#designer: susana carvalho

[myfontz]

[surrealistnyc]

A Spark in Search of a Powderkeg

Rebellion is its own justification, completely independent of the chance it has to modify the state of affairs that gives rise to it. It’s a spark in the wind, but a spark in search of a powder keg.

André Breton

If only one thing has brought me joy in the last few weeks, it began when the matriarchs at Unist’ot’en burned the Canadian flag and declared reconciliation is dead. Like wildfire, it swept through the hearts of youth across the territories. Reconciliation was a distraction, a way for them to dangle a carrot in front of us and trick us into behaving. Do we not have a right to the land stolen from our ancestors? It’s time to shut everything the fuck down!

Tawinikay (aka Southern Wind Woman)

The toxic cargo carried in Canadian pipelines, whether it be tar sands oil or fracked liquid natural gas (LNG), is, according to all serious climate scientists, a major, perhaps even decisive contribution to global warming, i.e. ecological catastrophe.   Meant to fuel industrial expansion, the pipelines have themselves become fuel for revolt. Designed to move these dirty fossil fuels from one location to another, they are a crucial element in normalizing the dubious paradise of unlimited growth in awe of which all obedient consumer/citizens are supposed to genuflect. In what the colonial mapmakers have called British Columbia (BC), resource extraction has always been the name of the game. However, the emergence in February of this year of a widespread oppositional network ranging from “land back” Indigenous warriors to elder traditionalists and from Extinction Rebellion activists to anarchist insurrectionaries was heartening. Railways, highways and ferries were blockaded, provincial legislatures, government administrative offices, banks and corporate headquarters were occupied. The catalyst for this rebellion was a widespread Indigenous uprising that refused the illusory promises of reconciliation. Together, these rebel forces disrupted business as usual in solidarity with the Unist’ot’en Big Frog clan of the Wet’suwet’en tribal house.

       ​As objective chance would have it, the primary Indigenous land defense camp is situated not far from the same Hazelton, B.C. area to which surrealist Kurt Seligmann and his wife Arlette had journeyed in 1938. During that time, they visited Gitxsan and Wet’suwet’en villages, marveled at the imaginative power of the totem poles and ceremonial objects, made field notes, shot 16mm film, collected stories and recorded mythic histories. Now, in 2020, growing numbers of these same Indigenous peoples have been threatening to bring the Canadian economy to a grinding halt. Unwilling to be bought off by corporate petrodollars or mollified by a legal system that has never done anything but pacify, brutalize, or betray them in the process of stealing their land, Indigenous peoples passionately fought back against the forces of colonial law and order in a radical whirlwind of willful disobedience and social disruption. One action built upon another in creating a rolling momentum that seemed unstoppable. When one railroad blockade would be busted by the Royal Canadian Mounted Police (RCMP), another would spring up in its place elsewhere extending the frontlines of the battle all across the continent. Then the debilitating Covid-19 virus arrived to compound the damage that had previously been done to the capitalist economy by the incendiary virus of revolt. The resistance of these Indigenous communities against the pipelines concerns all of us, worldwide, since they are on the front lines of the struggle to prevent cataclysmic climate change.

       ​In the future, a key question will be whether Canadian authorities can successfully put the genie of Indigenous rebellion back in the colonial bottle of “reconciliation”. As surrealists, we hope they will not, and we stand in solidarity with the unreconciled insurgent spirit of defiant Indigenous resistance. A new reality is to be invented and lived instead of the one that today as yesterday imposes its environmental miserabilism and its colonialist and racist hierarchies.  As surrealists, we honor our historical affinity with the Kwakwaka’wakw Peace Dance headdress that for so long had occupied a place of reverence in André Breton’s study during his lifetime before being ceremoniously returned in 2003 to Alert Bay on Cormorant Island by his daughter, Aube Elléouet, in keeping with her father’s wishes. With this former correspondence in mind, we presently assert that our ongoing desire to manifest the emancipation of the human community as distinctively undertaken in the surrealist domain of intervention is in perfect harmony with the fight of the Indigenous communities of the Americas against globalized Western Civilisation and its ecocidal folly.

                                                                                                               Surrealists in the United States: Gale Ahrens, Will Alexander, Andy Alper, Byron Baker, J.K. Bogartte, Eric Bragg, Thom Burns, Max Cafard, Casi Cline, Steven Cline, Jennifer Cohen, Laura Corsiglia, David Coulter, Jean-Jacques Dauben, Rikki Ducornet, Terri Engels, Barrett John Erickson, Alice Farley, Natalia Fernandez, Brandon Freels, Beth Garon, Paul Garon, Robert Green, Maurice Greenia, Brigitte Nicole Grice, Janice Hathaway, Dale Houstman, Karl Howeth, Joseph Jablonski, Timothy Robert Johnson, Robin D.G. Kelly, Paul McRandle, Irene Plazewska, Theresa Plese, Michael Stone-Richards, David Roediger, Penelope Rosemont, LaDonna Smith, Tamara Smith, Steve Smith, Abigail Susik, Sasha Vlad, Richard Waara, Joel Williams, Craig S. Wilson

