With the purpose of conferring the city of Porto, Portugal a new global identity, architects Pedro Bandeira and Pedro Nuno Ramalho have propositioned for the relocation of the Maria Pia Bridge from its original location on the River Douro to the city center. Plans indicate that the bridge’s framework could be easily dismantled and, though it may seem absurd, the proposal comes with a clever solution.
The 2013 Lisbon Architecture Triennale‘s emphasis on active workshops, networking and “research” projects rather than architectural set pieces often plays as live performative tableaus. The public focus of the exhibition is indeed an elevated stage in the city’s Praca da Figueira (Square of the Fig Tree) where architects are performing plays, encouraging civic engagement with public performances, and programming research workshops. Performance is also the operative scheme in another triennial initiative, The Institute Effect, that takes place the city’s Museum of Design.
I wrote in my first post from the Lisbon Architecture Triennale Close, Closer that it’s the first international exhibition that does not need or even want outside visitors. The exhibition’s organizer and head curator, Beatrice Galilee, downplays installations and object-making in favor of active workshops, networking, and “research” projects aimed primarily at residents of the Portuguese capital.
The Lisbon Triennale, Close, Closer, is the first architecture exhibition that does not need, nor even want outside visitors. In recent years, the relevance of the international exposition in a defined physical boundary has been questioned, given the energy and expense (particularly in Venice) involved in putting the event together and the ubiquity of digital display and information dissemination. Why not, many people argue, just do the whole thing on line and open it up to the whole world rather than forcing visitors to trek to expensive cities and countries? Lisbon’s Close, Closer will have a tremendous online presence, but, more to the point, the curators of the exhibition, under the overall guidance of British curator Beatrice Galilee, have downplayed expensive formal installations in favor of workshop, networking, and research projects.
EXD’11 Lisbon Design Biennale Opening Week
September 28–October 2
“Useless,” the theme of Lisbon’s the sixth design biennale organized by Experimentadesign, grew out of a desire to explore what the term “useful” means today. A number a guest-curated exhibitions form the backbone of the event: for Sidelines, design historian Emily King considers the motivations behind collecting art and objects, deploying Lisbon’s museums to display an eclectic series of private collections; in Utilitas Interrupta, Joseph Grima, editor of Domus, asks what abandoned infrastructure and its implements (above) say about our society. These shows run through November, but opening week highlights also include a series of lectures by design scene fixtures like Hans Ulrich Obrist and Zoe Ryan, as well as a specially organized film series.