Dédalo Displace Lectures Catalog by Dédalo

INDEX

FOREWORD 06∏DÉDALO 10∏ATELIER DATA 12 Dass 14∏EXYZT 16∏Miguel C. Tavares 18 OSMD 20∏Pedro Bandeira 22∏Modulorbeat 24 Recetas Urbanas 26∏Stalker 28∏Moov 30 Pedro Gadanho 32∏Encoreheureux 34 Didier FiÚza Faustino 36∏Beatrice Galilee 38 Feld72 40∏Raumlabor 42∏BIOGRAPHIES 44

FOREWORD

TRAVELLING IS TRIAL BY FIRE, INDIVIDUALLY OR COLLECTIVELY. EACH OF US LEAVES BEHIND A BAG FULL OF STRESS, BOREDOM, WORRIES, PREJUDICES.” siza vieira, álvaro, Esquissos de Viagem/Travel Sketches. Porto : Documentos de Arquitectura, 1988. 2 vol. p. 15.

Travel is a way of moving; it is a physical and premeditated decontextualization of something intrinsic to each one of us. The act of moving through space is presented here as a valuable input by an architect who knew – even if unnoticed by many – how to wisely decontextualize himself and to move around in his disciplinary field. But what happens when Architecture itself embarks on a ‘journey’? Does this discipline, as well as its agents, forget their own ‘stress’ and ‘boredoms’? Their own ‘worries’ and ‘prejudices’? ‘dis:Place’ emerged as the theme for Dédalo's next issue when we questioned ourselves about the potential of Architecture as a dynamic field, ‘travelling’, being displaced, taking a detour - a fresh reboot of architectural methods with the free intake of concepts from other fields of knowledge as contributors to the definition of what we call contemporary architecture. Aiming at the consideration of our own journey as architects we suggest finding new escape routes from a maze that we created ourselves – exactly as Daedalus (Dédalo) once did - mainly by developing a critical distance respecting our discipline. Thus, we proudly present the International Lecture Series - dis:Place: Deviations on Architectural Practice as a major step towards such critical distance. Coming from several countries (Germany, Austria, uk, Italy, France, and of course, Portugal), these lecturers will certainly show us that “there is an architectural lesson we can draw from [their] work, namely that the essence of architecture is nothing architectural." 1

Kari Jorkmakka describing feld72 practice in hollein, Lilli (ed.), Urbanism – For sale, Viena: SpringerWienNewYork, 2008 p.14 1

PROJECTS

DÉDALO DISPLACEMENT WORKSHOP “Cities have a psychogeographical relief, with constant currents, fixed points and vortexes which strongly discourage entry into or exit from certain zones”.1 But “walking has been the normal way to explore and exploit the city; the changes, shifts, breaks in the cloud helmet, movement of light on water. (…) Walking, moving across a retreating townscape, stitches it all together(…).”2 ∏ “It is [all] about how we are affected by being in certain places – architecture, weather, who you’re with – it’s just a general sense of excitement about a place”3 that makes you move on, right or left, or either stop. ∏ Think about an algorithmic walking, define a strategy, a start and a beginning, with no proper destination. Try it your own: first left, second right, third left, first left, repeat. In other words, you head in any direction, walking step by step, and “the result is always a remarkable style of travel - neither goal-oriented nor random, structured but always surprising.”4 ∏ Think about your feelings: Where would you cry? Where would you ask someone to marry you? What smell reminds you of home? Ask questions yourself, make associations. ∏ Imagine a “toy box full of playful, inventive strategies for exploring cities…just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape”.5

1. harrison, Charles, wood, Paul, Art in Theory 1900.2000 : An Anthology of changing ideas, Blackwell Publishing, p.703 2. sinclair, Ian, Lights out for the territory, 1997, p. 4 3. hart, Joseph, A New way of Walking City, Utne Reader, Julho/Agosto 2004, in http://www.utne. com/2004-07-01/a-new-way-of-walking.aspx 4. Idem 5. Idem

WHAT WE PROPOSED? - Promote new uses and interpretations of urban space. - Stimulate different experiences and baffling motivations in the way we unveil new points of interest in the city. Develop new ways to read the city, non-formatted with strict urban rules and touristic mechanisms. - Expose those experiences to the city, showing that besides its functions and limits, each space has its own physical and non-physical qualities, several meanings that depend exclusively on each individual’s perception. - Create an alternative map of Oporto. WORKSHOP A ‘Displace’ kit was distributed to all participants – andante, tourist map, pen, pack of stickers (8 large ones to stick on the city; 8 medium to later set up the final presentation map; and 8 small to point out each chosen space on the included map). ∏ Each chosen space of the city was registered with a photograph that should include the sticker previously fixed on the urban scenario (wall, floor, traffic signs, etc.). All these new points of interest were pointed out on the tourist map as a reference to the ones stuck around the city. ∏ A final map of spaces and experiences was created during the presentation and, later on, uncovered together with participants’ photographs on a virtual map platform in Dédalo’s website.

The workshop was part of Reveillon’EASA (30 December) and was attended by 30 students of architecture from all over Europe

31 mar | 21:00HR

DISPLACe HAPPENING displace [dIs'pleIs] vb (tr) - To move or shift from the usual place or position - To occupy the place of; supplant

atelier data

MULEMBA HOUSE We always associate intimacy to a house, of a space of effective time, where the family network gain its importance – The place of an evolving an extensive family, a cultural value that can´t be overcome in Africa. ∏ In the African House, the children is born, the grandparents die, the past, the present and future gather here, accumulating day-by-day the value of time, thus multiplying their vocation for continuity. ∏ The house is one of the major forces of integration, participation, sharing, spirituality, where life and work become one, where individuality and collectivity happen simultaneously. ∏ Mulemba House, reflects on all these aspects but also about the place of things. The furniture´s size gives us clues for the scale of the interior spaces, the functions and activities that occur are responsible for the distribution and succession of the rooms, materials, the filtered light, the drawn shade, the porch, the patio, adding the symbolic and poetical dimension of this “natural resting place” that represents the house. ∏ The program is organized according to the basic needs of housing, its distribution occurs in a way that interior and protected exterior spaces can be simultaneously areas of natural extension of various tasks. ∏ Besides the patio having its representative value as a place that evokes a community spirit, in this specific project it is also the Mulembra place, name that gave title to this work. Project done for the International Contest: A HOUSE IN LUANA | Patio and Pavilion | Trienal de Arquitectura | 2010

31 mar | 21:30HR

RESTRUcture the URBAN ACTIVate the NATURAL The proposal is a response to two objectives that are simultaneously distinct and completementary. The first is about the recognition of the need of unification and aggregation of the space. The second one has to do with the comprehension that the Beach has two different fronts – the waterfront and the riverfront. ∏ Regarding the first objective, we defended a solution that creates a hierarchy of all space, clarifying its reading. Organizing the uses, the public space, the accessibilities and the relationship between the natural and anthropogenic uses. ∏ The introduction of a new element unifies the space – “a carpet” – which infects and reorganizes. The object is to break the mental representation of this space as a fragment and give birth to an articulated image of this same area. ∏ Regarding the second objective, it was important to notice that both fronts of Faro´s Beach are distinct from each other and that is this difference one of the main challenges of the project. ∏ The riverfront assumes a leisure character, educational, of environmental awareness, and support to nautical activities and on the waterfront, the formation/reposition of the dunes is promoted. ∏ Between the two fronts – riverside and sea-, two new systems of public space, appears the urban backbone of the Beach, that is, a succession of public spaces that here and there establish transversal connections with them. Project done for the International Contest: Requalification of Faro´s Beach | 2008

