Dédalo RE-ACT Urban Festival by Dédalo

A Revista Dédalo foi criada em 2006 por alunos da Faculdade de Arquitectura da Universidade do Porto. A Dédalo afirma-se como espaço de intervenção e crítica, incentivando a discussão sobre a arquitectura e os temas actuais que a disciplina levanta, nunca esquecendo que esta não é uma manifestação isolada das outras artes ou ciências sociais. No âmbito desta 10ª edição – Who Lives Next Door? – centramos a atenção na zona de Campanhã, 8

tendo como intuito potenciar uma fracção esquecida da cidade do Porto. Apelando aos cidadãos para identificar os problemas e desejos transversais à comunidade, a Dédalo foi para a rua, interagindo directamente com a população, através de três abordagens diferentes: (1) Pontos Dédalo - Dispositivos de recolha de opiniões, (2) Diálogos In Situ e (3) Parcerias com a Comunidade. + www.revistadedalo.com/I-Aproximacao

The Journal Dédalo was created in 2006 by a group of students of the Faculty of Architecture of the University of Porto. Dédalo claims to be a space for critique and intervention, encouraging the debate about the architecture and the current issues raised by this subject, never forgetting that this is not an isolated display of other forms of arts or social sciences. In this 10th edition – Who Lives Next the intention of promoting an overlooked fraction of Porto. By appealing to the citizens to identify the problems and desires transverse to the community, Dédalo hit the streets and collaborated directly with the population, through three different approaches: (1) Dédalo Points – Device to collect opinions, (2) In Situ Dialogues and (3) Partnerships with the community. + www.revistadedalo.com/I-Aproximacao

Door? – we focus our attention in Campanhã, with

OBJEC G

O Festival que preten-

de Julho, pretendemos

demos desenvolver

promover a aproxi-

promove e dinamiza

mação da comunidade

a cidade enquanto

em relação aos órgãos

plataforma de discussão

de governação local.

e partilha. Centrando

Após um processo de

a atenção nos proble-

decisão que reunirá as

mas urbanos levanta-

opiniões da comunidade

dos pela população,

e dos órgãos de decisão,

estabelece uma relação

pretendemos seleccio-

directa entre a opinião

nar os projectos que se

pública e o processo de

destacam pela exequibi-

projecto arquitectónico.

lidade e capacidade de

Ao longo de um work-

resposta, culminando

shop de 5 dias, reunirá

na sua materialização,

grupos de estudantes

executada ao longo

orientados por arquitec-

de uma semana. A 10ª

tos, sociólogos e artistas

edição da Revista

do panorama nacional e

Dédalo, a publicar no

internacional. Comple-

mês dWe Setembro,

mentado por confer-

permitirá, por sua

ências e intervenções

vez, reunir e sintetizar

pontuais aprofundará

todo este processo,

a discussão urbana,

interligando-o com

procurando criar uma

uma selecção de artigos

ponte entre o centro e a

em variados formatos,

zona oriental da cidade.

produzidos independ-

Visando a criação de

entemente a partir do

propostas arquitectóni-

estímulo do tema.

cas concretas pretende reunir soluções exequíveis e eficazes para os problemas mais pertinentes da zona de Campanhã.  Num segundo momento, a desenvolver no fim

T I VO S S The Festival we want to

will include the opinions

develop promotes and

of the community and the

dynamizes the city as a

decision-making bodies, we

platform of debate and

will select the projects that

sharing. By focusing on the

stand out by its feasibility

urban issues raised by the

and responsive, culminating

population, it establishes a

in its materialization, ex-

direct connection between

ecuted in one week. In turn,

the public opinion and the

the 10th edition of the Jour-

process of architectonic

nal DĂŠdalo, to be published

project. Throughout the 5

in September, will allow

daysâ&#x20AC;&#x2122; workshop, it will bring

collecting and systematizing

together groups of students

this entire process, linking it

guided by architects, soci-

with a variety of articles in

ologists and artists of the

several shapes, indepen-

national and international

dently produced according

scene. The conferences and

with the incentive of the

targeted interventions will

subject.