Surrealists in the UK: Jay Blackwood, Paul Cowdell, Jill Fenton, Rachel Fijalkowski, Krzysztof Fijalkowski, Merl Fluin, Kathy Fox, Lorna Kirin, Rob Marsden, Douglas Park, Michel Remy, Wedgwood Steventon, Frank Wright, the Leeds Surrealist Group (Gareth Brown, Stephen J. Clark, Kenneth Cox, Luke Dominey, Amalia Higham, Bill Howe, Sarah Metcalf, Peter Overton, Jonathan Tarry, Martin Trippett), the London Surrealist Group (Stuart Inman, Philip Kane, Timothy B. Layden, Jane Sparkes, Darren Thomas) and the surrealists of Wales (Jean Bonnin, Neil Combs, David Greenslade, Jeremy Over, John Richardson, John Welson)

Surrealists in Paris: Ody Saban and The Surrealist Group of Paris (Elise Aru, Michèle Bachelet, Anny Bonnin, Massimo Borghese, Claude-Lucien Cau��t, Taisiia Cherkasova, Sylwia Chrostowska, Hervé Delabarre, Alfredo Fernandes, Joël Gayraud, Régis Gayraud, Guy Girard, Michael Löwy, Pierre-André Sauvageot, Bertrand Schmitt, Sylvain Tanquerel, Virginia Tentindo, Michel Zimbacca)

Surrealists in Canada: Montréal (Jacques Desbiens, Peter Dube, Sabatini Lasiesta, Bernar Sancha), Toronto (Beatriz Hausner, Sherri Higgins), Québec City (David Nadeau), Victoria (Erik Volet), the Ottawa Surrealist Group (Jason Abdelhadi, Lake, Patrick Provonost) and the Inner Island Surrealist Group (as.matta, Jesse Gentes, Sheila Nopper, Ron Sakolsky)

The Surrealist Group of Madrid: Eugenio Castro, Andrés Devesa, Jesús Garcia Rodriguez, Vicente Gutiérrez Escudero, Lurdes Martinez, Noé Ortega, Antonio Ramirez, Jose Manuel Rojo, María Santana, Angel Zapata

Surrealists in Sweden: Johannes Bergmark, Erik Bohman, Kalle Eklund, Mattias Forshage, Riyota Kasamatsu, Michael Lundberg, Emma Lundenmark, Maja Lundgren, Kristoffer Noheden, Sebastian Osorio

Surrealists in Holland: Jan Bervoets, Elizé Bleys, Josse De Haan, Rik Lina, Hans Plomp, Pieter Schermer, Wijnand Steemers, Laurens Vancrevel, Her de Vries, Bastiaan Van der Velden

Surrealists in Brazil: Alex Januario, Mário Aldo Barnabé, Diego Cardoso, Elvio Fernandes, Beau Gomez, Rodrigo Qohen, Sergio Lima, Natan Schäfer, Renato Souza

Surrealists in Chile: Jaime Alfaro, Magdalena Benavente, Jorge Herrera F., Miguel Ángel Huerta, Ximena Olguín, Enrique de Santiago, Andrés Soto, Claudia Vila

 The Middle East and North Africa Surrealist Group: Algeria (Onfwan Foud), Egypt (Yasser Abdelkawy, Mohsen El-Belasy, Ghadah Kamal), Iraq (Miechel Al Raie), Syria (Tahani Jalloul), and Palestine (Fakhry Ratrout)

Surrealists in Prague: Frantisek Dryje, Joe Grim Feinberg, Katerina Pinosova, Martin Stejskal, Jan Svankmajer

The Athens Surrealist Group (Elias Melios, Sotiris Liontos, Nikos Stabakis, Theoni Tambaki, Thomas Typaldos, Marianna Xanthopoulou)

Surrealists in Costa Rica: Gaetano Andreoni, Amirah Gazel, Miguel Lohlé, Denis Magarman, Alfonso Peña

Surrealists in Buenos Aires: Silvia Guiard, Luís Conde, Alejandro Michel

Surrealists in Australia: Anthony Redmond, Michael Vandelaar, Tim White

Surrealists in Portugal: Miguel de Carvalho, Luiz Morgadinho

Surrealists in Bucharest (Dan Stanciu), Mexico (Susana Wald), and the Canary Islands (Jose Miguel Perez Corales)

 Postscript: During the process of gathering signatures for the above declaration, we were inspired to see its uncompromising stance against white supremacy and police repression reflected in the brightly sparkling flames of the Minneapolis uprising that lit a powder keg of pent-up rage and incited an earth-shaking eruption of spontaneous rebellion in the streets of America. It was only fitting that in solidarity with the uprising about police brutality kicked off by George Floyd’s execution/lynching at the hands of the police, anti-racism protestors in the United States would take direct action by beheading or bringing down statues of Christopher Columbus, genocidal symbol of the colonial expropriation of Native American lands. (Guy Girard, Michael Löwy, Penelope Rosemont, and Ron Sakolsky, June 18, 2020).

