The exhibition Lisbon Acts was produced by the Lisbon Architecture Triennale and is on display in Rijeka, Croatia, from 28 May to 7 July. During this period, it will be possible to visit, in the old building of the IVEX factory, multiple ways of thinking the city. In parallel with Lisbon Acts, book launches are taking place, boosted by the Croatian city, European Capital of Culture 2020. Lisbon Acts premiere was at BINA - Belgrade International Architecture Week, on 10 May 2018, to celebrate one decade of existence.
The last ten years in the city of Lisbon. That was our starting point. We chose six architecture studios that have established their companies in Lisbon during that period of time: Aspa, Barbas Lopes, Can Ran, Miguel Marcelino, PLCO and Site Specific. And we picked a significant first work, built in the city. We asked the architects for drawings without words, drawings of these projects, which you can see throughout this exhibition.
A gigantic tower block, a bar in a garden, an intervention on a river boat station, a meditation centre, a church and a private apartment – we decided to lend this diverse selection of architectural works to the fictional world of stories, and so, in this exhibition you can also read the stories of writer Patrícia Portela in the book Floraennui, you can see Catarina Botelho’s photographs, Filomena Project, and watch Pedro Cabeleira’s film, Filomena.
The Lisbon Architecture Triennale (2007-2018) was also born ten years ago, and we have testified that our ancient city has been the stage for a process of constant ideological, social, economic and built evolution. The city shapes our lives and the city is shaped by our lives: built spaces do not exist except for the people who inhabit them, and they accumulate meaning and significance in an active, ephemeral call-and-response with the rich moments of our own experiences. This exhibition shows different fictional views in response to these experiences, at the same time that architects go on shaping our city, weaving its fabric as we live in it.
Lisbon acts. Act out with us.
Architecture: José Maria Cumbre + Nuno Sousa Caetano Collaboration: Carolina C. Freire Engineering: Energia Técnica, PRPC Engenheiros Contractor: Salvaria, Lda Area: 308.8 m2 Photo: Fernando Guerra – FG+SG
Nuno Sousa Caetano (Lisbon, 1978). Graduated in Architecture at the Lisbon Lusíada University in 2003. Collaborator at the Trabalhos Forçados studio in 2000 and 2001. He did an internship and collaborated at the Duarte Ramirez + Pedro Caetano de Carvalho Architects studio from 2001 to 2005. In 2006, he created the aspa studio with José Maria Cumbre.
Client: Edifício 41 Architecture: Patrícia Barbas, Diogo Lopes Collaborators: Catarina Sousa, Guillaume Guisan, Guilherme Oliveira, Gonçalo Soares, Laurianne Ferreira, Margarida Esteves, Ricardo Lima, Sérgio Catumba, Tania Depallens, Vítor Sá Landscape Architecture: HAHA Arquitectura Paisagista Engineering: JSJ and EACE Contractor: Mota-Engil/Casais Area: 22.500 m2 Photo: Nuno Cera
Patrícia Barbas (n.1971, Luanda). Graduated in Architecture at FAUTL, Lisbon. Collaborated with Aires Mateus, João Pedro Falcão de Campos and Atelier Pedro Silva Dias (Design). Project coordinator for Gonçalo Byrne (1998-2000) and Promontório Architects in Salvador da Bahia, Brazil (2005-2006). Guest Professor at Carleton University, Ottawa (2013, 2015-2016). Jury member of FAD Awards 2016.
Diogo Lopes (Lisbon, 1972-2016). Graduated in Architecture at FAUTL, Lisbon. Doctorate from ETH Zurich. Guest Professor at Carleton University, Ottawa (2013, 2015-2016) and DARQ.FCTUC (2011-2013). He was Director of the magazine Prototypo, Director and Chief Curator with André Tavares of JA-Jornal dos Arquitectos and Lisbon Architecture Triennale 2016. His publications include Cimêncio (Fenda Edições, 2001) with Nuno Cera and the book Melancholy and Architecture: On Aldo Rossi (Park Books, 2015). Posthumously, it was published the Portuguese version of the book (Orfeu Negro, 2016) and awarded with the second prize of AICA 2016.
Twenty shades of tiles that range from white, to blue, to black. The chromatic effect of this intervention in ceramics placed on the ceiling and the columns of the atrium at the South and Southeast Station is given by this variation of colours, which merges with the architecture at the same time highlighting it and giving it emphasis. The drawing created by the tiles reminds us of sea waves, with its circular shapes that come from the columns. From this connection and reflection a virtual space is born, in which the passage of people and the variation of the light is an integral part of the work that is always in a continuous interaction and mutation.
Client: Metropolitano de Lisboa Intervention: Catarina Almada Negreiros and Rita Almada Negreiros Architecture: Atelier Daciano da Costa Covered Area: 480m2 Photo: Daniel Blaufuks
Catarina Almada Negreiros and Rita Almada Negreiros founded Ateliers de Santa Catarina in 2000. Ateliers de Santa Catarina are a Lisbon based creative hub that promotes active interdisciplinary participation between architects, artists and designers.
