Braga Municipal Stadium, Souto de Moura Arquitectos. Photo: Luis Ferreira Alves
More on the Souto the Moura front: my commentary on the Portuguese Pritzker, as well as an exclusive interview, are now up on The Architect’s Newspaper. It was a pleasure writing a bit more about this Portuguese architect, whose work I like so much. It was great to interview him, too. A small excerpt here,
Your work is full of quotations of work you admire: the Corbusier-type window in your House in Maia, the Xenakis-imposed rhythm in the House in Barrocal, and Mies in the Burgo Office tower, this last one an homage…
The Burgo Tower is not an homage. I quote, because those who cannot write quote. What I don’t want is to start from scratch, which is a waste of time and a sign of little intelligence. If there is a set of circumstances to which architects have answered in a way I admire, I would like to use it, because this is part of the continuity that architecture needs. Architecture is a continuous story. I’m not going to invent a brick angle if Mies already did it in the Dominion Center, but what I can do is to re-think or re-draw it. But I always start from a concrete thing. To start from scratch leads to two things: either it’s stupid, or it leads to an excessive creativity that architecture doesn’t need.
And the full commentary and interview at The Architect’s Newspaper site & April 20th print edition.
Bibi Seck, Taboo stool. Photo: Bibi Seck.
Próximo Futuro/Next Future is the Gulbenkian Foundation‘s programme of contemporary culture dedicated in particular, but not exclusively, to research and creation in Europe, Latin America and the Caribbean, and Africa. Issue number 6 of their newspaper is now available online, and within it the essay I contributed exploring contemporary African design, titled “It’s African Time” in homage to Heath Nash’s fabulous piece. Here is a small excerpt of the Portuguese original—English translation after the jump:
Caracterizar o momento actual do design em África pode parecer, à partida, um esforço fútil. Este é ainda o continente onde a maioria da população continua a ter como preocupação maior arranjar uma refeição ao final do dia e onde 53 países — em breve 54 — diversos em população, tradições e cultura continuam a ser demasiadas vezes rotulados sob uma designação genérica. Mas o design contemporâneo existe, de maneira mais ou menos visível, e está em todo o lado, partilhando traços comuns em nações africanas distintas. O fascínio recente que os círculos de design ocidentais têm por África é apenas mais um capítulo numa relação com altos e baixos. Esse fascínio desdobra-se hoje em duas narrativas distintas, que encarnam duas maneiras essencialmente diferentes de olhar para a criação e produção de design em África. A primeira é a mais linear e glamorosa, e ocorre sobretudo no mundo exclusivo e limitado do design de luxo. A segunda é fragmentada e menos óbvia, mas infinitamente mais promissora.
Continue reading It’s African Time
Today SVA’s MFA Design Criticism launches “At Water’s Edge,” the first in the D-Crit Chapbook series. This first volume was edited by Akiko Busch, Saundra Marcel and me, and features 10 essays from the D-Crit graduating class of 2011. You can buy the book on lulu.com or read a review by Alexandra Lange on Design Observer. I am very excited about this project! To celebrate, I share below my contribution to the chapbook—”Beyond.”
On the first day of class in September 2003, Antonio Queirós sat down in front of thirty students at the University of Porto, Portugal, and asked: “What are the words that define each of you?” He proceeded to enumerate this first exercise. Write a list of fifty words that you believe define you. Then reduce it down to three. And then to the one word. You have a week.
Hardly a graphic design exercise, I remember thinking, leaning against a window and trying to evaluate this redheaded forty-something teacher. But then I started my list.
The word I chose was beyond. It sounds pretentious when I say it now, but when I first presented it to class I had the brilliant idea of saying it in Spanish—mas allá. Much better than the Portuguese version of the word, I thought. More accurate, I believed. It reminded me of a folk tale I had heard in my teenage years, in which a firstborn son digs in vain through the hills of the Iberian Peninsula, searching for his dead father’s buried treasure chest. He keeps encountering paper scrolls, every one of them bearing the same message—mas allá, go beyond.
Continue reading Beyond