[ninaemsaopaulo]

Bem antes da Ryta Alves tornar modinha, eu já tava reassistindo novela. Tem resenha séria e pronta de uma, será publicada em breve. Agora eu decidi rever essa merda que foi Insensato Coração, porque gosto de sofrer. Vou comentar sempre que alguma bizarrice surgir.

Impressionante como lembro dessa bosta do princípio ao fim. Primeiro episódio riquíssimo em detalhes dos quais me lembro minuciosamente, não sei o que acontece com a minha cabeça. Novela de 2011 que começou toda errada. Ana Paula Arósio tinha até cortado o cabelo para viver a protagonista, tava chegando muito perto de gravar. Mas aí a bonita abandonou o projeto e se mandou para o estrangeiro (reaparecendo só em 2020 pra ganhar milhões num comercial e fugir de novo, certíssima). A emissora, toda cagada, chamou Paolla Oliveira para ficar no lugar. Nessa época ela ainda era esforçada, porque na próxima novela que vou comentar só piora.

Eu ainda não sei o nome de ninguém direito (disso não lembro), então vou chamar os personagens pelos nomes dos atores mesmo, doa a quem doer.

Como se não bastasse a protagonista insossa selecionada às pressas, Paolla fez par romântico com Eriberto Leão, aquele modelo clássico “ator de Malhação, escola Wolf Maia, colega de Cigano Igor e Thiago Lacerda”. Se não me engano, tá mesmo em Malhação hoje em dia, parabéns. Paolla é uma ricaça nascida em berço de ouro, mulher de muita garra, corre atrás do que quer, pinta uma unha de branco pela paz. Ela é designer e voltou ao Brasil depois de anos na Itália, para abrir a própria empresa no Rio de Janeiro. Mas coincide com o seu retorno o convite de uma amiga que vive no sul do país e vai casar, chamou a Paolla Oliveira para ser madrinha e ela topou.

O noivo, Eriberto Leão, é quase piloto. Vai ao Rio fazer uma prova aí, mas na volta ele e Paolla se encontram no avião. Basicamente um “terrorista” que quer matar a Paolla Oliveira sequestra o avião, mas é dibrado por Eriberto, o herói, que recebe ajuda da mocinha Paolla. Muita adrenalina envolvida, uma clara e espontânea tensão sexual - eles se beijam.

Só depois ela descobre que o homem da sua vida vai casar com a Fulana lá e ela será madrinha, coitada. Casos de Família, tem que ter.

Essa noiva iludida é apenas uma das três atrizes jovens e promissoras que não deram certo na Globo e já dá pra site de fofoca fazer um “por onde anda?”, fica a dica. Eu acho que sua personagem morre já depois de uns dois meses, porque o público deveria odiá-la, ela tinha a obrigação de ser vilã, mas é tão boa atriz que ninguém conseguiu enxergar uma vilã naquilo ali. Ela tá sumida, mas a sua irmã acho que é famosa apresentando programas na Multishow (ou talvez seja a mesma pessoa, não importa). Pra tapar esse buraco, porque o verdadeiro vilão, Gabriel Braga Nunes, sulista de sotaque paulistano “meo”, não dá conta, aparece uma invejosa vivida por Lavínia Vlasak, sempre um colírio para os meus óleos.

Mas uma atriz que deu MUITO CERTO nesse rolê, sendo que foi sua estreia em novelas, foi a Bruna Linzmeyer, aquela que eu acho linda e tem a parede rebocada em casa, balanço pendurado próximo da janela, me causando muita aflição de que ela pode cair. Inclusive, chega uma hora que ela vai para Londres e volta de visual novo, cabelo ruivo bem curtinho. Exatamente no dia que esse episódio foi exibido, eu voltei para casa com o mesmo corte e coloração, depois de um evento para a Schwarzkopf. Tínhamos a mesma idade: dezoito aninhos. Ela fazia uma xóvem ~descolada~ e “liberal nos costumes”.

Deborah Evelyn, ícone injustiçado por só fazer novelas do ex-marido quando eles estavam juntos (um ano depois de Insensato Coração ir ao ar, Deborah e Dennis Carvalho se separaram e a bichinha SUMIU), faz a mãe da Linzmeyer, é a típica mulher frustrada por não ser ryca. 