TREEHOTEL The statistics are clear, half of the 6.5 billion people that populate our planet, live in cities and the urban population is growing 1 million per week. How can be possible to build a sustainable city of one million people each week? The TreeHotel questions the universal processes of creating architecture and urban environment and setting out these issues to the universal values of human life: happiness, tolerance, sustainability, forcing the visitors to think, free of constraints (social, economic or political) on the evolution of urban life into a natural ecological environment. ∏ The TreeHotel is an experimental project of architecture and design made by Studio Dass, that addresses essential topics to the future of our society. The theme of the sustainable city has become so important that is present in all the disciplines involved in the urbanization process (architects, designers, planners, theorists, sociologists, landscape, biologists ...). A sustainable city seeks from the beginning a reading of the footprint of the city, in the present and the future, in order to make it neutral in all respects: energy, carbon emissions, food, tradition, employment, housing, moving , waste, diversity, nature ... ∏ The TreeHotel was built in the Jardim da Estrela and served as an “hotel” during the Experimenta Design09, between 09 September and 08 November. In the meanwhile as been touring through Portugal and stayed in Silves, near the river Arade, Leiria, near the river Lis, and is now in the Botanical Garden of Coimbra. Why a tree house? A tree house is a magical place, a romantic hideaway in the nature. Micro spaces that are placed between the trees to play, work, relax or dream! Here we come with memories, new thoughts and through our imagination we achive to be observers of the world we live in, and be critical that allows us to reach new levels of discovery and understanding. ∏ The inspiration of this Micro hotel is not architecture, but nature itself. The scale of the microarchitecture allows us to have an experimental vision of the creative process, to create and investigate new forms and features that are associated with this type of scale. It is an opportunity for developing new materials and methods of pre-production, saving natural resources. For this project Studio Dass joined up with biologists, landscape, construction companies, industries, and with the Experimenta Design09 were outlined concrete objectives for this innovative project:

dass Foment Sustainability The project demonstrates a sustainable concern, not only just in its physical implementation, but in the ideas and thoughts which may stimulate and increase the attention of people to important values that can inspire our society in future. Explore new paths in Architecture and Design Encourage the search for new paths in the creative process and project. Finding new strategies programs (flexibility and range of functions), create architectural quality in view of its aesthetic impact (space, form, light) and context (relationship with the surrounding natural or built). Investigate new materials and technologies Development of concept taking into account the integration of new materials, or sustainable materials, either in structure, services, or on the subject, at all scales of project. Investigation of construction technology, operations and maintenance procedures that are simple, cheap and multiple applications. Promote education and awareness Creating an original project, realistic, with great impact in the city of Lisbon and its inhabitants in order to promote the dissemination of knowledge, and consequent change of habits in terms of architecture and design, sustainable construction, reducing waste, promote biodiversity and protection of nature. Encouraging Industry The TreeHotel is a project to be developed directly with industry. The creation of synergies to encourage industry to work together for your benefit, to promote research into new solutions and optimize production processes. ∏ Rather than creating an exhibition or a seminar, the TreeHotel offers the opportunity to create something beautiful, not only formal but to achieve the perfect combination between form and function, between man and his context, emphasizing the ephemeral character of Life, Nature and the City. The simplicity of the idea of creating a Tree house that can be rent and lived becomes a message that in this temporary event will become eternal.

The project was nominated for the architectural prize Outros Mercadus 2010 and selected for the green project awards 2010 and the Tourism Prize 2010 in the sustainability cathegory.

31 mar | 22:00HR

NORTELAND Norteland is the country of children, a special place where the rainbow is always shining. ∏ In this magical place they can play, laugh, jump, climb, slide and learn. ∏ Norteland is an indoor playground, designed by Studio Dass for NorteShopping, in Portugal, near Oporto. Inspired by the rainbow, the rounded shapes of Norteland resemble elements of landscape: small mountains, houses, trees, lakes. These abstract forms encourage kids to seek new meanings and images. The variety of games and activities stimulates the senses of the children and fosters the physical, cognitive and social development, to grow healthy and in harmony with their environment ∏ Why the colors of the rainbow? The rainbow, belongs to the childrens imagination, it is a form that leads to happiness, adventure, magic and light. Its colors bring us to the colorful world of children. In Norteland there are no horizons, it is possible to climb a tree, to ride a bike, to swim in the pool, to find a volcano, to ride the rodocar and to fly in ultrasonic slides to another adventure. ∏ In Norteland the rainbow color palette divides the playground into seven thematic areas, based on the meanings of each color: purple wisdom; blue - sky; cyan – water; green - nature; yellow - light; orange - fire; red - speed. The games of each color suits to the different ages. The violet color is for the youngsters and the red color for the elders. The playground has also inclusive equipment, so that all children, even those with physical handicaps, may have equal access to play. ∏ More than a playground, the Norteland is a unique and innovative space, thought and done for children, now and in the future. As they grow, there are new challenges to overcome, and new colors to conquer, depending on the capacity and will of every child at that moment. It is a place designed to be in perfect symbiosis between form and function and between children and their context, emphasizing the playful nature of life.

exyzt

DALSTON MILL The dalston mill is the story of discovering a piece of land in the east of London and the confrontation with a project of artist Agnès Denes, called “ wheat field - a confrontation”. ∏ Commissioned by Barbican Gallery to realize an in situ intervention in relation to the “radical nature” exhibition in the Barbican Centre, London, we were exploring locations in the peripheries of the city where the transformations are most frenetic. Dalston, being one of the districts of Hackney which accommodates in 2012 the Olympic Games, is from then on confronted with big building interventions such as the extension of the subway and a devouring real estate speculation. ∏ Just in front of these titanic construction sites and in the middle of a housing block partly in ruins it’s on an unused railway line “called the eastern curve” taken over by the nature where the artist Agnes Denes installed the wheat field. We decided to create in an almost literal dialogue with the artist’s piece a mill. ∏ The mill invites to take over this forlorn site by the people and fill the place temporary with public life. ∏ The Dalston Mill was established within the entry of the site, seeking the link with the street through a tunnel perforating a ruined hut. The visitor discovered the heart of the mill, where the millstones are driven by the turbine installed in 16 meters height. Here grain was grind to flour and a battery is charged through a transmission and a former car alternator. The bakery installed in the entrance was equipped with two wood-burning stoves to the disposal of all visitors wishing to make their own pizza or bread. ∏ Passing the heart of the mill the view at the wheat field opened up a country site like impression in the middle of the city. ∏ During 4 weeks, the site of the Dalston Mill hosted many events, established links with a cosmopolitan community which came here to find refuge, cook, to perforate, to play music, to discuss transformation of the district, to speak about urban agriculture and to meet up.

Project by EXYZT & Agnes Denes, commissioned by the barbican as an off site project | Part of “Radical Nature” exhibition | 2009

31 mar | 22:45HR

CITY ISLAND Project By EXYZT for “La Noche En Blanco” in Madrid in 2010

METAVILLA

Project By EXYZT & Patrick BOUCHAIN for the french pavilion at the 10th international biennale d’architecture in venice in 2006

SOUTHWARK LIDO © brice pelleschi

Project By EXYZT & Sara Muzio Commissioned by the Architecture Foundation for the London Festival of Architecture in 2008

MIGUEL C. TAVARES

31 mar | 23:15HR

MIND SPACE DV PAL 4:3, Color, Sound, 33’15’’. A film by: Miguel Casanovas Tavares. Produced by: Miguel Casanovas Tavares and Rui Manuel Vieira.

Mind Space is a project that aims to highlight the importance that the human being, through his experience has an user, has in the definition of space. The confrontation between built space (objective and material) and lived space (subjective and immaterial) it’s the stimulus to the evolution of the narrative, which is centered in the way that the body, synthesizer organism of all sensorial experiences, appropriates space. Conceptually, it starts from the object “Casa da Música” to the specific sensorial experience of his interiors, with no texts or dialogs. The sound, then, is assumed has the element that characterizes space. ∏ Mind Space borns in the form of meditation, questioning and interpreting, through an conceptual/experimental approach, this relation that both involves a physical and a mental activity, This way, it gives form to all of this immaterial matter, reflecting a will of understanding a less “serious” side if architecture by using a film study. Its structuring is strictly related wit the project “Casa da Música”, with the intention of simulating and constructing a reality through the film.

Technical data: [cdm] Mind Space. Uma Experiência Cinematográfica na Casa da Música | 2010

PRÉMIO OUTROS MERCADUS'10 OSMD

Olga Sanina - fautl 2005 Marcelo Dantas - University Lusíada 2003 osmd, it’s an informal almost thinking space, where we seek to escape the boundaries of traditional architectural intervention. Though short, our pathway has a very unique identity and stark in various types of artistic expression, ranging from ephemeral architecture or sculpture to photography either.