deepen the urban debate, thus creating a bridge between the downtown and the oriental area of the city. By envisioning the creation of specific architectonical proposals it intends to collect feasible and effective solutions for the problems that are most pertinent in CampanhĂŁ. In a second stage, to be developed in late July, we will promote the approach of the community with the local government bodies. After a process of decision that

C A M P A N H Ã

A cidade do Porto é o núcleo central de uma

atingido situações limite de degradação ur-

vasta área metropolitana cujo crescimento

bana, desde o edificado ao espaço público,

demográfico se acelerou a partir da década de

tornando-se zonas especialmente segrega-

80. Este fenómeno teve origem no século XIX

das e socialmente estigmatizadas. “No vale

quando se acentuou a pressão demográfica

de Campanhã, o que se auspiciava ser uma

em consequência da industrialização. Nessa

malha urbana de bases sólidas e firmes, vive

altura, a principal zona industrial da cidade

entregue à sua apatia e melancolia. Os novos

era o Vale de Campanhã devido à proximi-

esquemas de comunicação, de movimentos e

dade do caminho de ferro e à existência de

fluxos encobrem uma cidade amorfa, estag-

antigas áreas agrícolas. Para ali convergiu

nada no tempo onde é visível o contraste entre

parte substancial da população operária, em

a energia do momento e a corrente apatia e

grande parte provenientes de outras regiões,

abandono do lugar.”

fazendo surgir o problema do alojamento, so-

As áreas degradadas, os problemas de circu-

bretudo para as famílias de mais baixos rendi-

lação e estacionamento e a desconexão relati-

mentos. Na década de 60, para enfrentar este

vamente aos sistemas de transportes públicos

problema foram construídos vários bairros de

acentuam o isolamento em relação à estrutu-

habitação social nas freguesias mais periféri-

ra da cidade e o consequente condicionamento

cas da cidade, nomeadamente na Freguesia

da mobilidade física e social, “dificultando o

de Campanhã, com sete bairros municipais,

acesso ao emprego e à educação.”

abrangendo cerca de 3 000 fogos e 12 000 pes-

No entanto, Campanhã apresenta um grande

soas. Ao longo das últimas décadas, devido

potencial urbano e social no que toca à sua ca-

nomeadamente à ausência de políticas de con-

pacidade polarizadora derivada da sua prox-

servação e reabilitação do edificado, de ma-

imidade com a Estação de Campanhã, o Esta-

nutenção do espaço público e de qualificação

do do Dragão, a Praça Velasquez e o Campo 24

e promoção social dos moradores, foram-se

de Agosto – “e grandes eixos de transporte re-

adensando e complexificando os problemas

centemente lançados ou em curso, que podem

urbanos e sociais dos bairros, tendo alguns

romper o cerco que enclausura esta área”.

1 Retirado e adaptado de um ensaio académico no âmbito da disciplina de Urbanística 2, na FAUP, em 2012.

The city of Oporto is the central nucleus of a big metropolitan whose demographic growth has accelerated since the 80’s. This phenomenon took place around the 19th century when the industrialization started causing a big amount of social pressure. By that time, Vale de Campanhã was the main industrial area due to its proximity with the railw ay system and neighboring agricultural areas. As consequence, a major part of the working class moved to that area creating a major housing problem, concerning the families with a low income. In the 60’s, a big amount of social housing was built in the area of Campanhã in response to this issue, resulting in seven municipal neighborhoods, with more than 3 000 housing units for more than 12 000 people. Throughout the years, as consequence of the lack of conservation and rehabilitation ini13

tiatives concerning the public space and the social promotion of the inhabitants, social and urban problems started to emerge. This phenomenon has caused extreme degradation of both physical and social structures, resulting in extreme segregation e social stigmatization. In Campanhã, the apparent firm and solid urban tissue is given by the new communication systems that cover a shapeless city, stopped in time and waiting for eminent abandonment. The degraded areas, the issues related to circulation and parking, and the disconnection with the public transportation organizations accentuate the isolation from the city structure and the consequent impairment of physical and social mobility to employment and educational systems. However, Campanhã has great urban and social potential when it comes to local polarization, derived from the proximity to the main train station, the stadium, Praça Velasquez e Campo 24 de Agosto. It also benefits from recent transportation axes that are starting to break its physical enclosure.