Essa novela tem os excelentes alívios cômicos Natalie L’amour e Tia Neném. Natalie é a Deborah Secco vivendo uma cafonérrima ex-participante de reality show de três anos antes, tentando dar a volta por cima na “carreira”. Seu empresário e melhor amigo é aquele menino cheio de espinha em Presença de Anita. Natalie terá um caso com Herson Capri, sugar daddy, em sua melhor fase (ele e o Odilon Wagner são meus crush da terceira idade na TV). Tia Neném, personagem da Ana Lúcia Torre, é a típica véia alcóolatra, fofoqueira e preconceituosa que a gente ama, mas se fosse a Susana Vieira interpretando, amaríamos odiar.

E o Lázaro Ramos que faz o papel do pica das galáxias nessa novela? Um designer fodão que só pensa em foder. Juro que é qualquer personagem do finado Zé Mayer versão 2.0. Eu tô revendo essa joça porque gosto é de quem faz par com ele: Camila Pitanga, vestindo as melhores roupas para quem tem o típico corpo da brasileira, embora não pareça - o corpo em formato de pêra -, quadris mais largos que os ombros; ombros que precisam ser destacados; saboneteira evidente, porque muito magrela; menina veneno, meu peito é pequeno, cintura marcada por cintão. É o meu tipo de corpo também (pois é, surpresa). Imagino o auê que deve ter sido em 2011 de ligações para a emissora com as telespectadoras diariamente perguntando o que Camila usou em tal e tal episódio. Hoje, trabalhando em grife, sei que acontece muito. Eu tô assistindo essa novela pra pegar dicas de looks.

[drawdownbooks]

Questioning Answers⁣ Available at www.draw-down.com ⁣ ⁣ In Questioning Answers, thirty-six first year graphic design students of the Royal Academy of Art in The Hague (KABK) were challenged to interpret the subject of interviews. What is a question? What is an answer? Their findings have been compiled in more ways than one; this booklet is one of the many outcomes. Whereas other investigations were heavily content-driven, this booklet compiles an array of more subjective visual conclusions to Q and A’s. This booklet also functioned as a catalogue to accompany a larger exhibition presenting the students’ interpretations. The project was mentored by Bart de Baets, Susana Carvalho, and Rob van den Nieuwenhuizen. Designed by Rob van den Nieuwenhuizen. Published in a limited edition of 250 copies⁣ ⁣ #graphicdesign #RoyalAcademyofArt #limitededition #RobvandenNieuwenhuizen #TheHague #QuestioningAnswers #Answers #bartdebaets (at Royal Academy of Art, The Hague) https://www.instagram.com/p/BvomZN0HAZS/?utm_source=ig_tumblr_share&igshid=o2la73rmw2us

[filipelouz]

Mezamé from AIM Creative Studios on Vimeo.

Mezamé is a psychological therapy practice expanding across the US that is specialised in EMDR (eye movement desensitisation and reprocessing). They have challenged us to create an animated explainer that could convey both their vision and their clinical approach, tackling complex and precise concepts in a relatively short period of time.

Reworking an initial script and going through Mezamé's brand identity, we grounded our storytelling narrative on three main concepts: the therapist-patient emotional journey, the eye as a portal to the mind, and the Zen Rock garden as a visual metaphor for the human brain.

Here is the outcome, thanks to a friendly and supportive client and a fantastic team. Hope you enjoy it!

Client: Mezamé Production: AIM Creative Studios Producer: Tiago Ribeiro Director: José Teixeira (Bandido) Concept and Storyboard: José Teixeira (Bandido), Pedro Semeano and Susana Diniz (Adamastor Studio) Art Direction and Illustration: Pedro Semeano and Susana Diniz (Adamastor Studio) Animation: Alexandre Braga, Alexandre Sousa Motion Design and Compositing: Daniela Carvalho Additional Motion Design: Ricardo Nilsson Coloring and Texturing: Siddarth Sinha Sound Production: AIM Creative Studios Music Composing and Sound Design: André Aires Recording Studio: Claraboia Voice Over: Annie Einan

[independencebox-blog]

