reassembling them into top secret, Cold War era military outposts. These skunk work structures, hybrids of both machinery and architecture, stand as colossal weaponized ancestors to common objects such as refrigerators, lawnmowers and washing machines. Fashioned with aspiring futurism, yet an ominous sense of militaristic purpose; these installations link the parallel development of capitalism’s postwar consumer culture and the Military Industrial Complex. Creating fantastical structures from commonplace appliances, Toronto based photographer David Trautrimas unlocks the mind from a state of static recognition as his photographic compositions reveal an alternative take on architecture & landscape. His digital constructions of buildings made from abject and dismantled house wares at once announce the limits of industrial proliferation as they bring levity to the possibility of recycled innovation. Trautrimas’s fictitious documentation of buildings that never were glean the look of a post apocalyptic world where larger than life structures loom over the surrounding landscape, but they also breath fresh air into architecture’s infinite promise of pushing the boundaries of physics in order to renovate the way we live. Safe to say, Trautrimas’s work serves as both catalysts for creativity as it does cautionary tale for what we ultimately do with it.

In The Spyfrost Project, photographer David Trautrimas hypothesizes the origins of iconic modern appliances by reassembling them into top secret, Cold War era military outposts. These skunk work structures, hybrids of both machinery and architecture, stand as colossal weaponized ancestors to common objects such as refrigerators, lawnmowers and washing machines. Fashioned with aspiring futurism, yet an ominous sense of militaristic purpose; these installations link the parallel development of capitalism’s postwar consumer culture and the Military Industrial Complex. In The Spyfrost Project, photographer David Trautrimas hypothesizes the origins of iconic modern appliances by reassembling them into top secret, Cold War era military outposts. These skunk work structures, hybrids of both machinery and architecture, stand as colossal weaponized ancestors to common objects such as refrigerators, lawnmowers and washing machines. Fashioned with aspiring futurism, yet an ominous sense of militaristic purpose; these installations link the parallel development of capitalism’s postwar consumer culture and the Military Industrial Complex. Creating fantastical structures from commonplace appliances, Toronto based photographer David Trautrimas unlocks the mind from a state of static recognition as his photographic compositions reveal an alternative take on architecture & landscape. His digital constructions of buildings made from abject and dismantled house wares at once announce the limits of industrial proliferation as they bring levity to the possibility of recycled innovation. Trautrimas’s fictitious documentation of buildings that never were glean the look of a post apocalyptic world where larger than life structures loom over the surrounding landscape, but they also breath fresh air into architecture’s infinite promise of pushing the boundaries of physics in order to renovate the way we live. Safe to say, Trautrimas’s work serves as both catalysts for creativity as it does cautionary tale for what we ultimately do with it. In The Spyfrost Project, photographer David Trautrimas hypothesizes the origins of iconic modern appliances by reassembling them into top secret, Cold War era military outposts. These skunk work structures, hybrids of both machinery and architecture, stand as colossal weaponized ancestors to common objects such as refrigerators, lawnmowers and washing machines. Fashioned with aspiring futurism, yet an ominous sense of militaristic purpose; these installations link the parallel development of capitalism’s postwar consumer culture and the Military Industrial Complex. In The Spyfrost Project, photographer David Trautrimas hypothesizes the origins of iconic modern appliances by reassembling them into top secret, Cold War era military outposts. These skunk work structures, hybrids of both machinery and architecture, stand as colossal weaponized ancestors to common objects such as refrigerators, lawnmowers and washing machines. Fashioned with aspiring futurism, yet an ominous sense of militaristic purpose; these installations link the parallel development of capitalism’s postwar consumer culture and the Military Industrial Complex. Creating fantastical structures from commonplace appliances, Toronto based photographer David Trautrimas unlocks the mind from a state of static recognition as his photographic compositions reveal an alternative take on architecture & landscape. His digital constructions of buildings made from abject and dismantled house wares at once announce the limits of industrial proliferation as they bring levity to the possibility of recycled innovation. Trautrimas’s fictitious documentation of buildings that never were glean the look of a post apocalyptic world where larger than life structures loom over the surrounding landscape, but they also breath fresh air into architecture’s infinite promise of pushing the boundaries of physics in order to renovate the way we live. Safe to say, Trautrimas’s work serves as both catalysts for creativity as it does cautionary tale for what we ultimately do with it. 88

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Tape Installation at DMY |09 to 12.06.2010 | Tempelhof, Berlin Although the Tape Installation is conceived as a kind of parasite, site specific object located at places like old attic, columns of a historical building, group of tries or an industrial concrete structure, due to location change of DMY a custom scaffolding construction had to be made. Therefore the installation appeared more like a captured UFO on the old Tempelhof Airport and less like a cocoon. The installation was executed within four days (approximately 160 working hours) utilizing almost 700 conventional transparent tapes (45 km of tape). The tendons of multiple layers of transparent adhesive tape are firstly stretched in between a construction. The following continuous wrapping of tendons results in a complex, amorphous surface through the process reminiscent of growing of organic forms. The idea for the installation originates in a set design concept for a dance performance in which the form evolves from the movement of the dancers between the pillars. The dancers are stretching the tape while they move, so the resulting shape is a (tape) recording of the choreography. The installation won the DMY Award 2010. Tape Installation at Mikser | 25 to 29.05.2010 | Big Flour-Mill, Belgrade Mikser is the biggest design festival in South-East Europe. The installation was located under a roof of a loading platform and connected the platform to the silo on one side and a grain-transport bridge on the other. Â The installation was executed within four days (approximately 160 working hours) utilizing almost 700 conventional transparent tapes (45 km of tape). Tape Installation at Quer | Odeon Theater, Vienna The installation was executed in a neo-classical (Italian) renaissance theatre and hosted a 17-minute performance of three dancers during Quer, the symposium of interactivity organized by Departure. The installation was made in two working days, utilizing 600 conventional transparent tapes (40 km of tape). Tape Installation at DMY |09 to 12.06.2010 | Tempelhof, Berlin Although the Tape Installation is conceived as a kind of parasite, site specific object located at places like old attic, columns of a historical building, group of tries or an industrial concrete structure, due to location change of DMY a custom scaffolding construction had to be made. Therefore the installation appeared more like a captured UFO on the old Tempelhof Airport and less like a cocoon. The installation was executed within four days (approximately 160 working hours) utilizing almost 700 conventional transparent tapes (45 km of tape). The tendons of multiple layers of transparent adhesive tape are firstly stretched in between a construction. The following continuous wrapping of tendons results in a complex, amorphous surface through the process reminiscent of growing of organic forms. The idea for the installation originates in a set design concept for a dance performance in which the form evolves from the movement of the dancers between the pillars. The dancers are stretching the tape while they move, so the resulting shape is a (tape) recording of the choreography. The installation won the DMY Award 2010. Tape Installation at Mikser | 25 to 29.05.2010 | Big Flour-Mill, Belgrade Mikser is the biggest design festival in South-East Europe. The installation was located under a roof of a loading platform and connected the platform to the silo on one side and a grain-transport bridge on the other. Â The installation was executed within four days (approximately 160 working hours) utilizing almost 700 conventional transparent tapes (45 km of tape). Tape Installation at Quer | Odeon Theater, Vienna The installation was executed in a neo-classical (Italian) renaissance theatre and hosted a 17-minute performance of three dancers during Quer, the symposium of interactivity organized by Departure. The installation was made in two working days, utilizing 600 conventional transparent tapes (40 km of tape). AKTOmag

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