01 APR | 21:00HR

The International Competition had about 220 proposals and was delivered in January 2008. The project was executed in May 2008 and dismantled in mid-June of the same year. ∏ This is a clear exercise of reflection on the ephemeral. Confronted with the challenge of designing a project for a small building with a life cycle of only 15 days, we wanted to assume this condition since the beginning of the design process. ∏ This approach comes in contrast to the common solution of these challenges, where the structures’ ephemeral condition is rarely explored or even acknowledged. ∏ After defining this initial premise, the project was launched with the theme of the Fair: “The Book.” ∏ We approached the book as a theme and working basis. The book is thought as a volume, a workable and mouldable matter through the manipulation of the base element that composes itself, the pages, cut and worked to create space ... for instance to hide something. ∏ Starting from a “Book Safe” concept, where a secret space to hide objects is created by subtracting the mass inside, we got to the japanese artist, Noriko Ambe, who extensively developed this theme in his work, by searching new shape, texture and rhythm relations. ∏ This reference has a particular interest by the acute architectural / topographical nature of

his work, the way that nature returns to his origin is now influencing the architectural discourse we’re developing. From his work, we mainly retain the confrontation of two opposing systems and rules that intersect the same object to create a cohesive whole. ∏ It is this unity that we seek in our intervention. A volumetric and space unity, light and shadow, with plans and rhythmic textures. ∏ A single gesture, organic and longitudinal, will solve the whole program, while the space is designed in a logical sequence of crossing inserted in the linear development of the fair itself. Within the space will highlight the multipurpose room, which shows the true potential and luminal space of the proposed system. ∏ Reasoning is cast. Now, we work on other experiments ... the apparently advanced building system but almost handmade, the nearly ethereal materiality and scale, the intense inner light, filtered through the same outside screens that invite you to touch and sway in the wind with the projected shadows ... contemplating the ephemeral lends itself to the experience and outcome, albeit fleeting, it fully reflected our initial intentions. ∏ The generated design associated with the proposed materiality generates a light and subtle building... ephemeral in essence, as we aimed it to be ...

‘Ayuntamiento de Madrid’ pavillion for the Book Fair in Madrid in 2008, built in the ‘Jardín del Retiro’.

PEDRO BANDEIRA EMERGENCY ENTRANCE In the presentation text of the 6th International Biennial Of Architecture Of São Paulo we come across this sentence: “A city that has no utopias within itself that will allow for the directing of its own development will hardly manage to grow harmoniously. Architecture is something in between both, that is to say, it comes out as the connecting bridge between reality and utopia.” ∏ The installation «Emergency Entry» was designed specifically to be presented at the space of the Portuguese representation at the Bienal and it is the result of associating the very concept of connection with the random circumstance of having in the presentation space an emergency exit that was not in the original project of Óscar Niemeyer’s building. ∏ Allegedly, emergency exits are the shortest connection between the “inside” with the “outside”, which, in the particular context of the Bienal, may stand for the ambition of bringing close together the “utopia” and “reality”, or in other words, the reality of utopias (as it depends on the connection’s direction). ∏ However, emergency exits are more often than not ephemeral connections, and their function is only justifiable in cases of “emergencies”. In a society that is increasingly more immersed in fears, the dependency on “prevention” justifies the paradox of “as one invents the ship, one is simultaneously inventing the shipwreck”. ∏ Le Corbusier, just as Niemeyer, never thought of “emergency exits” for his chapel at Ronchamp, or at least he did not according to our own current safety principles: early this March, emergency signalization (namely those famous acrylic boxes with green stickers on them) were being put on the doors of the building which, in case of fire, has only its concrete walls to be endangered. Apparently, not even Catholics believe in Divine Providence anymore; after all, is it not into the church that one runs in case of an accident? Shouldn’t the emergency signs be put actually outside its building?

01 APR | 21:30HR

Karaoke: Singing in the Rain

“Karaoke: Singing in the Rain” aims to provoke a reflection on Pop culture concerning music but also architecture. It is an art installation that, from the popularity that is recognized to Karaoke, aims to question: the frontiers of artistic creation; the boundaries of cultural democratization; the relationship between audience and spectator; and finally the role of architecture while encoded space in the construction of cultural interaction. ∏ “Karaoke: Singing in the Rain” is a small stage set in the interior of Casa da Música where the only theme available is “Singing in the Rain” from the musical with the same name directed by Stanley Donen and Gene Kelly in 1952. The choice of this theme refers, in first place, to the fact that this is a music that crossed several decades and cultures, but also for being a tune that, in the film, confronts the individual expression and the creative behavior with the ruled and inhibitor public space (reminding that in the film “Singing in the Rain”, Don Lockwood, played by Gene Kelly, is questioned by the police for singing and dancing in the rain, as if this was an marginal or inmoral behavior). ∏ So, we can say that “Karaoke: Singing in the Rain” proposes to overcome any moral inhibition in favor of individual creativity encouraged and legitimized by the institutional hosting of Casa da Música. “Abrir a Casa” (“Abrir a casa” means “Open the House(Casa)”. Metaphorically alluding to the democratization of Casa da Música) becomes the metaphor to ensure the expression and democratization of interaction between cultural habits and behaviors. ∏ Any visitor of Casa da Música can go to the stage of “Singing in the Rain” (Karaoke), to sing and dance in the rain expelled by showers that evoke the public space, simulating the “Abrir a Casa” and claiming from the collective space the legitimacy for the individual expression. “Abrir a Casa” was also the express will of the Casa da Música’s architect in the design of the square and in the visual relations that he establishes between the interior and exterior. So, the instrumental Karaoke of “Singing in the Rain” should be interpreted (whistled on the telephone) by Rem Koolhaas, emphasizing his role on the construction of an open and desinhibiting space. ∏ However, “Singing in the Rain” remains a trap if taken as a guarantee of artistic expression. “Singing in the Rain” is a simulated space, besides the limited creativity imposed by karaoke it denounces that the means or the institutions, the space and architecture, are not efficient if there isn’t will or need of individual expression beyond being a “karaoke poet” (referring to the Portuguese artist: Sam the Kid and his musical theme – “Poetas de Karaoke”) .

The switch+ information centre, a temporary structure specially designed for the internationally renowned outdoor exhibition sculpture projects muenster 07, offers a central location for services related to the exhibition, including an information point, catalogue sales, rentals of the multimedia tour system, and a specialty bookshop. ∏ A twelve meter high parallelepiped, which is clad on all sides with golden copper alloy panels, was built adjacent to the Museum of Art and Cultural History and the exhibition project office on an open square that has been unused up to now. The project makes interesting references to its direct surroundings and its own function. The golden surface takes on the colour of the writing designed by artist Martin Schmidl for Skulptur Projekte Münster 07, that is decorating the façade of a building close to the pavilon and marking the location of the exhibition project office. ∏ With colour, materials and its evenly distributed round perforations of varying diameter, the building also reacts to the light installation “Silver Frequency” created by the artist Otto Piene in the 1970’s for the museum façade across the way. ∏ The function of the switch+ pavilion is revealed by examining its name: The eastern side of the lower half of the façade, facing the street corner, rests on slide rollers and can be moved so that entrances on both sides of the information centre close or open. In this way, various ”switch settings” emerge as recommendations for pedestrians passing by, that, when open, invite them to the southern entrance and the information stand. ∏ On the other side, visitors are guided to the north entrance over a jagged landscape – part of the overall design of the public square – consisting of varying heights and irregularly arranged steps and levels, all made out of plywood. ∏ The bookshop on the mid-level is

accessible from the entrance on the west side, located higher up and leading to the rooftop terrace café on the top floor via a wooden staircase. Seen from the inside, the frame of the pavilion appears as a simple steel grid construction, onto which the Gold cassettes are directly fastened without a substructure. The floors are made of plywood boards on battens. ∏ With the exception of the bookshop, which is protected from wind and weather on all sides by tarpaulins of the kind otherwise used for trucks, all areas are separated from the outside world alone by the perforated metal skin. This creates fascinating views. Particularly in the evening, when the pavilon seems to glow due to the interior lighting and a soft shimmer is cast through the perforations, a wonderful play of light and space is created in combination with the activated light installation on the museum façade, even more fascinating regarding the fact that this Piene work is so urgently in need of renovation. ∏ The reactions to this pavilion and its golden cladding, which draws all eyes upwards and is so very unusual for Münster’s usual cityscape, are numerous: Passers-by photograph the object as often as the sculptures on display, touch the pleasantly smooth surface in disbelief, caress the perforations as if they were looking for an explanation for the impressive façade image. Children from the neighbouring summer academy romp over the wooden stair landscape between the pavilion and museum, blow bubbles in the air and, unbeknownst to them, add an additional design element to the façade image across the way…