E U R O D A N C E

EURODANCE is a geopolitical and techno-emotional hecatomb, a 190 beats-per-minute countdown to the End Of The World, a bad trip inside a rave-flight Hamburg/Ibiza with an elliptic stopover in Pará and an emergency landing for fuel in Luanda, a psychotropic drug also known as Azeitegeist™ [the cheeziness state of the arts]. EURODANCE is a post-apocalyptical documentary produced by the Department of Vintage Scatology at the Pre-Human Cultural Studies Institute of the New World, researching in the last decade of the Ancien Régime, when the World was written in capital letters and there was no epistemological difference between Art and Sports; all artists were backup dancers of a universal cosmic music band. EURODANCE dances in European™, with Novilingua™ subtitles. It steals its lyrics from Slavoj Žižek shamanic prophecies and from Dr. Phil’s alterdogmatic philosophy (the first cyborgs in History); it steals beats from the pre-apocalyptical ethics behind the mashup movement, and from the anti-social morals behind tecnobrega movement; and it steals artworks from the proto-post-pop aesth(ethics) behind Jeux Sans Frontières, and from the re-re-realist ethics behind the opening ceremony of the Peking Olympics. EURODANCE is technotronic, is clubby, is high, is megalo-colonialist, is etno-musical, is bubblegum pop, is happy hardcore, is chipmunk, is autotune, is playback, is canned rave’ioli, is vengaboys, is hairdo’s and hairdon’ts, is pisang ambom, is electroschlager, is technocheezy, is bumper cars, is trance’genic aerobics, is progressive fitness, is body-pump-up-the-jam, is macarena, is dee-dee-na-na-na, is contemporary rococo. EURODANCE goes back to all fin-de-siècle nightmares, because it ambitions a retroactive correction of Reality: the World did really end in the night of the 31st December 1999, when computers weren’t able to recognize the binary language anymore, and the world (small printed!) collapsed. Therefore, EURODANCE is a meteoric party, a tribute to all those who haven’t died (yet). A journey back to the 90s; a journey back to the Present™. Rogério Nuno Costa © 2014

EURODANCE was created within the program “Outros Formatos” (2014), curated by Ballet Contemporâneo do Norte. It’s the choreographic study for the musical theatre show €TRASH, by Rogério Nuno Costa, to be premiered in 2019. Five performers are the “backup dancers” of an invisible techno band, putting under the spotlight what usually stays on the background. Or about the dialectic tension/confusion between Art and Sports.

Direction, Choreography, Text, Video: Rogério Nuno Costa | Dancers: André Santos, Dinis Machado, Luís André Sá, Mariana Tengner Barros, Susana Otero | Direction Assistance: Joclécio Azevedo | Light Design: Daniel Oliveira | Costumes: Jordann Santos | Photography: Miguel Refresco | Artwork: Diogo Mendes | Remix & Cover: Belamix feat. Too Limited™ [Mariana Tengner Barros & Rogério Nuno Costa] | Costumes Assistance: Cristiana Fonseca | Production: Inês Oliveira | Thanks: Sonoscopia, Mala Voadora, A22, Xana Novais, Teatro Municipal do Porto – Rivoli, ESMAE, TeCA, Ana Carvalho, Pedro Barreiro.

Tour: Centro Cultural de Milheirós de Poiares (Santa Maria da Feira, 2014), Mala Voadora (Porto, 2015), Armazém 22 (Vila Nova de Gaia, 2016), Teatro Sá da Bandeira (Santarém, 2016).

Next confirmed dates: Centro Cultural de Belém, Lisbon (Portugal), 6-7 October 2017

Ballet Contemporâneo do Norte é uma estrutura financiada pelo Governo de Portugal/Secretaria de Estado da Cultura (Direção-Geral das Artes) e apoiada pela Câmara Municipal de Santa Maria da Feira.

Music in this trailer: “Let’s Start This Party Right”, Girl Talk [no copyright infringement intended; promotional use only] Likes: 7 Viewed:

The post E U R O D A N C E appeared first on Good Info.

[idagoingnowhere]

Mezamé from AIM Creative Studios on Vimeo.

Mezamé is a psychological therapy practice expanding across the US that is specialised in EMDR (eye movement desensitisation and reprocessing). They have challenged us to create an animated explainer that could convey both their vision and their clinical approach, tackling complex and precise concepts in a relatively short period of time.

Reworking an initial script and going through Mezamé's brand identity, we grounded our storytelling narrative on three main concepts: the therapist-patient emotional journey, the eye as a portal to the mind, and the Zen Rock garden as a visual metaphor for the human brain.

Here is the outcome, thanks to a friendly and supportive client and a fantastic team. Hope you enjoy it!

Client: Mezamé Production: AIM Creative Studios Producer: Tiago Ribeiro Director: José Teixeira (Bandido) Concept and Storyboard: José Teixeira (Bandido), Pedro Semeano and Susana Diniz (Adamastor Studio) Art Direction and Illustration: Pedro Semeano and Susana Diniz (Adamastor Studio) Animation: Alexandre Braga, Alexandre Sousa Motion Design and Compositing: Daniela Carvalho Additional Motion Design: Ricardo Nilsson Coloring and Texturing: Siddarth Sinha Sound Production: AIM Creative Studios Music Composing and Sound Design: André Aires Recording Studio: Claraboia Voice Over: Annie Einan

[costa-alex]

Fade Into Nothing (2017) PT from Pedro Maia on Vimeo.

SUPER 8 TRANSFERED TO HD · COL · 70′ · 2017 a project by Paulo Furtado, Pedro Maia, Rita Lino

A false diary on a man’s journey that, more than just disappear, he aims to be nothing, to become nothing.

