Porto Academy Summer School 2017 :: ARISTIDE ANTONAS Studio

ARISTIDE ANTONAS Aristide Antonas João Salsa

PORTO ACADEMY

Agustina Lescano Ángel García Lobo Diana Smiljkovic Elena Ivona Ailenei Elina Sakketou Eva Truncova Georgia-Maria Drakoy Gustav Kjær Vad Nielsen Irene Pinyol Sarrias Justin Davis Manuel Carvalho Manuel León Fanjul Maria Bassil Maximilian Pertl Pamela Paul Mouawad Patricia Gaspar Dias Petra Viskovic Stephanie Rieth de Lima Virginia Santilli

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01 HISTORIOGRAPHY OF THE BED Manuel Leรณn Fanjul 02 INHABITED PIT Diana Smiljkovic Gustav Kjรฆr Vad Nielsen 03 UNCONSCIOUS THEATER Elina Sakketou Georgia-Maria Drakoy Irene Pinyol Sarrias Manuel Carvalho 04 INHABITABLE WALL

Maria Bassil Pamela Paul Mouawad Stephanie Rieth de Lima

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05 THE ROOFLESS ROOM AND THE STAGED BED Virginia Santilli 06 THE LOOP

Agustina Lescano Ángel García Lobo Maximilian Pertl

07 BED CAPSULES

Eva Truncova Justin Davis

08 BREAK WITHIN A BREAK Elena Ivona Ailenei Patricia Gaspar Dias Petra Viskovic

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BED SYSTEM

The workshop is related to the reading of a contemporary domestic phenomenon that concerns also the labor conditions of today. By “bed system” we describe the idea of an always empowered cocoon that is related to a singular relation to one’s body, as this is observed mostly in a user of the web residence. The axiom of the studio is that this can be described as a bed system from which there is no need to wake up since it can include both labor amusement and sleep. The construction of a bed system shows the possibilities of new capitalism to keep houses smaller anew while capitalism per se will have to deal with a different sharing program. But can this new programs that will have to share what was till now included in apartments showcase new spaces of a different break from the bed system?

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Can the city infrastructure be adapted anew in order to provide a new and interesting shared life or infrastructure serves only as an isolation technique? These questions haunt the studio and it is proposed to the participants to organise a more or less dystopian perspective towards this issue with their design.

In Porto the studio acts as a reader of this new condition in some of Porto' s empty plots. In a city where the scenographic understanding of the facades became the rule of a new urban structure, a different theatrical question is put. How can this changing urban setting host the reality of urban beds and the breaks from their complex structure?

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01 HISTORIOGRAPHY OF THE BED The historiography of the bed is oriented towards the construction of a museum of the bed which will also be a hotel or a short term place for rent. From the long history of the bed a selection serves as a reader related to situations of domination, rentability and labor.

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02 INHABITED PIT

elected spaces in the empty lot are excavated in S order to make place for a part of the underground space to be inhabited. One wall in the same setting is adapted so that it can include services for common use.

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03 UNCONSCIOUS THEATER What is the real difference or break between the unconscious (or the sleeping oneiric space) and the space-of-consciousness (or engagement with the outer-self)?

Trying to give a body to this question, an emphasis is given not only to these two opposite conditions, but specifically to the performance in-between which one can dwell during this transition. The space is then a linear setting, composed by the unconscious space occupying one end (the bed) and the conscious on the other (the table with a mirror) while, in the middle, a space brings together two acts: first, the ritual of the bathroom, where a routine is performed (essential to destabilize and start the transition from the unconscious); second, the storage room, constituted sometimes as a well; it hosts some essential artifacts, gathered to portray the inhabitants in the conscious space.

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All of the sequence is encapsulated in a shell that acts as a theatre stage, open to the outside, underlying a paradoxical relation between being ourselves in private while performing for someone.

The conscious existence of the user is put into discussion; aware of this performative, ritualistic side of a “common� life the user is never alone; or, maybe on the other hand, the user may only be really sensible with his or her existence in front of the mirror (as the active, conscious space, where only a spectrum is visible).

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04 INHABITABLE WALL A facade wall is doubled from the interior in order that it forms a linear inhabitable space. The interior of the plot is designed as a garden, inviting for the stay of the inhabitants as an outdoor living room.