switch + a golden pavilion for sculpture projects muenster

modulorbeat

01 APR | 22:15HR

Illuminated cubes, visual games, electronic beats: these are the three elements of the open air light club Kubik, made its debut in Berlin as a “peculiar cube building” 2006. From quite a distance you could see the illuminated Kubik which is located at a factory ruin near the Berlin River Spree. The installation is based on the so called concept ’big tanks’ invented as a modular structure for creating temporary lightspace by using dozens of conventional 1000-litre water tanks. The intention is to design an installation that provides both the room with an architectural structure and a programmable Light system by equipping each tank with an illuminant. On the one hand the plastic water tanks illume for all the visitors, on the other hand they serve another purpose: At weekends when dusk is falling different vjs use the room of the architectural structure and play with it visually by “programming“ the tanks due to a complex controlling and timing for which special control units were installed. The electric bulbs inside the tanks are individually controllable and can be used just like an oversized low-tech screen. ∏ In the meantime, the idea “Kubik” is grown up to a requested club concept in whole Europe. According to the changing venue places, the containers are arranged in a new design, so that every Kubik has its individual architecture.

Kubik - A temporary light club for European metropolises

recetas urbanas

01 APR | 22:45HR

COLLECTIVE ARCHITECTURES "Trucks, Containers, Collectives" Is an initiative by Santiago Cirugeda (Recetas Urbanas) which has inspired more than a dozen collectives to get involved in creating a network for spaces that are self-managed by the entire Spanish territory. This is no longer a matter of experimenting with individual, isolated situations, a process which Cirugeda initiated fourteen years ago and, in any case, is being reassessed during these times of recession. Rather it’s a self-organised and joint action taken by small citizen groups who unite their efforts. What begins as a war map having the Spanish peninsula as its battleground leads to an international cooperation network: " Collective Architectures" This book is released under construction. It’s an incomplete book, undergoing changes and will remain alive. At www. plataformabooka.net its contents are updated and rewritten. Anyone who is interested as well as those involved are welcome to offer up their perspective. This open book aims to capture new questions that boost and enrich an environment of collaboration and knowledge rooted in experience. ∏ The printed book is thought up as a dynamic object. Words and veils invite us to explore it, in a tactile and joy experience. It skin goes off, the interior displays and reorders. When empty, the book reveals a code that connects with its digital double. The imagination and action of readers are invited to design and editing. ∏ Contributors: Santiago Cirugeda, Saskia Sassen, David Torres, Ramón Parramón, Jose M. Galán, Paula Álvarez, Judith Albors.

Paula V. Álvarez (ed.), Judith Albors, Paula Álvarez, Santiago Cirugeda, José Galán, Ramón Parramón, Saskia, Sassen, David Torres. Ediciones Vib[ ]k. ISBN: 978-84-613-6026-0. Languages: English/Spanish.Illustrations: color. 285X195 mm. 150 Pages.

Stalker PRIMAVERA ROMANA Primavera Romana, is a common design project activated by Stalker in order to generate and share social knowledge and awareness on urban changes. This by sharing, with more and more people, the experience of walking across and mapping in common the changes of the contemporary roman post urban territories. Primavera Romana is promoting the general states of citizenship together with social and environmental movements, local communities, associations, researchers and artists, in search of new practices, poetics and politics of coexistence in the emerging beyond city dimension. ∏ 2009 -2011

01 APR | 23:15HR

U turn An Atlas of Experiences. From self– destruction to self-organization “What’s there beyond” in accordance with an I-Ching reading. In” the I Ching, the Classic of Change, there are only two signs, continuous and discontinuous lines, — - -; are the different combinations of these two lines that build the text and not the enouncement of a discourse or the formulation of a meaning.(…) (There’s) no thinking or willing and it is just from the game of alternances of its figures, from the effects of juxtaposition and correlation, from their possibility of transforming, that sense emerges.” (F. Jullien). ∏ I Ching is a device to manipulate through which interpret, from the experience of reality, the possible becoming of it. ∏ We are inviting the public and the authors to share the experience and the interpretation of the Biennale proposals through the I Chingdevice. ∏ Here the atlas of those experiences and their interpretations are getting collected in a common fresco, trying to envision what is beyond architecture today. At the same time our interpretation of the actual phase of change is here given through two sequent and opposite I Ching hexagrams: Bo(n.23) the splitting apart and Fu (n.24) the coming back or the turning point.

The work has been produced with zero budget, self constructed, with recycled material from the previous Biennale, on the Mazzorbetto island. Thanks to Tony Quagliati (responsable of the scout group of the island), Mario the retired carpenter from Burano, Sandro Bisà, Giulio Grillo and Andrea Facchi (Geologika), Roberto Dell’Orco (the oracle), Alberto Zanco, Massimiliano Maiello, Alessandro Saturno, Alessandro Floris (the rocker). Peter T. Lang, Celeste Nicoletti, Giulia Fiocca and Lorenzo Romito. The work is insured for 0 € and will be reused after the Biennale.

MOOV NOMAD Nomad added mobility to the luxury concept. Guided by a generic idea of luxury that beyond its material value may be defined as quite extraordinary, far from anyone’s daily pattern, we conceived a nomadic inhabitable device that could transmit a more democratic sense of luxury, catalyser of experiences in the anthipods of the quotidian. Either on the top of the highest building of any big metropolis or, smoothly landed on a white sanded beach on a tropical island, there’s an engagement with the Nomad-House, because in the end, to accomplish our more eccentric desires it’s the most delightful of all luxuries... ∏ Because luxury is also a matter of product marketing and emulation by the media, the hole project was presented in an Wallpaper article layout - one of the most influential media in the creation of desired products – thus underlining that luxury is not an absolute concept but something that floats at trends’ mercy.

program: Mobile inhabitable prototype area: 4 m2. status: awarded 2nd place , Ideas competition client aip-fil: Tektonica’06. team: António Louro, João Calhau, José Niza | 2006

02 APR | 15:00HR

SOAP CATHARSIS WALL Architecture constitutes the materiality of the city. Time makes his way into it, leaving an evidence of successive marks and faded degradation carved in its materiality. In Ciasna Street we can find the evidence of time on the missing bricks on the walls that surround the street. Scares that tell us an invisible story of conflict, abandonment, evolution... In a connected world the sharing of individual perversions, sins, and wails online becomes a collective catharsis. An action made by millions to save their soul by finding comfort on other people weaknesses’, making them one of the reasons of their imperfections… ∏ Soap Catharsis Wall goes one step forward and brings this shared intimacy to the public stage by reconstruct the gaps of Ciasna Street brick wall with soap bricks that contain sins, confessions and wails collected on the internet and, during the Festival, by direct testimony. ∏ The street will be transform on an open shared confessionary and wail space where smell, sound and light come together to create an impressive spiritual and gathering experience.

area: ?. status: executed | client: Skyway ‘09 | concept: moov + Miguel Faro team: António Louro (moov), José Niza (moov), Miguel Faro | Torun, Suiça | 2009.

Beyond, Short Stories on the Post-Contemporary

PEDRO GADANHO 34

Beyond, Short Stories on the Post-ContemporaryÂ is a bookazine focusing on new, experimental forms of architectural and urban writing that comes out through sun Publishers in Amsterdam. Through the format of the shortstory, it reveals a new generation of european architectural writers with a fresh approach to communicating architectural ideas and narratives to a wider audience. Visual essays, cadavre exquis, fictions, diaries, cautionary tales and graphic novels all come together to present an intriguing view of the near future out of the current architectural imagination. Currently at its third issue, contributing authors to the book series included Douglas Coupland, Bruce Sterling, Martha Cooley, Oren Safdie, Lieven de Cauter, Aron Betsky, Ole Bouman and many others.