“How To Become Nothing” brings together the musician Paulo Furtado / The Legendary Tigerman, the photographer Rita Lino and the filmmaker Pedro Maia on a road trip through the Californian desert. A road-movie in a format of a false diary shoot in Super 8, with texts from Paulo Furtado, music from The Legendary Tigerman and photography by Rita Lino. The joining of three visions on a man’s voyage that, more than just disappear, he aims to be nothing, to become nothing.

howtobecomenothing.net

“How To Become Nothing” is being presented as a live-cinema show where I do the live editing and Paulo Furtado the live soundtrack. “Fade Into Nothing” is a a feature film, a film screen version without the live element.

a project by Paulo Furtado, Pedro Maia, Rita Lino ––– with Paulo Furtado as MISFIT and Mayumi Pereira, Rita Lino – butoh dancer Magali Chastain – with Abigail Toll, Alexandra Gruebler, Anastasia Kondratieva, Josiane Mutombo, Juliane Elting, Pauline Drewfs, Philipa Anica and Waka Flocka – script by Paulo Furtado, Pedro Maia, Rita Lino ––– directed by Pedro Maia – diary written and recorded by Paulo Furtado – art-direction by Rita Lino – photography by Rita Lino – camera by Pedro Maia, Rita Lino – original soundtrack by The Legendary Tigerman available on Discos Tigre – masks by Riot Films – editing by Pedro Maia – live cinema by Pedro Maia – live soundtrack by The Legendary Tigerman – color correction by Carlos Amaral – sound design by Pedro Marinho – sound mixing by Vasco Carvalho – visual effects by Pedro Maia – graphic design by Sara Westermann – film stock Kodak Vision3 50D / 200T – laboratory Andec Filmtechnik Berlin – film scanning Korn Manufaktur Berlin – sound studio Olho de Vidro – sound mixing studio Escola Das Artes Universidade Católica Portuguesa – image post-production Bando à Parte – producers Paulo Ventura, Rodrigo Areias – production managers Ricardo Coelho, Melani Afonso – production secretary Carlos André – production Bando À Parte – co-production Metropolitana, Discos Tigre ––– thanks to Cristina Pereira Kodak Portugal, Curtas Vila Do Conde, Iris Cayatte, Jorge Quintela, Kid Richards, Kim Anh, Luís Araújo, Regis Laugier, Reiner Meyer, Susana Abreu ––– Shot at Los Angeles, Desert Christ Park, Twentynine Palms, Joshua Tree, Johnson Valley, Victorville, Usa, Ridgecrest, Death Valley, Amargosa Valley, Zabriskie Point, Badwater Basin and Berlin 2016-2017

[carlosvital-blog1]

PROD transforms 18th-century manor house in rural Portugal into hotel

"For the spaces in which we maintained similar uses – such as in the main house – their brief was to try to recover the previous typical domestic atmosphere," architect Paulo Lago de Carvalho told Dezeen, "while in the new spaces – former animal stables and the cellar in the basement – the brief was to transform it with a contemporary design."Portuguese studio PROD has converted this 18th-century house and stables in northern Portugal into a 15-bedroom hotel, adding an elevated wooden bridge and a vaulted roof to the kitchen.

The Paço de Vitorino estate comprises a three-storey residence on the eastern side of the plot, and two wings on the northern and southern side that were previously used as a warehouse and stables. There is also a small chapel placed alongside the entrance wall on the western side. Together, the wall and the richly adorned facades of the house and outhouses define a central square.

Designed for the heir of the Paço de Vitorino Count, who died in 2010, PROD restored existing features where possible in the six-bedroom house, and reconfigured the two outbuildings to create nine extra bedrooms for the hotel. Under the instruction of the client, the architects used more traditional styles in the main house, while contemporary finishes were chosen for the converted spaces.

"For the spaces in which we maintained similar uses – such as in the main house – their brief was to try to recover the previous typical domestic atmosphere," architect Paulo Lago de Carvalho told Dezeen, "while in the new spaces – former animal stables and the cellar in the basement – the brief was to transform it with a contemporary design." An elevated passage added above an internal courtyard in the main house provides an indoor link between the bedrooms, and the eating and socialising spaces.The timber structure features a latticed grill with glass panels, which allows speckled light to illuminate the walkways.

"This new passage was designed to be a light timber structure, with a crossed-shaped grill covering the full size glass panels," explained Carvalho. "Its angular shape tries to respond to the corner configuration of the patio granite passage." Another bridge that links the interior spaces to the baroque gardens, which features pools and statues, is made with dark steel and glass to contrast the existing granite walls and timber ceilings.Inside the main house, the team inserted a vaulted roof above in the kitchen. It stops just before the existing chimney to allow for a large skylight to flood the space with natural light.

Rough stone walls lining the kitchen are painted cream, and the workspaces are made with wood and topped with steel. Copper pans double up as decoration for the space.

