Pop-Up Landscapes is an intermedia art and research project about interdependence and survival. The project is currently at an early stage of conceptual development and will be realised in various stages, over the coming years (2008-2011). The core aim of the project is to create a public intervention which connects two environments together, within which people can explore their relations to others and their landscapes. Alongside the proposed public interventions other outputs will include exhibition, workshops, DIY project templates and publications. The project has been initiated and is lead by artist-researcher, Teresa Dillon (IRE/UK) and realized in collaboration with designer and media artist Tuomo Tammenpää (FI) and lok Arquitectura (PT/ES).
7.11.08
31.10.08
THE VERY ESSENCE OF
CINEMATIC ARCHITECTURE
IS NOTHING LESS THAN
THE COMPLETE TRANSFORMATION OF
SOLID STATE MATERIALISTIC
ARCHITECTURE
INTO AN
ENERGISED EVER CHANGING PROCESS OF
ILLUMINATED AND ENLIGHTENING
EVENT APPEARANCES
WHERE
PAST PRESENT AND FUTURE
ACTIVATE A TIME-SPATIALITY
DEFINED BY THE DURATION
PERCEIVED THROUGH OUR SENSES
AND STRUCTURED BY OUR
MENTAL ABILITY
WHERE
THE EFFECT OF
INDEPENDENT MOVEMENT OF
MATTER IN SPACE
- WHICH IS PHYSICAL KINEMATICS -
IS ITSELF
ILLUMINATED BY
THE OFTEN CONTRADITORY
REVELATION OF
FILMIC CINEMATIC SEQUENCES
OF NARRATIVE MEMORY PROCESSES
THUS ATTAINING
THE OTHERWISE
IMPOSSIBLE
SIMULTANEITY
OF SPACE
AND
TIME
CINEMATIC ARCHITECTURE
IS NOTHING LESS THAN
THE COMPLETE TRANSFORMATION OF
SOLID STATE MATERIALISTIC
ARCHITECTURE
INTO AN
ENERGISED EVER CHANGING PROCESS OF
ILLUMINATED AND ENLIGHTENING
EVENT APPEARANCES
WHERE
PAST PRESENT AND FUTURE
ACTIVATE A TIME-SPATIALITY
DEFINED BY THE DURATION
PERCEIVED THROUGH OUR SENSES
AND STRUCTURED BY OUR
MENTAL ABILITY
WHERE
THE EFFECT OF
INDEPENDENT MOVEMENT OF
MATTER IN SPACE
- WHICH IS PHYSICAL KINEMATICS -
IS ITSELF
ILLUMINATED BY
THE OFTEN CONTRADITORY
REVELATION OF
FILMIC CINEMATIC SEQUENCES
OF NARRATIVE MEMORY PROCESSES
THUS ATTAINING
THE OTHERWISE
IMPOSSIBLE
SIMULTANEITY
OF SPACE
AND
TIME
Manifesto For a Cinematic Architecture
SCHÖNING, Pascal
Architectural Association, London, 2005
29.10.08
Parque de Los Pinos
A cultura não é exclusiva ao ar livre ou ao ar condicionado. Trata sobretudo de trabalhar o tempo, e o ambiente construído deve dispor-se a essa possibilidade.
La tabula é uma zona a céu aberto para a colecção de momentos que se aliam ao bem-estar – o encontro e conhecimento sem compromissos.
A actividade cultural subsiste em áreas descongestionadas. La tabula é a modelação de uma só superfície que agiliza e estende a programação cultural pela área de intervenção.
axonometria
implantação
secção aLa Tabula
CONCURSO PARA LA INTERVENCIÓN URBANA EN EL PARQUE DE LOS PINOS DE TETUÁN
Madrid, Espanha, 2008
Promoção Colegio Oficial de Arquitectos de Madrid
Equipa Ana Isabel Valfigueira, João Trigo, Pedro Januário Gomes, Pedro Viana
16.10.08
12.10.08
25.9.08
Experience in Landscape #3
3. Diving in apnea or free-diving in Dean-Blue Hole http://www.prlog.org/
Apnea is the voluntary or involuntary suspension of breathing. Free-diving plays with the time period in which the brain is able to concentrate, reducing its activity and consume to a minimum level of oxygen, and still survive without major damage. In this immersed landscape the body is fully aggregated to the environment, like a suspended rock.
Landscape is created and worked from a state of immersion (from within) in the attempt of assimilation of the environment and the will of perpetuation of experience. It is transformed for the sake of survival.