02 APR | 15:30HR

Shrapnel Contemporary Shrapnel Contemporary is an internet platform curated by Pedro Gadanho since 2009. It combines text, design and curatorial archives with a weekly blog filled with splinters on architecture, culture and contemporary urban practice. Usual features include reviews of new “little magazines” across the globe and an ongoing critical reflection on architectural writing and curating in the international scene.

CHINOISERIE Between a yurt, a merry-go-round and a bandstand, Chinoiserie is a folly that can be taken apart. It was the site, temporarily installed in the botanical gardens of Bordeaux, for educational workshops organized by Arc en Rêve. ∏ The story began in China, where we chose a voluntary change of scenery to evade the anxiety of a blank slate. In search of curiosities offering architectural potential, we gleaned inspiration and brought back a wealth of visions: the form of a haystack, the comfort of a hammock and the texture of a heap of fishing nets. ∏ The frame is made of a concentric repetition of twelve beams, forming a solid central pole, on which the hammocks are hung. The same mesh is used to constitute the furniture and to create a cover. This way, the nets give shade while letting the air circulate and lightly obscure the view, becoming almost opaque at the roof. For us this micro-architecture is an invitation to collective entertainment and rest.

Micro-architecture comfortable and dismoutablePlace Date : Botanic garden, Bordeaux - France / 2007 Cost / Area : 25 000 € / 55 m2. Client : Arc en Rêve (Architectural center) Commission

ENCORE HEUREUX 36

02 aPr | 16:00HR

ROOM ROOM We intended to extend the notion of natural disaster to what we call “social disaster” which everywhere in the world makes people homeless. Many homeless were, are or will be migrants at a time of their life. ∏ Our proposal is made for worldwide homeless people (for climatic, social, political reasons) and our study is made with this double attention and constraint. Our aims for this shelter are to create a space which is: light to carry, strong and safe, affordable, mobile, ergonomic, thermally efficient and easily transportable. Trying to produce the largest of the smallest berth as well as the first room of the future dwelling, this object allows many kind of uses (shelter, trailer, vehicle, etc.).

Minimum and mobile shelter for emergency situation Emergency situation | Encore heureux + G studio. 2.6 m2 | 2009

didier fiuza faustino H-BOX - Mobile home video A mobile space designed to display video art for Hermès International, it is composed of modules of high resistance lightweight materials, easily assembled, disassembled and transported, to travel around the world. Videos specially made for the touring project are updated every year. ∏ Itinerance: Centre Pompidou, Paris, France; musac, Leon, Spain; mudam, Luxembourg; Tate Modern, London, England; Yokohama Biennale, Japan; ocma, Los Angeles, usa; New Museum, New York, usa; Laboratorio Arte Alameda, Mexico; Fondation Beyeler; Bâle, Switzerland; Art Sonje, Seoul, South Korea; Today Art Museum, Beijin, China.

Aluminium honeycomb sandwich panels, wall and ceiling acoustic supple skin, plexiglass. 6,5 x 5 x 3 m. 30 m².

DMZ Tea House Yang Yang, South Korea Steel structure, metal grid, clear glass, wood panels, epoxy white paint. 7.6 x 6.7 x 18.3 m. 50 m². 2008.

02 aPr | 16:45HR

dmz Tea House is a domestic space sample, propulsed 20 meters above the ground, a tea room projected in a state of weightlessness, over the troubled horizon. The building’s body is nothing more than a fragile skeleton. Its thin arachnoid structure sets under tension a vertical void. A bicephalous head over this fleshless body is composed of two entities. Two captive voids of strictly similar dimensions provide two opposing experiences.

BEATRICE GALILEE Shenzhen & Hong Kong Bi-city Biennale of Urbanism \ Architecture Beatrice Galilee was European curator of the 2009 Shenzhen Hong Kong BiCity Biennale of architecture and urbanism. The biennale’s theme was ‘City Mobilization’ and 60 international artists and architects were asked to come to China and create site-specific installations, research and artworks that contributed to or activated the city and responded to the complex relationship between Shenzhen and Hong Kong.

6 Dec, 2009 - 31 Jan, 2010 | Shenzhen, China

02 aPr | 17:15HR

ABOUT A MINUTE About a Minute is the inaugural exhibition at The Gopher Hole, a new project space in Hoxton founded by aberrant architecture and Beatrice Galilee. For their first show, The Gopher Hole invited carefully chosen conceptual artists, architects, designers, poets and writers to respond to a premise - the idea that today, a minute is all we seem to have. ∏ Increasingly hyperactive consumption of data, information and images has trained the brains of a generation to multi-task, skim, tweet, comment and statusupdate, but has eliminated the notion of patience or pause. The sheer volume of things available at the touch of a button or swipe of a finger has lead to a saturation point, where boredom and irritation arrives sooner than we may like to admit. ∏ Galleries are easy victims of the phenomenon. Visitors may spend a few moments to absorb an artwork, half-read a caption and move on. This leaves both curators and artists in a conundrum. How does one respond to the knowledge that no more than a minute may be spent with a painstakingly crafted exhibit? After all, it can take less than a minute for everything in the world to change. ∏ Each work in this show was chosen for its thoughtful, provocative or playful interpretation of the minute through the lens of number of disciplines and mediums. This plurality is key to the curatorial philosophy of the Gopher Hole: interrogating popular culture across disciplinary borders.

10th Dec 2010 - 13th February 2011 | The Gopher Hole, 350-354 Old Street, London, United Kingdom

FELD72

MILLION DONKEY HOTEL 2011 – 73 % of the population of Europe lives in cities, and this figure is growing. Migration and its consequences is also the theme of “The Million Donkey Hotel”, a project by feld72 in the context of the “Villaggio dell’Arte” from the “paesesaggio workgroup”. In August 2005 a group of national and international artists was invited to address questions of identity, territory, social space and landscape in the Matese regional park by means of art projects involving the participation of the local population. The artists were required to live locally for one month, work together with the local population and draw all materials used from the local villages to stimulate the micro economy of the region. ∏ Prata Sannita is a village divided into two, consisting of a mediaeval “borgo”, the Prata Inferiore, which was dramatically affected by migration during the last century, and a newer part, the Prata Superiore. ∏ How could these two clearly separated areas of the village be linked again? How and for whom could be the qualities of the almost sculptural spatial landscape be experienced once again? How can spaces that stand for loss become a self-confident part of a new Prata Sannita? ∏ Prata Sannita is seen in its entirety as a large, scattered hotel that still has rooms available: the abandoned rooms. They become cells in a larger entity and the entire area of Prata Sannita is perceived as a single action space. The first adaptation of 3 spatial units to form “hotel rooms” is a start to making the spaces usable once again. The rooms were alienated and given specific themes and atmospheres based on migration and memory. Through the intervention the local residents were to be stimulated to understand the other abandoned rooms as further building blocks of this hyper-real hotel and to reactivate them accordingly. The Million Donkey Hotel also became an extension of public space, as in the “off-season” the hotel rooms can also be used by the Pratesi. Through the impressive involvement of up to 40 volunteers in the village (an estimated 4300 hours on site) it was possible to implement the Million Donkey Hotel despite the very tight time framework (1 month with design practically on site), a low budget (10,000€) and the use of only the simplest means. The Million Donkey Hotel is now organised by a small group of “local heroes” who were involved in building it and looks forward to visitors either on site or at www.milliondonkeyhotel.net. ∏ 2010 the Million Donkey Hotel has won the Contractworld Award in the category hotel.