2 Taken from na academic essay for Urbanística 2, in Faup, in 2012.

D É DA L O R E - AC T : D

O método que pretendemos experimentar

opinião pública sobre o espaço urbano, incen-

neste Festival Urbano desenvolve-se em duas

tivando a participação activa de todos na sua

fases. O primeiro, de 23 a 27 de Maio, procura

transformação. Paralelamente, iniciamos

combinar momentos práticos, orientados

um ciclo de conferências com o lançamento

em formato de workshop, com momentos de

do festival na noite de 23, onde pretendemos

apresentação e discussão teórica.  O work-

reunir instalações, performances e concer-

shop, formado por 6 grupos de 8 partici-

tos.  As conferências terão lugar nas noites de

pantes cada, será orientado por arquitectos,

24, 25 e 26, procurando um equilíbrio entre

artistas e sociólogos, tendo por objectivo

momentos de apresentação e debate. Reun-

a criação de 6 abordagens distintas a um

indo um painel de intervenientes que repre-

contexto urbano comum. Inicialmente será

senta diversas abordagens à problemática

promovida uma aproximação ao lugar, que

do espaço público, pretende incidir não só em

se traduzirá em percursos de reconhecimento

apresentações de projectos desenvolvidos por

do ambiente e da materialidade do espaço

cada um, mas também na discussão colectiva

público e em discussões colectivas in situ.

de métodos e ferramentas, motivações e

Posteriormente, e reflectindo as opiniões que

prioridades no processo de projecto. A título

fomos recolhendo ao longo dos últimos me-

de encerramento, pretendemos fazer uma

ses, pretendemos abordar as possibilidades

apresentação pública dos resultados e dis-

de transformação urbana, desenvolvendo

cutir colectivamente o potencial activo e real

projectos que procurem abordar os proble-

das soluções encontradas. Numa segunda

mas mais pertinentes.  Procurando descobrir

fase, a realizar em Julho, pretendemos eleger

e expor o potencial activo da zona de Cam-

um projecto desenvolvido em workshop, e

panhã, em conjunto com os habitantes locais,

executá-lo no período de uma semana.

pretendemos dinamizar a zona e reavivar a

F E S T I VA L U R BA N O R

Dédalo’s Urban Festival will take place in two

ferences will be held on the 24th, 25th and 26th,

stages. The first, between 23rd and 27th of May,

balancing between presentations and debates.

seeks to combine workshops with presentations and

By assembling a panel of speakers representing

theoretical debates. The workshop, with 6 groups

different approaches to the discussion of public

of 8 participants each, will be guided by architects,

space, it intends to focus not only on the presenta-

artists and sociologists, with the aim of creating

tion of projects developed by each one, but also on

6 different approaches to a common urban con-

the collective debate of methods and tools, motiva-

text. Initially it will be promoted an approach to

tions and priorities in the process of project. For the

the place, through itineraries of recognition of the

closing, it will be held a public presentation of the

environment and materiality of the public space,

results and a collective debate about the action and

and collective debates in situ. Afterwards, and with

real potential of the solutions. In the second stage,

the opinions we have been collecting over the last

to be developed in July, we will choose a project de-

months in mind, we will discuss the possibilities of

veloped in the workshop and execute it in one week.

urban transformation, by developing projects that seek to address the issues that are most pertinent. By learning and exposing the active potential of Campanhã, we intend to dynamize the area, sideways with the citizens, and renew the public opinion about urban space, encouraging everyone to actively contribute to its transformation. At the same time, we begin a cycle of conferences with the launch of the festival on May 23rd, with installations, performances and concerts. The con-

* o take 1 DÉDALO RE-ACT Urban Festival confere 8 créditos para efeitos de admissão na Ordem dos Arquitectos

AT E L I E R

M O B

( P T )

B E R N A R D O

A M A R A L

C O L L E C T I F

E T C .