This transformation is applicable not directly to the landscape but to each of its mechanisms, without exception, adjusting directions in order to adapt, struggling to reinforce control, unsetting so as to place things within new proclaimed boundaries. The application of limit is conducted progressively by the surpassing of previous instituted barriers: breaching to new settlements.
Ultimately, in this conflictuous expression of hospitality, tensed by the strive for territorialization and proliferation of culture, the survivor is the one that sets to outlive.
This transformation is applicable not directly to the landscape but to each of its mechanisms, without exception, adjusting directions in order to adapt, struggling to reinforce control, unsetting so as to place things within new proclaimed boundaries. The application of limit is conducted progressively by the surpassing of previous instituted barriers: breaching to new settlements.
Ultimately, in this conflictuous expression of hospitality, tensed by the strive for territorialization and proliferation of culture, the survivor is the one that sets to outlive.
24.9.08
Experience in Landscape #2
2. Harvey Williams Cushing 1869-1939
Neurosurgeon
The human brain does not work as a processor of information, but as a creator of stable domains. Despite us not being mechanisms of collection, we do try to control our own reality. We can easily be conscientious that our relation to the land involves a constant flow of perceptual phenomenon (vision stimuli, audition, tact…), as well as attitude, posture, emotion, attention, social context, memory, etc. All this mechanisms of experience are concurrent. They are actively and accordingly dimensioned, continually reforming imagery.
Landscape has no definite place or time, nor a specific attributed dimension; it is a unique, yet ever-changing performance, which is brought into evidence in a spacetime interval of experience.
The mechanisms that are involved in the fabrication of landscape are therefore the same that are collaborating on defining the different possibilities of experience: the ones able to cultivate different kinds of scape. They control this plot in an operative way, considering for that purpose occult speculative processes (such as imagination or memory) as important as more commonly identifiable and categorizable variants (for example, sensory perception or positioning). They are naturally occasionally triggered, responding to stimulus and a demand for appropriation.
The mechanisms that are involved in the fabrication of landscape are therefore the same that are collaborating on defining the different possibilities of experience: the ones able to cultivate different kinds of scape. They control this plot in an operative way, considering for that purpose occult speculative processes (such as imagination or memory) as important as more commonly identifiable and categorizable variants (for example, sensory perception or positioning). They are naturally occasionally triggered, responding to stimulus and a demand for appropriation.
18.9.08
Experience in Landscape #1
1 .Hasegawa Tohaku 1539-1610
"Pine Trees" - Pair of six-folded screens; ink on paper.156.8 x 356.0cm - Tokyo National Museum
First landscape paintings. This kind of monochromatic register was exclusive to a few trained Japanese artists that would reproduce their experience of landscape after long periods of observation and meditation on the environment. They would then draw as if in free fall, in a continuous act, without corrections and using limited painting resources.
The term Landscape is a recurrence of contemporary speech. It is considered to express an objective representation of territorial presence.
The creative pulse of this representation, that is, the constant projection of the self, is defining individual domains, fragmenting that same territory into multiple realizations of the present continuous.
It is that spontaneous activity – which extends beyond the classical sense of visual perception into deeper realms of cognition – that is often reported and reproduced, resetting the landscape, and thus, giving origin to a new set of projections.
The creative pulse of this representation, that is, the constant projection of the self, is defining individual domains, fragmenting that same territory into multiple realizations of the present continuous.
It is that spontaneous activity – which extends beyond the classical sense of visual perception into deeper realms of cognition – that is often reported and reproduced, resetting the landscape, and thus, giving origin to a new set of projections.
10.8.08
1.7.08
UM Muro no Largo do Século
Uma exposição em diferentes actos como seria o Festival Internacional UM – Mixed Media Experimental, exigia, por programação, uma área ao ar livre capaz de receber os artistas, mas também de informar e direccionar os interessados, ou mesmo disponibilizar-se para a apresentação pública dos trabalhos.
O local elegido foi o Largo do Século, área bem equipada de mobiliário urbano, com zonas de sombra, boa iluminação nocturna e um ambiente naturalmente arejado e confortável, completado pelos serviços que o Espaço “O Século” poderia proporcionar (refeições, música, etc.). Intervir aqui seria apenas um registo, que ao anunciar-se simularia, em simultâneo, preservação e mudança – um convite.
O Muro é um mecanismo simplificado de separação, que torna possível o isolamento entre o largo e a rua. As suas superfícies, sugeridas por linhas de corda, regulam a intensidade desta clausura. A atenção e a circulação são absorvidas e retidas no seu movimento. Da aproximação é possível facultar o contacto com a superfície, e usufruir do Muro como um terceiro espaço, resultado da sua divisão.