Prata Sannita, Italy

02 aPr | 17:45HR

PUBLIC TRAILER © PublicTrailer© uses the power of the most ecological means of transport, the bicycle. It has the advantage to be very flexible, small and of easy access. The different types of bicycles vary form very economic to highly exclusive products. ∏ PublicTrailer© is a variety of bicycle trailers with different functions which can be easily transported to the most different parts of the city. They are performative tools for the city, giving a different approach to public space. In combination with the bicycle the users can react very quickly on the different situations on site – they can follow the masses, they can avoid possible problems with authorities, they can form stronger and multifunctional units in combination with other PublicTrailers©. ∏ They allow to do actions in space that were never possible before. They are generators of situations and a tool for new urban adventures. Every new constructed element of the city give the user of the PublicTrailers© a new way to combine different layers of public live, that could go from a practical solution of daily life problems to surreal moments in space to a highly performative “Culture of congestion”. The Armada for public space consist now of: Speaker`s Corner / UrbanBoxing / PublicKaraoke / PublicScreen / PublicTribune / PublicHedge

Shenzhen, London, Milano 2009-2010

KITCHEN MONUMENT

The Kitchen Monument is a mobile sculpture that has two states of being. This zinc sheet clad sculpture can be extended into public space by a pneumatic spatial mantle that transforms it into a temporary collective space. Different programs are staged in different places. Its broad spectrum of uses includes kitchen, a banquet hall, conference room, cinema, concert hall, ballroom, dormitory, boxing arena and steam bath. ∏ The Kitchen Monument is a prototype with which to construct temporary communities. It investigates emotional anchoring spots within different cities. “The Kitchen Monument” has been traveling to different locations. It stops at places of underestimated potential, socalled non-spaces, spaces that seem to have forfeited their urban functions. The bubble nestles itself into whatever is already there, its transparency allowing dialogue to occur between inside and outside; everything blurs together, but remains visible nonetheless. It creates new room within existing space, allowing novel qualities to emerge. The Trojan horse is the metaphor we have taken in using the monument to create urban identity. This mobile sculpture transports identity into the public sphere, enabling people to actively co-create it. The monument is a tool for recapturing public space. But how can a monument generate social space? How can it inspire public space to be used and personalized?

RAUMLABOR And how can it come to reflect the communities and identities of various neighborhoods? ∏ In the first place we have put a communal kitchen and dinning hall into the bubble. The kitchen is the type of place that has the potential to reflect urban identities as well as cultural peculiarities and traditions. People sit together, yet apart, in the kitchen. If someone is invited to come for a visit, a common meal represents the host’s openness and hospitality. The kitchen is the ideal place in which to connect the private and the public sphere. ∏ 1. The Box: encased in anodized sheet steel. Its inner space is lined with grey felt. It contains a wardrobe, a reception, and storage space. The box houses a pneumatic structure and the technology needed to inflate it. It also functions as the entrance to the bubble. Approximate dimensions: length = 4.6 meters, width = 2.2 meters, height = 3.1 meters. ∏ 2. The Bubble: a pneumatic spatial shell that expands out of the box. The bubble is made of translucent, reinforced pe laminate. Approximate dimensions: length = 22 meters, width = 12 meters, height = 6 meters. A ramp made of steel grating creates the bridge between the box and the bubble. ∏ A fan located under the grating inflates the bubble and continually provides it with air. The box simultaneously functions as a pressure gage and relief vent.

Duisburg, Mülheim, Liverpool, Frankfurt, Hamburg, Warschau, Eindhoven, Berlin etc.

EICHBAUMOPER “Eichbaumoper” (Oaktree Opera) is a real utopia which transforms Eichbaum underground station between Mülheim and Essen into an opera house. In an on-site opera lodge a new type of opera was created in collaboration with specialists in composition, text and space by direct altercation with the everyday conditions of the place. ∏ Three composers and three authors worked directly at the location. The stories chosen by each artist became the focus of their work. The authors transformed stories into libretti, the composers translated sound, emotions and experiences into music. ∏ In contrast to conventional operas, the central topic of “Eichbaumoper” dealt with local people and certain matters affecting the city.

the place 30 years ago the underground line U18 with its stations on top and below the highway A40 seen as an heartpeace of modern architecture. It marked the departure to a new mobile “Ruhrgebiet”. “Eichbaum” today is a notorious place, well known for violence and vandalism. The tunnels and entrances leading to the platforms are dark and creepy, even during the day. The local company of public transportion has been trying to deal with this place for years. It has been the general goal to upgrade security by establishing fences directly at the entrances, installing video cameras and painting the walls to create a friendlier atmosphere. Yet so far “Eichbaum” station has resisted all attempts of improvement, it remains an unattractive place. The opera lodge The “Opernbauhütte” forms an interface for the processes of production. It is used as working space for the artists and residents. Its attendence changed the site. The “Opernbauhütte” has plenty of functions - it serves as office, studio and working room of the participating artists, as well as a stage to present interim results of work and a space of public interaction and further negotiation. It is an experimental field for discussions, laboratory for the connection of several artistic strategies and perceptions, as well as a visible sign of change.

the transformation process This process is about the connection of architecture, theatre, music and city. The “Eichbaumoper” was developed from this parallel running components. The lodge is meant to be a confrontation of space and its architecture as well as the artistic process of its transformation. This transformation is intended to be a complex process in which arts and other techniques promote, stimulate and condition one another the Eichbaum Opera The entire space of the “Eichbaumoper” was used for the performance. It started in the subway and walked from the platform to the forecourt. A temporary grandstand was built over a part of the platform for 200 guests. The station was always open to the public, so that a lot of onlookers could watch the event. ∏ The realisation and the success of the “Eichbaumoper” has led to a new view among the local population, planers and transport services. The totally abandoned subway station has turned to a place of possibilities.

biographies

atelier DATA

beatrice galilee

Atelier Data is a multi-functional team with people with different sensitivities that develops projects mostly in architecture. It produces strategies in order to find clear and innovative answers to real problems. It believes that diagrammatic and elementary presentations are a way of diagnosing and finding solutions. ∏ Our main concern lies on operative and practical matter, keeping our focus on permanent search for new and alternative possibilities. ∏ The development of projects depends primarily on factors that have much more to do with experience, intuition and sensitivity of each of the partners than with a vigorous body and organized common thought. ∏ Among several competitions atelier data has been distinguished with: 1st Prize on the International Competition “re:vision dallas”, Dallas, United States; 1st Prize in the 1st edition of the International Lisbon Ideas Challenge, with the project “Power Fold”; 1st Prize in the “3000 vivendas” Competition in Vallecas, Madrid, Spain; 1st Prize in the “vector e – Entrepreneurship and Innovation”, with the “Power Fold” project – competition organized by Innovation, Technology and Development Politics Center in+.

Beatrice Galilee (*1982, London) is a London-based curator, writer, critic, consultant and lecturer of contemporary architecture and design. Trained in Architecture at Bath University, and in History of Architecture at the Bartlett School of Architecture, ucl, Beatrice specialises in the dissemination of architecture through media, curatorial practice, research, editing and teaching. She is the co-founder and director of The Gopher Hole, an exhibition and event space in London, architectural consultant and writer at DomusWeb, and associate lecturer at Central St Martins University. She is a curator at the 2011 Gwangju Design Biennale in Korea, which is directed by Ai Wei Wei and Seung H-Sang, and a freelance contributor to a number of international publications on architecture and design. In 2009 Beatrice was invited to work in Beijing as European curator of the 2009 Shenzhen Hong Kong Bi-City Biennale of Architecture and Urbanism, directed by Ou Ning and also work as a curator at Shao Foundation. During that period she co-curated Convergence 142, an exhibition in Ordos, Inner Mongolia with Joseph Grima. ∏ From 2006-2009 Beatrice was Architecture Editor for Icon Magazine, one of Europe’s leading publications in architecture and design. Throughout her time at Icon, Beatrice prioritised breaking news and interviews with young and emerging practices as well as pursuing social and politically oriented topics for features and stories. In 2008 she won the ibp Architectural Journalist of the Year Award. ∏ Beatrice Galilee’s writing has been published in a number of international magazines and books as well as mainstream newspapers. These include Domus, Abitare, mark, Tank, Pin-Up, Above, Building Design, Architectural Review, Architecture Today, riba Journal, damn, Frame, Wallpaper, Another Magazine and the 2009 Serpentine Pavilion catalogue. Before specialising in architecture, Beatrice contributed to a number of music and fashion magazines. These included regular profiles and reviews for Amelia’s Magazine, cover stories and interviews for Italian magazine Pig and editor of self-published graphic and fashion zine Daniel Battams Fanclub.