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05 THE ROOFLESS ROOM AND THE STAGED BED he inversion between the older housing dwellings T and their courtyard represents an inversion of privacy and publicity in the contemporary house. The units become roofless and are emptied of their function, whereas the bed system is moved in the courtyard, as on a stage, and covered by a canopy. The flexibility of of the bed system is guaranteed by movable curtains that allow the space to change both for time and function. Within the walls of the ruin, the undressed rooms represent the break.

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06 THE LOOP

In my room, the bed was over here, the cupboard over there and the table in the middle. Until the moment it started boring me. I put the bed over there and the cupboard over here. For a while I really liked the change. But then boredom crept in again. I came to the conclusion that the cause of this boredom was the table, or rather, its central and immutable position. I moved the table and placed the bed in the middle. It really was nonconformist. Again I liked the innovation but at the same time it occurred to me that I caused a very nonconformist uneasiness. What happened next is that I was no more able to sleep while facing the wall, which had always been my favorite position. After a while the innovation part was gone and the discomfort stayed. That’s why I moved the bed over here and put the cupboard in the middle of the room. This time the change was radical. A cupboard in the middle of your room is even more nonconformist. It is avant-garde. But after a certain period of time…

To be honest, the cupboard in the middle of the room lost its new and extraordinary dimension as well. It was definitely time to change, to make a determinate decision. If within well determined limits it seems impossible to achieve the perfect situation, you have to cross them. When the nonconformist isn’t enough, when avant-garde is inefficient, you have to cause a revolution.

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I decided to sleep in the cupboard. Everyone who ever tried to sleep in a cupboard will certainly know that this causes an enormous discomfort that doesn’t allow you to sleep at all. Not to mention the swelling of your feet and the pain in your back. But no, this was the right decision. Success. Victory. But again the notion of ‘a certain period of time’ showed its absolute limits. After a while, well, I really couldn’t adjust to the change. No, on the contrary, each time I became more and more conscious of this change. And the pain didn’t help time passing by either. Everything would have gone perfectly if I didn’t have this incapacity of resisting that obviously had its limits. One day I couldn’t stand it anymore. I came out of the cupboard and slept in my bed. I guess I slept for three entire days. Afterwards I replaced the cupboard against the wall and the table in the middle because the location of the cupboard in the middle of the room really irritated me. Now again the bed is over here, the cupboard over there and the table in het middle.

And when I feel bored again, I think of the days I was a revolutionary.

The revolution. Slawomir Mrozek.

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Horizontal plans become nomad spaces. A free standing light structure is implemented. Curtains delimit the space. One plugs devices, one sleeps, one wakes up.

The space seems to be the same, but it’s not. The user changed it because of every different way one have chosen to live in it. Two capsules make up a system. The system needs an existing limit to get hold of it. Air goes in and the capsules blow up. Inside, the user goes from one capsule to the other. One works, one rests, one returns to the first capsule, and then another one starts again. A different hanging capsule is reachable by a narrow ladder. One looks wrapped in a single space made of air and technology. The lines that seem to support the weight of the precarious inhabitant becomes wires. The user can plug in the power plugs the necessary devices. One works, rests, sleeps in a loop.

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07 BED CAPSULES

A capsule is designed to fit in most of the empty, abandoned, urban, void spaces of Porto. The elevations of the city are left intact; the capsules are designed to sit on metallic legs permitting an entrance with a simple ladder. The empty spaces of the plots capture the potential of hosting common activities for the inhabitants of the capsules. The empty lots also can serve as extensions to the urban fabric with new spaces in between the urban public sphere and the private, installed bed systems.

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08 BREAK WITHIN A BREAK Within the abandoned convent of Madre Deus de Monchique, a system of barrels is proposed as a sleeping area. In this visually and physically condensed city known as Porto, this sacred heritage can already be perceived as a breath of fresh air within his neighborhood. By a simple ‘geste’ - and following the logic genius loci - the visitor who pass by can fully grasp the calm of the existing place. The convent’s ruined hall is now the open air space where the provisory inhabitants have their break.

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This booklet was designed and produced at the editorial design workshop at Porto Academy.

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