A public showing in different acts, as it would turn out to be UM - International Festival for Experimental and Mixed Media, required, has programmed, the installation of an outdoor area, established for hosting the involved artists and informing and guiding the public, in a way that it would still garantee the possiblity for exhibiting the works.
The chosen space was Largo do Século, a small, well furnished, old-Lisbon square, with shade, good nocturnal lighting and a naturally ventilated relaxed environment, supported by the services provided by the Espaço "O Século" (food, music, etc.). An intervention in this place could be just an impression, something announced as a simulation of both preservation and change - an invitation.
Muro (wall) is a simple mechanism for separation, allowing for the isolation between the street and the square. Its surfaces, suggested by lines of rope, regulate the intensity of this confinement. The attentiveness and the circulation are absorved and retained by their movement. Getting closer provides direct contact with the surface, and reveals the Muro as a third space, arising from its own segmentation.
O local elegido foi o Largo do Século, área bem equipada de mobiliário urbano, com zonas de sombra, boa iluminação nocturna e um ambiente naturalmente arejado e confortável, completado pelos serviços que o Espaço “O Século” poderia proporcionar (refeições, música, etc.). Intervir aqui seria apenas um registo, que ao anunciar-se simularia, em simultâneo, preservação e mudança – um convite.
O Muro é um mecanismo simplificado de separação, que torna possível o isolamento entre o largo e a rua. As suas superfícies, sugeridas por linhas de corda, regulam a intensidade desta clausura. A atenção e a circulação são absorvidas e retidas no seu movimento. Da aproximação é possível facultar o contacto com a superfície, e usufruir do Muro como um terceiro espaço, resultado da sua divisão.
A public showing in different acts, as it would turn out to be UM - International Festival for Experimental and Mixed Media, required, has programmed, the installation of an outdoor area, established for hosting the involved artists and informing and guiding the public, in a way that it would still garantee the possiblity for exhibiting the works.
The chosen space was Largo do Século, a small, well furnished, old-Lisbon square, with shade, good nocturnal lighting and a naturally ventilated relaxed environment, supported by the services provided by the Espaço "O Século" (food, music, etc.). An intervention in this place could be just an impression, something announced as a simulation of both preservation and change - an invitation.
Muro (wall) is a simple mechanism for separation, allowing for the isolation between the street and the square. Its surfaces, suggested by lines of rope, regulate the intensity of this confinement. The attentiveness and the circulation are absorved and retained by their movement. Getting closer provides direct contact with the surface, and reveals the Muro as a third space, arising from its own segmentation.
UM Muro no estaleiro
Muro
Lisboa, Portugal, 2008
Promoção Festival Internacional UM - Mixed Media Experimental
Equipa Ana Isabel Valfigueira, João Trigo, Pedro Januário Gomes e Pedro Viana
Colaboradores Inês Oliveira, João Quadros, Sara Reis
Área de Implantação 12 m2
Dimensões dos Topos 1 m x 1 m x 2,7 m
Materiais Estrutura em tubo de aço, revestimento em chapa de aço preto, cabo de aço, corda de polietileno.
30.6.08
A Casa da Vizinha...
A Casa da Vizinha dedica-se à exposição pública de projectos e à promoção da arquitectura sustentável em Portugal.
lok também contribui com o projecto Instante Oásis, vencedor de uma menção honrosa na última edição do prémio internacional TEKTÓNICA'08.
lok também contribui com o projecto Instante Oásis, vencedor de uma menção honrosa na última edição do prémio internacional TEKTÓNICA'08.
Casa da Vizinha is a site dedicated to the publication and promotion of sustainable architecture in Portugal.
lok gives its contribution with the project Instant Oasis, winner of an honorable mention in the latest TEKTÓNICA'08 International Competition.
lok gives its contribution with the project Instant Oasis, winner of an honorable mention in the latest TEKTÓNICA'08 International Competition.
21.6.08
Arquitectura extraplanetária
lok apoia o empreendedorismo sideral masterizado pelos Space Architects, com desejos de coisas boas para o futuro!
18.6.08
24.5.08
MU.DOT#01 > Venice: revisiting disappearance
O primeiro número da revista MU.DOT - magazine for urban documentation - opinion - theory, já se encontra disponível on-line em formato digital.
A nova edição, que dá seguimento às anteriormente publicadas como MONU - magazine on urbanism, aborda os temas da Memória, Amnésia e Urbanismo com diferentes aproximações por contribuidores internacionais.
O artigo Venice: revisiting disappearance - co-autoria de Luís Santiago Baptista, Pedro Januário Gomes e Pedro Viana, Nuno Messias, e Pedro Ferreira - regista um exercício livre de activação da memória - a introdução da imaginação no modo como as cidade se reconstroem, reprogramando o seu contexto de perda.