Catarina Almada Negreiros (CAN). Grad.Dipl.Arch. FAUTL, Portugal, 1996. MARCH II, GSD, Harvard, U.S.A., 2002. Master in Communication and Art, UNL, Portugal, 2011. Intern at Architect at MUF:ART/ARCHITECTURE, London, 1997-99.
Rita Almada Negreiros (RAN). Grad.Dipl.Arch.. Lusíada University, Lisbon, 1994. Intern at Architect at Wilmotte (Paris) 1994-97. Intern at Architect at BCQ Arquitectes (Barcelona) 1997-98. Intern at Architect at Jordi Castel (Barcelona), 1998-99.
Client: Associação Upaya Architecture: Pedro Oliveira Collaborators: Carolina Fernandes, Bernardo Pereira Coutinho Engineering: PRPC Engenheiros, FTD, Natural Works, Blueorizon, Energia Técnica, Campo de Água Construction: Paviana Construções Covered Area: 550m2 Photo: Fábio Silva
The project brief for this chapel, or small church, built in a particular house for particular people – the brotherhood of Instituto Missionário Pio Sociedade de São Paulo, was based on principles that don’t necessarily concur. It should be the central area for a house of many homes; a space for prayer and for communication; a place of intimacy as well as assembly. The project reuses the existing building and aims to provide it with a new meaning. This is done through a process of austere and rigorous designing, which relies on the simplicity of volumes, natural lighting and inherent qualities of proposed materials. The concrete structure is retained, bare and imperfect but suitable nevertheless, and somehow up-lifted by the new context.
Client: Instituto Missionário Pia Sociedade São Paulo Architecture: Patrícia Marques and João Paulo Costa Collaborator: Simão Botelho Art work: Bartolomeu de Gusmão Communication: P-06 Atelier Consultants: Paulo Pires do Vale and Nuno Gusmão Construction: Fuste - Construções e Imobiliária, S.A. Photo: do mal o menos (Eduardo Nascimento and João Fôja)
J. Paulo Costa (n.1973, Lisboa) 1993/4 AR.CO Centro de Arte e Comunicação Visual - architectural design i /ii 1993/98 Graduated by Faculdade de Arquitectura da Universidade Técnica de Lisboa 1999 Academic scholarship in Kees Christiansen Architects and Planners office in Rotterdam, Netherlands 1999/2000 Collaboration in OMA - Office for Metropolitan Architecture in Rotterdam, Netherlands 2000 Collaboration for a competition with Inês lobo/Pedro Domingos + Ricardo Bak Gordon/Carlos Vilela, Lisboa 2000/2012 Collaboration with João Luis Carrilho da Graça, as team leader 2012/- phd in Architecture - Interior - Novos Territórios, of Universidade de Évora ( in progress). 2015 Winner of FAD award 2015 - interiors with S. Paulo Library, Loures 2012 Associated of the Site Specific - Arquitectura, lda 2015 Winner of FAD award 2015 - interiors with S. Paulo Library, Loures
Women that cross the river, women that clean, women that report the news, women that take care of our garbage. They are many and maybe they are all of us. Portela took some of the characters she wrote for her monthly chronicle at the Letras newspaper, Na hora de comer o treinador [time to eat the coach] and imagined them in the buildings we proposed, in our time. The title of these stories is taken from a nineteenth century technical term, explained in the beginning of this book. If you haven’t yet, go to the beginning and start reading.
This short film starts early in the morning and accompanies housekeeper Filomena during a day that promises to be just another boring day at work. But then after having lunch with a special someone and an afternoon spent cleaning with Vanessa, a chatty young colleague, we learn that underneath the rut is hidden a romantic that does not take love for granted. During the day, Filomena goes through six very different spaces that seem to put into perspective her inner dilemmas.
Director: Pedro Cabeleira Writers: Pedro Cabeleira, Diogo S. Figueira With: Sandra Hung (Filomena), António Simão (António), Maria Cardetas Melo (Vanessa), Catarina Sousa (architect), Eugénio Madeira (engineer), Sérgio Coragem (waiter), Maria João Castelo Branco and Raul Carvalho (Le Chat couple), Dora Carregosa and Maria João Pimentel (Upaya clients), Ana Valentim (meditator) Cinematographer: Leonor Teles Cinematography assistants and Electricians/machinists: Manuel Braga, André Costa Sound capture and post-production: Tiago Raposinho Set design and wardrobe: Sara Loureiro Editing: Pedro Cabeleira Post-production cinematography: Rita Lamas Set photography: Catarina Botelho Producers: Trienal de Arquitectura de Lisboa, Pedro Cabeleira Production director: Diogo S. Figueira Production assistant: Paulo Carmo Catering: Joana Rute Carmo
In what way do our bodies occupy a space, a place, architecture? What does it mean to film fiction? Or just to film? Who is observing and who is observed? During three days of shooting, I accompanied a team of technicians and actors, through six buildings, six sets. In a dual game between showing and hiding, these places were occupied during some hours by the bodies that were filming and the technical material; by the bodies that were filmed and the objects that were necessary for fiction.