Along the outer side of the bedroom wings, the team added a series of recessed openings. The Corten steel framed windows are slightly recessed and open from the bedrooms to a patio area for sunbathing, and the baroque garden surrounding the hotel. Inside the bedrooms, the architects have inserted a central volume made of ribbed wood that remains distinct from the original structure. The box houses marble bathrooms and wardrobes.The style starkly contrasts the more traditional features of the bedrooms in the main house."The contrast in finishes is most evident in the bedrooms. That contrast is evident, since the wings bedrooms layout is based on the 'wood cube' placed in the middle of the space to organise it and enhance the large space where it rests, while in the main house the bedrooms are more traditional," said the architect.

"These elements were placed strategically at a distance from walls and ceilings to simultaneously frame the features, organise the programme and enhance the surrounding space," he explained.

Portuguese studio PROD was founded by Paulo Carvalho and Susana Correia in 2009. Other projects by the architects include a holiday home on the outskirts of Porto made up of four house-shaped buildings.

[daydec]

Open Patio House / PROD arquitectura & design

centro de ideas daydec (design) © João Morgado Architects: PROD arquitectura & design Location: Forjães, 4740, Portugal Architect In Charge: Susana Lages Correia Area: 270.0 m2 Project Year: 2014 Photographs: João Morgado Authors: Paulo Lago de Carvalho, Susana Lages Correia Team: Fernando Paiva e Paulo Borlido Engineering: Sprenplan Lda. © João Morgado From the architect. […] from Open Patio House / PROD arquitectura & design

[jeniferdlanceau]

PROD transforms 18th-century manor house in rural Portugal into hotel

Portuguese studio PROD has converted this 18th-century house and stables in northern Portugal into a 15-bedroom hotel, adding an elevated wooden bridge and a vaulted roof to the kitchen.

The Paço de Vitorino estate comprises a three-storey residence on the eastern side of the plot, and two wings on the northern and southern side that were previously used as a warehouse and stables.

There is also a small chapel placed alongside the entrance wall on the western side. Together, the wall and the richly adorned facades of the house and outhouses define a central square.

Designed for the heir of the Paço de Vitorino Count, who died in 2010, the architects restored existing features where possible in the six-bedroom house, and reconfigured the two outbuildings to create nine extra bedrooms for the hotel.

Under the instruction of the client, the architects used more traditional styles in the main house, while contemporary finishes were chosen for the converted spaces.

"For the spaces in which we maintained similar uses – such as in the main house – their brief was to try to recover the previous typical domestic atmosphere," architect Paulo Lago de Carvalho told Dezeen, "while in the new spaces – former animal stables and the cellar in the basement – the brief was to transform it with a contemporary design."

An elevated passage added above an internal courtyard in the main house provides an indoor link between the bedrooms, and the eating and socialising spaces.

The timber structure features a latticed grill with glass panels, which allows speckled light to illuminate the walkways.

"This new passage was designed to be a light timber structure, with a crossed-shaped grill covering the full size glass panels," explained Carvalho. "Its angular shape tries to respond to the corner configuration of the patio granite passage."

Another bridge that links the interior spaces to the baroque gardens, which features pools and statues, is made with dark steel and glass to contrast the existing granite walls and timber ceilings.

Inside the main house, the team inserted a vaulted roof above in the kitchen. It stops just before the existing chimney to allow for a large skylight to flood the space with natural light.

Rough stone walls lining the kitchen are painted cream, and the workspaces are made with wood and topped with steel. Copper pans double up as decoration for the space.

Along the outer side of the bedroom wings, the team added a series of recessed openings. The Corten steel framed windows are slightly recessed and open from the bedrooms to a patio area for sunbathing, and the baroque garden surrounding the hotel.

Inside the bedrooms, the architects have inserted a central volume made of ribbed wood that remains distinct from the original structure. The box houses marble bathrooms and wardrobes.

The style starkly contrasts the more traditional features of the bedrooms in the main house.

"The contrast in finishes is most evident in the bedrooms. That contrast is evident, since the wings bedrooms layout is based on the 'wood cube' placed in the middle of the space to organise it and enhance the large space where it rests, while in the main house the bedrooms are more traditional," said the architect.

"These elements were placed strategically at a distance from walls and ceilings to simultaneously frame the features, organise the programme and enhance the surrounding space," he explained.

Portuguese studio PROD was founded by Paulo Carvalho and Susana Correia in 2009. Other projects by the architects include a holiday home on the outskirts of Porto made up of four house-shaped buildings.

Related story

PAr's rural Portuguese hotel has a row of staircases leading up onto its roof

Photography is by Joao Morgado.