C A S C O L A N D E X Y Z T

( P T )

( F R )

( N L )

( F R )

F A I L E D

A R C H I T E C T U R E

G A B R I E L A

VA Z

P I N H E I R O

I N Ê S

M O R E I R A

L I K E

A R C H I T E C T S

M A K E R L A B M A R C O

( P T ) ( P T )

( D E )

M E N D E S

( N L )

( P T )

M A P . I T

( B E )

N U N O

T R AVA S S O

N U N O

P I M E N TA

M I G U E L O S

C .

( P T )

TAVA R E S

E S PA C I A L I S TA S

P E D R O

B I S M A R C K

S T U D I O

W E AV E

PAT R Í C I A P O R

W O O L

( P T )

L A

( P T )

( U K )

A Z E V E D O

T O D O

( P T )

P R A X I S

( E S )

AT E L I E R M O B

Ateliermob is a multidisciplinary platform which develops projects, ideas and research within architecture, design and urbanism. 26

This is the way it usually starts. From this point, everything is worked out. The impossible is to work on the unexciting, on the uncreative, on what diverges from people needs. Since 2005 ateliermob has worked on different programs for different parts of the world. It has been invited to lectured in Portugal, Spain, France and Canada and its works has been published around the world. Ateliermob got distinguished with the 1st Prize in the UP4 master plan in Amareleja [2009]; with the selection to the Festival of Lively Architecture in Montpellier [2009]; the 1st Prize in the New Moura’s Cemetery Competition [2008]; the 1st Prize in the Tagus River Banks International Design Competition [2007]; and the honourable mention in the International Ideas Competition for the Paris Courthouse [2006]. In 2007 it was included on the Top 10 of emerging architecture offices in Portugal by the ‘New Italian Blood’. Ateliermob is preparing its first book.

B E R N A R D O A M A R A L

Bernardo Amaral studies architecture in the University of Porto and in TU Berlin. Graduated in 2004 with a thesis about the situationist influence on the the concept of play and the labyrinth in the production of space, titled - Daedalus - Errâncias pela Prática Lúdica Contemporânea. Intern in the office of Vincent Parreira AAVP, in Paris, after occasional collaboration in Didier Faustino’s studio - Bureau des Mesarchitectures. Has collaborated afterwards in several offices of architecture in Porto and in Macau. Has travelled around Russia, Mongolia and China and recently in Mexico. Bernardo lives in Oporto, since 2008, where he practices architecture, having participated in rehabilitation projects like Casa do Pinheiro (Honorable Mention João de Almada 2012) or Duas de Letra cafe. Member of the editorial team of Detritos magazine since 2005. In 2002 participated in the exhibition Devir Menor, in Guimarães, where he collaborated

with Paulo Moreira and argentinian collective Iconoclasistas in conducting two workshops of critic collective cartographies. Currently he is starting a line of research about â&#x20AC;&#x153;militant architectureâ&#x20AC;? - exploring the connections between ideology, disciplinary practice and operative methodologies in the context of restructuring proposals of several space production agents. simultaneously he still collaborates with the museum of Serralves, as a monitor of the Educational Service, in the fields of Architecture an Contemporary Art.

the relationships of production between the

G A B R I E L A VA Z P I N H E I R O

Gabriela Vaz-Pinheiro, Director of Master in Art and Design for the Public Space, in the Faculty of Fine Arts, University of Porto, where she is assistant professor. Artist and researcher enrolled in the Institute for Research in Art Design and Society of the same school. PhD by Project in the University of Arts London where she taught for a decade in Centra St. Martins College of Art and Design. Was recently Programmer of Art and Architecture for Guimar達es European Capital of Culture.