A edição em papel é distribuída mundialmente em livrarias selecionadas, e poderá ser encomendada através do endereço e-mail disponível aqui
A nova edição, que dá seguimento às anteriormente publicadas como MONU - magazine on urbanism, aborda os temas da Memória, Amnésia e Urbanismo com diferentes aproximações por contribuidores internacionais.
O artigo Venice: revisiting disappearance - co-autoria de Luís Santiago Baptista, Pedro Januário Gomes e Pedro Viana, Nuno Messias, e Pedro Ferreira - regista um exercício livre de activação da memória - a introdução da imaginação no modo como as cidade se reconstroem, reprogramando o seu contexto de perda.
A edição em papel é distribuída mundialmente em livrarias selecionadas, e poderá ser encomendada através do endereço e-mail disponível aqui
The first issue of MU.DOT - magazine for urban documentation - opinion - theory, is now available on-line in digital format.
The present edition, a follow up to the previous issues published with the name MONU - magazine on urbanism, develops the themes of Memory, Amnesia and Urbanism with different approaches from international contributors.
Venice: revisiting disappearance - co-authored by Luís Santiago Baptista, Pedro Januário Gomes and Pedro Viana, Nuno Messias, and Pedro Ferreira - records a basic exercise of free memory activation - to introduce imagination on how cities can constantly be rebuilt, reprogramming its own context of loss.
The printed version is available worldwide on selected bookstores, and can be ordered using the e-mail address linked here
The present edition, a follow up to the previous issues published with the name MONU - magazine on urbanism, develops the themes of Memory, Amnesia and Urbanism with different approaches from international contributors.
Venice: revisiting disappearance - co-authored by Luís Santiago Baptista, Pedro Januário Gomes and Pedro Viana, Nuno Messias, and Pedro Ferreira - records a basic exercise of free memory activation - to introduce imagination on how cities can constantly be rebuilt, reprogramming its own context of loss.
The printed version is available worldwide on selected bookstores, and can be ordered using the e-mail address linked here
17.5.08
UM > outdoor lounge
o colectivo lok foi convidado a desenvolver uma intervenção urbana para a definição do espaço público de recepção do festival UM, no Largo do Século.
O evento terá lugar em Lisboa, entre o Bairro Alto, Chiado e Santos, e unirá artistas e actuantes nacionais e internacionais, com trabalho desenvolvido em diferentes suportes de media.
De 19 a 22 de Junho.
O evento terá lugar em Lisboa, entre o Bairro Alto, Chiado e Santos, e unirá artistas e actuantes nacionais e internacionais, com trabalho desenvolvido em diferentes suportes de media.
De 19 a 22 de Junho.
15.5.08
Prémio Internacional Tektónica'08 > Menção honrosa
O projecto lok - Instante Oásis - foi premiado com uma menção honrosa, na ocasião do Prémio Internacional Tektónica'08. Os painéis a concurso estarão em exposição na feira Tektónica'08, a realizar-se entre os dias 20 e 24 de Maio na Feira Internacional de Lisboa (FIL).
Os membros lok marcarão presença numa conferência de arquitectura no dia 22 de Maio, entre as 17 e as 19h30, no auditório 1 da FIL, no Parque das Nações, onde serão apresentados o prémio e os projectos vencedores.
Os membros lok marcarão presença numa conferência de arquitectura no dia 22 de Maio, entre as 17 e as 19h30, no auditório 1 da FIL, no Parque das Nações, onde serão apresentados o prémio e os projectos vencedores.
instante oásisA educação ambiental começa na partilha de ideias e práticas diárias a qualquer instante. O oásis é um exemplo de espaço de fruição livre gerado em torno desta troca e actualização informativa. Imaginemo-lo em fluxo, abrindo-se à experiência de todos. O instante oásis serve-se da energia solar e eólica do litoral português para multiplicar a sua vida activa e económica, de modo a adquirir água potável e alimentos. O oásis reutiliza a sua água para aproveitamento interno e como combustível para a mobilidade. O bloco compacto é transportável por um veículo. Quando aberto, instala-se e funda espaço vazio, de acesso e fruição plena de actividades ao ar livre, em consonância com funções preexistentes. Oscilações simples da casca e do miolo esbatem os limites do interior e exterior. A rotura em espaços contíguos torna a propriedade difusa. Cabe ao utente permitir e interditar funções, atribuindo ao espaço oásis flexibilidade, segurança, e uma utilização constante.
12.4.08
Subscrever:
Mensagens (Atom)