DASS

DIDIER FIUZA FAUSTINO

Dass is an interdisciplinary studio whose projects blur the frontiers between architecture, design urbanism and communication. ∏ With different backgrounds and specializations from its elements and collaborators, create spaces/objects that tell stories. their architectural projects/design are integrated solutions of investigation to new context functional, and matter challenges. ∏ The studio exists in Lisbon since 2007 and was founded by Architect David Seabra and Designer Susan Röseler.Its works have been already exposed in Musée des Arts Décoratifs, Paris; Grand Hornú, Brussels; La Triennal de Milano, Milan; Le Mudac, Lausanne, etc. ∏ Have also been published articles in exhibition catalogues and magazines like Intramuros ,Volt ,Blue Design , Japan Architect, etc

Born in 1968. Lives and works between Paris and Lisbon. “Didier Fiúza Faustino’s work reciprocally summons up art from architecture and architecture from art, indistinctly using genres in a way that summarizes an ethical and political attitude about the conditions for constructing a place in the socio-cultural fabric of the city. Spaces, buildings and objects show themselves to be platforms for the intersection of the individual body and the collective body in their use. Each project represents a concept that subverts the social context; in which seeing is experimenting beyond submission to the dichotomy of the rules that normally mark out public space and private space. The body is recentred on the basis of the social implications of the space, alerting people to the dangers of subjecting it to an ambiguity of representation that may contribute towards their forgetting its identity.(…)” joão fernandes (Director of the Serralves Contemporary Art Museum, Lisbon, Portugal)

encore EXYZT heureux Nicola Delon – Architect; Born in Constantine ( Algeria ) 20th of august 1977. After a baccalaureat S in Villefranche de Rouergue (Aveyron) begins its studies of architecture in Toulouse. Its fourth year was at the University of Montreal and Mc Gill in Montreal and continues and finishes at the school of Paris la Villette. Following a report of third cycle «emergency habitat and perpetuation of the temporaire», he supports in may 2002 with Julien Chopin his diploma of architect dplg on the project of the Wagons-scenes. In 2001, he collaborates with the Périphériques agency. Tutor at the European Architecture Students Assembly in 2004. He works in Paris since 2001 within Encore heureux. ∏ Julien Choppin – Architect; Born in Dax ( Landes ) 29th of august 1977. After a baccalaureat S in Cahors (Lot) begins its studies of architecture in Toulouse. Its second cycle was in Clermont-Ferrand and continues and finishes at the school of Paris la Villette. Following a report of third cycle entitled «When art meets architecture», he supports in may 2002 with Nicola Delon his diploma of architect dplg on the project of the Wagons-scenes. From 1998 to 2004, he collaborates with the Traces collective on projects of installations for the Center of the National Monuments, he taught at the school of architecture of Clermont-Ferrand of 1999 to 2002 and Nancy in 2005. Tutor at the European Architecture Students Assembly in 2004. He works in Paris since 2001 within Encore heureux.

Collective established 2003 in Paris. Founded by five architects, exyzt’s manifesto proclaims it as a ‘platform for multidisciplinary creation’ whose aim is to challenge the view of architecture as an independent field of practice. Instead, they embark on experimental ventures expressed through a wide variety of devices, including architecture, video, cooking, graphic design and botany. The collective ‘conceive and organise each project as a playground in which cultural behaviours and shared stories relate, mix and mingle’. Their projects, which could be defined as participatory architecture, always strive to involve different constituencies of the local community in a social network that is invited to inhabit a temporary space. the exyzt project platform today is composed by a large assemble of various initiatives, such as “coloco”, “la suite graphique”, “constructLab” or “1024-architecture” ∏ (exyzt were last seen september 2010 on the cityIsland, a temporary rainforest and its lagoon, contribution for “ La Noche En Blanco”, Madrid. Other projects were in London, 2009 the Dalston Mill contribution to the Barbican’s Radical Nature exhibition which was followed recently by the “Dalston Barn” in early 2010. Or the Southwark Lido, the Architecture Foundation commission for the 2008 London Festival of Architecture. And projects include Architecture du rab, exyzt’s first project of ‘architectural piracy’, as they refer to it, occupying a 335-metre-square abandoned plot near Parc de la Villette in Paris; LabiChampi, 2007, a micro urban farm in the abandoned Soviet military district of Karosta, Latvia, providing the neighborhood with an alternative resource, both of local food production and potential income; and the inhabitation and adaptation of the French Pavilion, the Metavilla for the 2006 Venice Biennale of Architecture.)

feld72

MIGUEL C. TAVARES

The work of feld72 explores the intersection between architecture, urbanism and art. Expanding the field of architecture, additional to their classical work as architects, the collective has focussed on a series of “Urban Strategies” which examine the issues surrounding the use and perception of public space since they started their office in 2002 in Vienna. ∏ The office realized numerous buildings, urban interventions, masterplans and researches in an international context. ∏ “There is no break between the theoretical and experimental projects of feld72 and their designs for buildings: all of their work, irrespective of scale or means, investigates how the world is engaged and perceived through the lens of architecture. And there is an architectural lesson we can draw from this work, namely that the essence of architecture is nothing architectural.” ∏ Kari Jormakka in “Theory and design in the Fourth Machine Age. On the experimental projects by feld72“∏ Feld72 has shown its work in many international exhibitions i.e. at La Biennale di Venezia 2010 / 2008 / 2004 (it), Bi-city Biennale of Shenzhen / Hongkong For Urbanism / Architecture 2009 (cn), Biennial of the Canaries 2009 (es), Art Triennial of Guangzhou 2008 (cn), Architectural Biennial of Sao Paulo 2007 (br), Architectural Biennial of Rotterdam 2003 (nl). ∏ feld72 has won several awards for its work: National Award for Experimental Tendencies in Architecture 2002 (at) , Karl Hofer Art Award of the Berlin University of the Arts 2003 (de), Art in Public Space Award of the Green Party 2004 (at), The Chicago Athenaeum International Architecture Award 2007 (usa), Grant for Architecture of the City of Vienna 2008 (at), contractworld award 2010 (de) and was recently selected as one of the Top 10 architects in the Iakhov Chernikhov Award 2010 for the most innovative architects worldwide under the age of 44. feld72 has lectured widely on numerous cultural institutions and universities.

Miguel C. Tavares was born in Porto, Portugal, in 1985. In 2010 he finishes his studies at Faculty of Architecture of Oporto’s University (Master Degree in Architecture) with the dissertation “[cdm] Mind Space – Uma Experiência Corporizada do Espaço”. In a school exchange programme he studied in Escuela de Arquitectura y Diseño (pucv) in Valparaíso, Chile (2007/08). Currently has a scholarship for investigation in fct (Foundation for Science and Technology) with the project “Ruptura Silenciosa. Intersecções entre a arquitectura e o cinema. Portugal, 1960-1974”. Was Deputy Editor of Dédalo Magazine (2009/10), having colaborated in the edition #5 “Centripetação”, #6 “Centrifugação” and #7 “Re:Place”. In 2010 directed “[cdm] Mind Space”, which is part of his dissertation.

modulor beat

moov is a studio of art and architecture, active since 2003. Its approach aims to encourage new fields of action, generated by the intersection of architecture and other knowledge areas either creative or technical ones. Through a pro-active and challenging attitude towards the established practices, the studio’s projects can de synonym of a performance, a urban installation, a movie or a building. ∏ Its taskforce teams are based in a very specialized, experienced and optimized core complemented with several collaborations and partnerships based on the specificity of each project. ∏ Based on its practice moov is a experienced in: learning and developing interdisciplinary processes with state/municipality teams in definition of strategic programs to critical districts; design, developing and producing several public space communities; developing private projects giving close consulting to clients in all project aspects through design, planning, construction and cost-control processes; working in close collaboration with the external architects, artists, scientists and engineers for several competitions and commissions. ∏ Over the years moov developed diverse architectural projects that range in program, size and complexity including large-scale housing projects, innovative educational facilities, sustainable low tech housing prototypes, portable equipment to produce energy in urban context, sports and community facilities among others... Its conceptual approach lead moov to the development of several projects in art and/or architecture international events to create tactical installations in the public space that explore new forms of urban organization and community interaction. ∏ This conceptual and artistic work is supported by ground experience to make construction, investment and cost control follow-up according to each client and project specificities. ∏ The studio’s overall work on architecture and art has own several national and international competition awards as well as its conceptual and unexpected work has attracted the attention of the media, been invited in a regular basis to present work in lectures, talks and seminars either in Portugal or abroad and have already seen published its works in several books and magazines across the world.