I N Ê S M O R E I R A

Inês Moreira (1977) is an architect, researcher and curator based in Portugal. In 2013, she is completing her PhD, an epistemological and processual research on the issues of curating architecture, space and exhibition display, presented under the title “Performing Building Sites, a curatorial research on space”, developed at Curatorial/ Knowledge PhD group, Goldsmiths College. Her curatorial projects approach specific 32

spaces (as post-industrial hangars, burnt historical buildings, minor architectures, or abandoned museums) exploring knowledge oriented research/production in the intersection of art, architecture, technoscience and the humanities. www.petitcabanon.org

L I K E A R C H I T E C T S

LIKEarchitects is a Porto based architecture studio known for its experimental, provocative and innovative nature. Their partners, Diogo Aguiar, Jo達o Jesus, and Teresa Otto, have based their practice on the fundamental architectural knowledge that they acquired at the School of Architecture of the University nationally renowned architectural firms. This emerging practice strives to create architecture that is not only sensitive to the current socio-economic climate, but also aims to augment spatial experiences, as well as engage the community in critical discourse. Using installation, urban art andspontaneous happenings as their primarymedium, LIKEarchitects have activated the urban setting whilst engaging

of Porto, as well as their experiences at inter-

N U N O P I M E N T A M I G U E L C . T AVA R E S

(Manobras no Porto - 2012 / CAAPP - 2013). Miguel C. Tavares (1985, Porto) between 2010 and 2012 had a research grant for the project Ruptura Silenciosa, participating in three short movies (Sizígia, A Casa do Lado and A Encomenda). Since then maintains a close collaboration with this project. Was Deputy Director of Dédalo Magazine (2009/10) participating in the edition of #5 to #7.

Nuno Pimenta (1985, Porto) collaborated in

In 2011/2012 was member of DOSE team.

2009 with Vienna-based office feld72 where

Among the complete works stands out Body-

he developed two of their ‘Urban Strategies’:

phonic, one of the wining proposals of Perfor-

Moggessa Blackbox (Italy) and PublicTrail-

mance Architecture competition (Guimarães

ers© (China) commissioned by the 2009

2012 ECC ).

Hong Kong & Shenzhen Bi-city Biennale of

Architect and filmmaker, has recently devel-

Urbanism/Architecture.

oped works that intersect these two areas.

In 2010/2011 wrote his master thesis on the topic Urban Action: an idea of contemporary urban practice under the supervision of Pedro Gadanho. In the meantime was editorin-chief of Dédalo magazine, organizer and curator of the seminar Displace: Deviations on Architectural Practice. Between 2011 and 2012 worked in Paris with Didier Faustino/Bureau des Mésarchitectures, where he developed several art, public art and architecture projects, namely Funny Games for CAAPP (Circuito Aberto de Arte Pública de Paredes). Currently develops a transdisciplinary practice that intersects architecture and art in projects such as I Used to be your neighbour (Who lives next door? - 2013) or The Host

N U N O T R AVA S S O

Nuno Travasso (Oporto, 1980) is an architect and researcher, dedicated to the study of the role of the project of architecture in the process of the production of common urban space, in thecontemporary context. Nuno Travasso is part of the investigation group Morfologias e Dinâmicas Urbanas do Centro de Estudos de Arquitectura e Urbanismo da FAUP, since 2007, where he develops his research. Between 2010 e 2013 he was Guest Assistant in FAUP, teaching Territórios e Formas Urbanas. Between 2003 and 2010, he collaborated in Arq. José Fernando Gonçalves’ office. Since 2010 he is part of the collective Clinica da Arquitectura, where he engages in the act of project.

W O O L

WOOL – Covilhã’s Urban Art Festival emerges in 2011 as a direct result of two passions shared by three people, one by urban art / graffiti and the other the history of Covilhã, closely linked to the wool industry. WOOL intended: - Awaken the interest of the community in culture and contemporary art, in this case, the urban art; - Pay homage to the past history of Covilhã, such as search and / or reunion with their 40

identity often forgotten by the population; - Rehabilitate urban areas (facades) degraded through art, making this both accessible to everyone and anyone (democratization of art); - Involve the community in interventions and actions,; - Building a route of urban art in the city. The WOOL presented itself as the first event with these characteristics in the countryside, with a special format and operation: 4 events, 4 artists (2 + 2 Portuguese foreign) that combine the creation of a wall with a parallel activity (lecture or workshop). However, quite naturally, it saw the emergence of some activities parallel to the Festival:

- EXTRA WOOL _ large interventions performed by guest artists,; - OFF FEST _ small interventions made by - WOOL on TOUR _ urban art interventions organized by the festival outside Covilh達 (now in its 3rd edition); - CAN 65 _ urban art workshop for seniors; - stencil WORKSHOPS _ open to the community and taught by Portuguese artists skilled in the art; - guided TOURS and participation in school activities; - Support for the PRODUCTION of murals of multiple artists; - CURATOR of urban art Events; - ...; being constant that through all these actions it has sought to affirm, value and reflect their base goals, also confirming its value as a tool for rehabilitation (and valorization) of citizenship in its broadest definition. A Work to continue!

some of the artists who visit the Festival;

O S E S P A C I A L I S T A S

Os Espacialistas is a collective composed by LuĂs Baptista, JoĂŁo Cerdeira, Diogo Castro and SĂŠrgio Serol. Situated in a hybrid territory between contemporary art and architecture (the four elements of the group are architects), The Espacialistas - whose name was removed from the group of Italian artists around Lucio Fontana who thus defined 42

at the end of the last century fourties - focus their projects on understanding of spatial relationships in transfiguration and metamorphosis of space corporeally and symbolically inhabited. To carry out this project in which focus on a place (as in the case of projects like Os Espacialistas in the mine, or Os Espacialistas on farm) to understand their perceptual, cognitive, physical and specific policies and map them through the use of photography sometimes video and installation. The photo has a enormous importance in his work for his documentary possibility, but also by the way can provide manipulation and deception, essential part of espacialistas irony - in fact dealing with a collective memory of the avant-garde movements of the twentieth century, Beckett and situationism to build derisory and incisive approaches that minefield where art meets architecture.

P A T R Í C I A A Z E V E D O

Porto, 1984. Patrícia Azevedo Santos has been developing an heterogeneous group of projects which finds in drawing, photography, video and performance the means necessary for a privileged reflection about the possible articulations between artistic practice, public space and theories of democracy. Patrícia works and lives in Espinho, Aveiro. With a degree in Visual Arts – Painting by the Faculty of Fine-Arts of the University of Porto, has concluded a Master’s degree in Art and Design for the Public Space, in 2009, in the same institution, with “A dimensão especulativa da prática artística: a partir do caso de estudo do Bairro da Marinha de Silvalde” as subject of dissertation. Currently doctorate in the expertise of Public Art, in the Faculty of Fine-Arts of the University of Lisbon.

P E D R O L E V I B I S M A R C K

Pedro Levi Bismarck (Porto, 1983). Architect graduated in the Faculty of Architecture of University of Porto (2008), is currently developing his PhD thesis in this Faculty with a grant supported by the FCT (Foundation for Science and Technology. He was tutor of Projecto II (Design Unit II) in FAUP and is member of CEAU (Architecture and Urbanism Study Center). He lived and worked in Berlin 46

where attended the Technische Universität. He is editor of Punkto Magazine: an un-disciplined magazine about limits: of practice, of theory, of politics and architecture. He writes regularly in magazines and sites and has been organizing several roundtables and workshops: Porto Redux: Mercado do Bolhão; No Rules, Great Spot! Wanted: Ideas for Praça de Lisboa (Porto); Black Thursdays: Architecture and Destruction; Porto: A User(s) Manual – Maps for a voluntary disorientation. His PhD research inhabits a thematic field placed betweenarchitecture, space, politics and vocation, with the aim of (re)thinking a certain political and artistic vocation (original and contemporary) of the architectural practice. Imagens: Porto: Modo(s) de Usar – Mapas para uma desorientação voluntária, FAUP + FBAUP, Maio 2012 (Créditos: Punkto e Dinis Sottomayor)

C A S C O L A N D

tions, unexpected events/objects in striking

artists, architects, designers and performers

locations, are addressing and challenging

sharing a fascination for interdisciplinary

behavioural patterns and conventions.