The post PROD transforms 18th-century manor house in rural Portugal into hotel appeared first on Dezeen.

from RSSMix.com Mix ID 8217598 https://www.dezeen.com/2017/02/08/paco-de-vitorino-hotel-prod-18th-century-manor-house-northern-portugal-conversion/

[myfontz]

[juliandmouton30]

PROD transforms 18th-century manor house in rural Portugal into hotel

Portuguese studio PROD has converted this 18th-century house and stables in northern Portugal into a 15-bedroom hotel, adding an elevated wooden bridge and a vaulted roof to the kitchen.

The Paço de Vitorino estate comprises a three-storey residence on the eastern side of the plot, and two wings on the northern and southern side that were previously used as a warehouse and stables.

There is also a small chapel placed alongside the entrance wall on the western side. Together, the wall and the richly adorned facades of the house and outhouses define a central square.

Designed for the heir of the Paço de Vitorino Count, who died in 2010, the architects restored existing features where possible in the six-bedroom house, and reconfigured the two outbuildings to create nine extra bedrooms for the hotel.

Under the instruction of the client, the architects used more traditional styles in the main house, while contemporary finishes were chosen for the converted spaces.

"For the spaces in which we maintained similar uses – such as in the main house – their brief was to try to recover the previous typical domestic atmosphere," architect Paulo Lago de Carvalho told Dezeen, "while in the new spaces – former animal stables and the cellar in the basement – the brief was to transform it with a contemporary design."

An elevated passage added above an internal courtyard in the main house provides an indoor link between the bedrooms, and the eating and socialising spaces.

The timber structure features a latticed grill with glass panels, which allows speckled light to illuminate the walkways.

"This new passage was designed to be a light timber structure, with a crossed-shaped grill covering the full size glass panels," explained Carvalho. "Its angular shape tries to respond to the corner configuration of the patio granite passage."

Another bridge that links the interior spaces to the baroque gardens, which features pools and statues, is made with dark steel and glass to contrast the existing granite walls and timber ceilings.

Inside the main house, the team inserted a vaulted roof above in the kitchen. It stops just before the existing chimney to allow for a large skylight to flood the space with natural light.

Rough stone walls lining the kitchen are painted cream, and the workspaces are made with wood and topped with steel. Copper pans double up as decoration for the space.

Along the outer side of the bedroom wings, the team added a series of recessed openings. The Corten steel framed windows are slightly recessed and open from the bedrooms to a patio area for sunbathing, and the baroque garden surrounding the hotel.

Inside the bedrooms, the architects have inserted a central volume made of ribbed wood that remains distinct from the original structure. The box houses marble bathrooms and wardrobes.

The style starkly contrasts the more traditional features of the bedrooms in the main house.

"The contrast in finishes is most evident in the bedrooms. That contrast is evident, since the wings bedrooms layout is based on the 'wood cube' placed in the middle of the space to organise it and enhance the large space where it rests, while in the main house the bedrooms are more traditional," said the architect.

"These elements were placed strategically at a distance from walls and ceilings to simultaneously frame the features, organise the programme and enhance the surrounding space," he explained.

Portuguese studio PROD was founded by Paulo Carvalho and Susana Correia in 2009. Other projects by the architects include a holiday home on the outskirts of Porto made up of four house-shaped buildings.

Related story

PAr's rural Portuguese hotel has a row of staircases leading up onto its roof

Photography is by Joao Morgado.

The post PROD transforms 18th-century manor house in rural Portugal into hotel appeared first on Dezeen.

from ifttt-furniture https://www.dezeen.com/2017/02/08/paco-de-vitorino-hotel-prod-18th-century-manor-house-northern-portugal-conversion/

[drawdownbooks]

Questioning Answers / Available at www.draw-down.com / In Questioning Answers, thirty-six first year #graphicdesign students of the #RoyalAcademyofArt in #TheHague (KABK) were challenged to interpret the subject of interviews. What is a question? What is an answer? Their findings have been compiled in more ways than one; this booklet is one of the many outcomes. Whereas other investigations were heavily content-driven, this booklet compiles an array of more subjective visual conclusions to Q and A’s. During the spring of 2017, this booklet also functioned as a catalogue to accompany a larger exhibition presenting the students’ interpretations. The project was mentored by #BartdeBaets, Susana Carvalho, and Rob van den Nieuwenhuizen. Designed by Rob van den Nieuwenhuizen. Published in a limited edition of 250 copies https://www.instagram.com/p/BnYkL7SBaSa/?utm_source=ig_tumblr_share&igshid=zcb4f0zsq9tb

[daydec]

Open Patio House / PROD arquitectura & design

centro de ideas daydec (design) © João Morgado Arquitectos: PROD arquitectura & design Ubicación: Forjães, 4740, Portugal Architect In Charge: Susana Lages Correia Authors: Paulo Lago de Carvalho e Susana Lages Correia Team: Fernando Paiva e Paulo Borlido Engineering: Sprenplan Lda. Área: 270.0 m2 Año Proyecto: 2014 Photography: João Morgado © João Morgado © João […] from Open Patio House / PROD arquitectura & design