Modulorbeat is dedicated to the development and realization of interdisciplinary projects in the fields of architecture, design and urbanism. Marc Günnewig (born in 1973 in Münster, Germany) graduated (m.a. Arch) at the münster school of architecture, was a scientific assistant at the Technical University of Berlin in 2004 and taught from 2008 to 2010 as an assistant-professor for architectural design and construction at the rwth Aachen University. In 2009 he was in invited to teach at the University of Auckland, New Zealand. He is currently teaching at the msa | münster school of architecture. ∏ Jan Kampshoff (born 1975 in Rhede / Westf., Germany) graduated (m.a. Arch) also at the münster school of architecture, he received the Rector Award 2005 of his University for his outstanding m.a.Thesis x over daugava. 2009 Jan taught at the University of Wuppertal and at the University of Auckland, New Zealand. In October 2009 he became assistant-professor at the University of Kassel for architectural design. ∏ In the past years, modulorbeat realized numerous temporary architectures and studies, for example: Switch +, temporary pavilion for the sculpture projects Münster 2007 // Kubik, temporary lighting installations (Berlin 2006, Lisbon and Barcelona 2007) // Halle3b*, a temporary installation in the former Osmo Halls in Münster (2003), rix.temp within the context of the international competition proposals for the embankment of river Daugava development (Riga, 2003), Mindmapping Nowa Huta, a workshop in Nowa Huta (2003). ∏ Exhibitions (Selection): West Arch - A new generation in architecture @ Ludwig Forum for contemporary art, Aachen (d), 2010 // Ruhrlights: Twilight Zone International Light Art along the Ruhr river @ Ruhr.2010, European capital of Culture (d), 2010 // InterActive: New Technologies in Contemporary Architecture @ Churchill College, Cambridge (uk), 2010 & Bernoudy Gallery of Architecture, St. Louis (usa), 2008/09 // Re-Activate @ Eacc, Castelló (es), 2008 // Unaufgeräumt / As Found @ Swiss Architecture Museum, Basel (ch), 2007 // Export Deutsches Architektur Zentrum, Berlin (d), 2005 Awards (Selection): Deubau Prize, 2010 // Bauwelt Prize, 2009 // contractworld award, 2009 // Award for young artists of the state North Rhine-Westphalia, 2008 // Tecu architecture award, 2007

MOOV

PEDRO recetas GADANHO urbanas Pedro Gadanho is an architect, curator and writer based in Lisbon. He is an ma in art & architecture and holds a phd on architecture & mass-media from faup., where he currently teaches. He is the editor-in-chief of the bookazine ‘beyond, Short-stories on the Post- Contemporary’, curates the blog ShrapnelContemporary and contributes regularly to other international publications. He co-authored two tv series and, between 2000 and 2003, was one of the chief curators of ExperimentaDesign, the Lisbon Biennial. He curated Metaflux, the Portuguese representation at the 2004 Architecture Venice Biennale, and other exhibitions such as Post.Rotterdam, for Porto2001, Space Invaders, for the British Council London, Pancho Guedes, for the Swiss Architecture Museum, and most recently Habitar Portugal 2006-2008. Amongst exhibition layouts, galleries and refurbishments, his designs include the Ellipse Foundation in Lisbon, and the widely published Orange House, in Carreço, and Family Home, in Oporto.

Santiago Cirugeda Parejo is an architect and artist. Since 1996, he has exerted critical practices, demanding that the rules governing city planning undergo an urgent revision. In 2004, he founded the architecture studio Recetas Urbanas, carrying out numerous occupation projects, prosthesis and opening-up of spaces to the public. Along with this labor, Santiago is a teacher and a consultant for urban projects in various countries around the world. Santiago Cirugeda, Saskia Sassen, David Torres, Ramón Parramón, Jose M. Galán, Paula Álvarez, Judith Albors. ∏ En Tránsito (MartorellBarcelona): Recetas Urbanas; Viviendas Alegales en azoteas: Recetas Urbanas; Park-a-part (Arbucies, Girona): Stradlle3; Spaider 3 (Esplugues de Llobregat, Barcelona): LaFundició; Alga-lab (Parroquia de Valladares): Alg-a; Künstainer (Tarragona): Caldodecultivo; El Niu (Girona): Recetas Urbanas; Nautarquia (Sant Pere de Torelló): Straddle3 & la Alien Nation; Araña Mega (Sevilla): Recetas Urbanas; Satélites de combate (Sevilla): Recetas Urbanas; Farito (Castuera): Proyecto asilo & Recetas Urbanas; Centro de Formación Cañada Real (Madrid): Todo por la Praxis & Recetas Urbanas; Gradas para la Cañada Real (Madrid): Todo por la Praxis y Recetas Urbanas.

PEDRO rAUMLABOR BANDEIRA Pedro Bandeira (1970), architect (faup 1996), is Assistant Professor at the School of Architecture of Universidade do Minho (Guimar達es). Invited by the Ministry of Culture integrated the Metaflux exhibition, the portuguese pavilion at the Venice Architecture Biennale (2004), and represented Portugal at the Architecture Biennale in S達o Paulo (2005). Participated in the exhibition Portugal Now: Country Positions in Architecture and Urbanism (2007) organized by the College of Architecture, Art, and Planning at Cornell University (usa). Author of the book Specific Projects for a Generic Client - an anthology of his works created between 1996 and 2006 (Porto: Dafne Editora). In 2007 completed his PhD thesis entitled Architecture as Image, Built Work as Representation: Subjectivity of Architectural Images. He was commissioner of the northern region of Portugal Habitar 2006-2008, co-commissioner of the international seminar Images of Architecture and Public Space in Debate (faup, 2010) and of the international seminar: Megastructures: Architecture and Play, as part of icsa International Conference (um, 2010).

RaumLabor Berlin began working on the issues of contemporary architecture and urbanism in1999 in various interdisciplinary working teams we investigate strategies for urban renewal. RaumLabor does urban design, architectural design, build, interactive environments, research.

STALKER DÉDALO Proposes experimental strategies for intervention founded on exploratory spatial practices, using playful, convivial, and interactive tactics that relate to an environment, its inhabitants and their local culture. ∏ Such practices and methods are conceived to catalyze and develop evolutionary and selforganizing processes through the social and environmental fabric specifically in the areas where through abandonment or impoverishment basic necessities are lacking. The traces of these interventions constitute a sensible mapping on the complexity and dynamics of the territory, realized through the collective contribution of individuals from different backgrounds and disciplines, who together investigate, document and participate in transformations taking place on the ground. ∏ Stalker uses these strategies that employ direct unedited forms of cooperative documentation to contribute and promote among the local populations better self-awareness of their community and of their environment in order to enhance the quality of creative participatory feedback and improve and strengthen community methods for managing local territorial and urban problems.

Dédalo magazine is a publishing project developed by a group of students of Oporto University Faculty of Architecture established as a space for critical intervention based on the encouragement of architectural discussion and the issues that the current discipline raises, never forgetting that the architecture is not an isolated manifestation of the other arts or social sciences. In this new phase, with a new team, Dédalo is willing to consolidate and expand its area of intervention, assuming a new and dynamic interaction with the city’s, the country’s and worldwide culture through a series of international competitions, articles and interviews both in Portuguese and in English. The name of the magazine is a reflection around Dédalo’s paradigm, and its history according to Greek mythology: the architect who draws the labyrinth to enclose Minotaur in a way that it never can escape from there. This impenetrability is broken and as punishment Dédalo is locked with his son in its creation. This is the concept of our publication, with a reflective character, a space of openness and criticism, mainly directed to the discussion of the maze that is contemporary architecture.

dis:Place: Deviations on Architectural Practice Lectures Catalogue Publication – March 2011

Dédalo Magazine AEFAUP - Rua do Gólgota 215, 4150-351, Porto Website: www.revistadedalo.com Email: dedalo@aefaup.pt Editorial Team: Carlos Trancoso Diana Sousa (Artur) Jorge Alves Nuno Pimenta Soraia Fernandes Graphic Design: João Santos João Lima Rute Martins Vitor de Castro Lopes Collaborators: José Tomás Maria Souto Moura Nuno Sousa Pedro Maia Tiago Brás Printed by: XXX Printed in Portugal Print Run: 500

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