interventions in public space, promoting

The Cascoland projects/artwork can be seen

mobilization, participation and networking

as tools to be used by participants and audi-

through artistic exchange and collabora-

ences rather than artworks to be exhibited.

tion. Projects are initiated by Fiona de Bell

The aim is to change and challenge percep-

and Roel Schoenmakers and are executed

tions, empowerment of individuals and com-

with multi-disciplinary teams of artists and

munities and the creating of awareness, not

designers.

only with audiences and residents, but also

Cascoland activates public space through

with planners, designers, organisations and

artistic interventions, construction of archi-

authorities.

tectural structures/objects, the use of perfor-

Cascoland has developed strategies for

mance and new media, and most essential,

activating public space in which experience

audience participation. Artists, audiences,

with site-specific location theater meets

residents, local initiatives and organisations

social design, performance equals research

are being mobilized to participate in the

and performative and architectural interven-

shaping of their public space and to make it

tions are developed that build and strengthen

a reflection of their identity. These interven-

community.

Cascoland is an international network of

C O L L E C T I F

E T C

Collectif Etc is a group of young architects and graphic designers that work on the issue of civil society’s autonomy in the transformation of their living environment. We tend to think that everyone is able to be active in the making of the city. However, building and occupying space is a political matter and deals with power that some groups in society don’t have or don’t know they have. Thus, physical space transformation is a tool we use and share to experiment and accompany

self-managed urban situations.

E X Y Z T

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 living ventures built collectively. The collective conceive and organize each 54

project as a playground in which cultural behaviors and shared stories relate, mix and mingle. Each project, always strive to involve different constituencies of the local community in a social network that is invited to inhabit a temporary space. EXYZT’s Construir Juntos project at Guimarães 2012 generated a new life: Casa do Vapor. This is an ongoing project and is now under construction in Cova do Vapor, Almada. By reusing the wood from the first construction and carrying on the synergy of the participants, Casa do Vapor expands perceptions and working methodologies within the local community. Architecture is the starting point for communication and exchange.

F A I L E D A R C H I T E C T U R E

Failed Architecture is an Amsterdam-based

By doing so, we hope to create more aware-

but internationally operating discussion

ness, learn lessons from past failures, and

platform and workshop series. Professionals

help establish a rich source of information

in the field of architecture and spatial plan-

and inspiration for architects, planners and

ning discuss with students and the public at

others with an interest in urban affairs. We

large how and why some buildings and urban

are not judging, rather we ask the straight-

environments malfunction, displease or fail

forward question as to why some urban

to stand the test of time. We aim to bring to-

environments and buildings are perceived as

gether opinion makers and stakeholders with

failures, and for which reasons.

strong points of view in order to unravel the complicated mix of economic, social, political and physical circumstances that influence the quality and image-forming of our built environment.

M A K E R L A B

MakerLab is an open discussion powered by prototyping and making. The MakerLab is a nomadic learning environment and process incubator, open to all and always evolving. The MakerLab is formed by local participants and individuals from an international community. It serves as a catalyst for local manufacturers, designers, and educators, connecting them to the general public and 58

together creating a larger movement towards smarter, more collaborative production.The modular nature of the MakerLab allows it to adapt to its local environment and resources. Tools and processes are flexible, and easy to learn and master. Everything we do is open, which means that new participants, skills, and procedures are always welcome and always evolving.Documentation and peerto-peer learning is central to our efforts and fuels local, regional, and global collaboration with other makers and the general public. We commit ourselves to find what is new and exciting, promoting a continuously challenging, iterative way to do things, to share our results, and broadcast the dialogue about these common findings. We bring an open process. Creating an environment for exploration and innovation. The MakerLab adapts to itâ&#x20AC;&#x2122;s contextual environment, both engaging and provoking through action combined with reflection. As the MakerLab evolves

both prior to and during the event, it is hard

and how do we engage participants in.

to define exactly what will take place. But,

Digital: An open, low cost, flexible and high

while it is difficult to define, the MakerLab

quality medium to express our self.

has is certain qualities that, while evolving,

Peer review and documentation: Learning

describe the possible outputs best: Share: Cre-

and developing together.

ating a pool for Knowledge and skills.

Open: Expertise, space and tools are open

Collaborative: Learning to build upon each

for spontaneous actions/proposals

otherâ&#x20AC;&#x2122;s work.

Making: We donâ&#x20AC;&#x2122;t just talk about it, we pro-

Engagement: What matters is the process,

totype concepts on the spot.

M A P - I T

Thomas Laureyssens (MAD-faculty, LUCA Arts | KU Leuven, BE) is an artist, researcher and interaction-designer. His work is often inspired by cartography, cities, movement and play. He is a PhD candidate on games and ludic interventions for urban space and how these can be used to make these spaces more social. Projects include urban hacks, a musical swing for 4 players, and a neighbourhood game including location based interactive interventions. Together with research group Social Spaces he researched mapping tools for collaborative practices. MAP-it is a hands-on tool used to plan, analyse and reconstruct past and future projects and spaces. It is a method to visualise a process in space and time, in a low-tech, open and flexible manner. It can be used in various situations, such as brainstormings, debriefings, interviewsâ&#x20AC;Ś www.map-it.be www.thomaslaureyssens.be

S T U D I O W E AV E

to a static new reality) and we enjoy working Studio Weave is a London-based architecture

closely with everyone involved in and affect-

practice set up in 2006. We balance a joyful,

ed by this process, including clients, users,

open-minded approach with technical preci-

funders, neighbours, contractors, consultants

sion to create a diverse body of work in the

and collaborators.

UK and aboard for public, private and com-

Our work has been extensively published in

mercial clients.

trade, local and national press and television

We value idiosyncrasies. From the charac-

in the UK and abroad. Our projects have also

teristics that make somewhere unique, to

been acknowledged by a number of awards

the particular skills of a master craftsman;

including the Architectural Reviewâ&#x20AC;&#x2122;s Inter-

we aim to harness the strengths of a project

national Emerging Architecture Awards and

and its team to create something distinctive

the Civic Trust Awards where The Longest

and of exceptional quality. We recognise that

Bench won the Special Award for Community

every project is a transformation (as opposed

Impact and Engagement.

T O D O P O R L A P R A X I S

The collective Todo por la Praxis was set up in 1999. Its members, who come from very different areas of theoretical and practical experience, consider themselves an intellectual collective and active political group: a constant Project Laboratory which functions as an agent of transformation within the symbolic field of artistic practice. Todo por la Praxis defines itself as a producer-amplifier Laboratory for aesthetic projects involving provides tools for intervention in urban public space, always with the objective of an activist and oppositional practice. TXPâ&#x20AC;&#x2122;s activity focuses on the urban environment and the public sphere, always concerned to generate spaces for opposition to frameworks of domination. It proposes strategies to appropriate citizenâ&#x20AC;&#x2122;s space and to unmask processes of speculation, gentrification, urban segregation mechanisms and devices for social control. TXPâ&#x20AC;&#x2122;s ultimate objective is to generate a catalogue of socially effective tools of direct action.

cultural resistance. The Laboratory which

Dédalo RE-ACT Urban Festival Lectures & Workshop Catalogue Publication - May 2013 Dédalo Magazine AEFAUP - Rua do Gólgota 215,4150-351 Porto, Portugal Email: revista.dedalo@gmail.com | dedalo@ aefaup.pt Website: www.revistadedalo.com direcção / editors: 68

Ariana Marques da Silva Joana Varajão (Artur) Jorge Alves Pedro Tomé Sara Neves equipa / team: Ana Estrela Ana Sofia Moreira Elói Gonçalves Sofia Travassos colaboradores / collaborators: Filipe Estrela Gonçalo Guimarães Gonçalo Maçães José Mendanha Marta Martins equipa de design / design team: MAAN design Hélder Dias / Pedro Ferreira / Vítor Claro maandesign.com Revista Dédalo © copyright 2013

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