ATEEIR NOMADE (IN: https://www.researchcatalogue.net/view/2425517/2425518)

“ ATELIER NOMADE BY PPA. / TIMETABLE FOR THE WEEK Tuesday the 30th 01/24 Friday the 2nd 02/24 / Atelier NOMADE: lithography in situ is an all-encompassing project that brings together illustration, architecture, geology, and urban geography through the practice of lithography, allowing its participants to take part in a unique and enriching experience. Throughout this event, participants will get involved in a multidisciplinary practice, exploring the complexity and interconnectedness of these disciplines by mapping the city of Porto’s terrain and the lithographers who lived and worked in the city. Focusing on an art form more commonly practiced and associated with a designated workshop space and challenging the separation between cultural and architectural heritage and artistic investigation, this project promotes this dialogue by using lithography as a means to approximate lithography itself with urban territory and the visual archives that originate from this same territory. This project’s program was organized around a technologically based approach, centered on getting intimately acquainted with the tools used in the art of lithography, making use of raw materials such as supports, pigments, among others of local extraction, the study of lithography and its relationship with the history and growth of the city and, finally, the application of these concepts through in situ excursions throughout the city to practice in situ lithography. With the help of technological archaeology, artistic investigation, and experimentation within the medium of lithography, the program proposes to reflect upon relevant ecological questions, reaffirming the need to rethink the dualities of human nature and human city. Every stage of the proposed program was established to challenge what we perceive to be a gap between technological and historical knowledge, giving particular importance to relearning processes and instruments used as tools for the observation and the questioning of what we perceive to be real. This is something we believe transcends all of these disciplines and areas of knowledge and that has the potential to be part of a significant discussion for future generations. Historically, lithography has been associated with scientific development, allowing it to access raw materials, develop tools and solutions based on this same development, construct equipment, and develop printing processes of both small and large scale. The very history of the development of the city- scape allows us a glimpse of the importance of this graphic industry and the way in which it took part in the transformation of the urban landscape. Atelier NOMADE: in situ lithography attempts to bridge the gap between the scientific and the techno- logical, analyzing the use of portable equipment, as well as the need to respect native and local resources, suggesting pathways throughout the city that reveal the importance of lithography’s graphic industry. The starting point will be FBAUP’s printmaking workshop, where we will discuss lithography’s artistic relevance and intimate relationship with artisanal processes. At this stage, we will reaffirm the need to produce artwork within the printmaking workshop based on what we call technological archaeology, in addition to confronting this method’s relevance in the study of Fine Arts, giving special importance to its use of instruments, matrixes, and protocols. We will demonstrate how, for example, making use of equipment that has been unused for decades, or perhaps just the mere act of observing the gestures of preparatory tasks, can be relevant within a learning environment and give historical context to its inherent graphic heritage. The next stage of the program will be dedicated to discussing lithography on a national and international scale, additionally discussing its relationship with geology as well as its presence on specific buildings found around the city that to this day reveal the part it played in the transformation of the city as a whole. We intend to create a sort of experimental “mobile laboratory” that will function until we physically reach the nomadic studio that will be set up in the Marques da Silva Foundation, itself an archive dedicated to the city’s architectural and artistic legacy, where we will finally test our ability to adapt and to question how lithography can be rebuilt today. The program is comprised of a week-long intensive workshop designed to construct the necessary materials for the in situ method, to strengthen the collaborative process in artistic investigation, to allow for the use of an interdisciplinary approach in research, to deconstruct preconceived ideas related to the use of different technologies in art and, finally, to question the idea of space, of archive and the city. We designed this intensive model so it would combine these different components seamlessly, taking shape in short-term mobility exercises around the city, consulting historical archives, drawing and printing, setting up the resulting exhibition, and, finally, discussing the results to promote innovative methods of teaching and learning the art of lithography. Beyond our interest in practicing lithography in such a way that explores its historical and technical legacy in contexts both local and global, the Atelier NOMADE brings together geology, geography, architecture, illustration, and design as its main areas of research and image production. We’ve found that these areas have a deep-rooted connection with lithography, the latter having played significant roles in different points of these disciplines’ history. Geology plays a crucial part in providing us with informed notions about the physical formation of the city. We see urban geography as a dynamic background that molds human environments. Through specific case studies, the participants will examine how geography influences the distribution of urban spaces, connecting the exercises planned for the workshop with the city's physicality. Architecture is like a narrative that molds the very identity of the city. Through practical exercises and case studies, the participants will explore how buildings and urban structures reflect the historical evolution and cultural influences that contribute to the unique aesthetic of a place. Illustration and design establish the importance of artistic expression in understanding and representing the city and its multiple narratives. We will use lithography to capture the visual essence of the city and its multiple cultural and historical layers. We will explore these narrative possibilities by drawing as we move through the city and by analyzing editorial artifacts from the 19th century, contemporaneous with the development of lithography and chromolithography in our local and national context. Contact with this printed material reinforces lithography’s part in the democratization of publications and editorials, demonstrating how its use allowed for the creation of layouts in which text and image work in tandem to communicate political, commercial, and ideological content or even entertainment. We will explore the development of this graphical, reproductive, and distributive potential of printed material by analyzing newspapers and bulletins produced by Rafael Bordalo Pinheiro and Sebastião Sanhudo (1851-1901), founder of Litografia Portuguesa, a great contributor to the cultural sphere in Porto, as well as a renowned illustrator. To summarize, Atelier NOMADE: in situ lithography will attempt to provide an enriching and collaborative work week to be experienced in different places and contexts, bringing together different areas of interest that on paper might seem distant, all to create a holistic comprehension of the city of Porto through the use of lithography”. / “Atelier Nomade: in situ lithography reúne saber tecnológico, científico e artístico, em contexto laboratorial. Parte da ideia de fixação temporária num lugar assumidamente precário, como base de operações, para explorar a prática da litografia, contrapondo-a com saberes partilhados por especialistas de outros domínios e áreas do saber, como a ilustração, a geologia ou a geografia urbana. Trata-se de trazer um olhar contemporâneo sobre uma prática centenária de impressão química, isto é, a litografia, que passa pela recuperação de processos históricos e pela sua transposição para novos suportes – adotando como matéria primeira de pesquisa e de ação a seleção de documentos/objetos preservados em Arquivos. E como se trata de uma abordagem reativa, aqui se procura ampliar o sentido das experiências a proporcionar aos seus participantes, associando ao processo os contextos urbanos em que estes foram produzidos. O mesmo é dizer que se procura identificar e integrar, no decurso do processo de trabalho, os sedimentos impressos pelo tempo e pela forma que os materiais selecionados transportam consigo, a sua relação com a cidade de ontem e de hoje. Este primeiro atelier ‘nómada’, organizado no contexto de uma residência artística de Graciela Machado (i2ADS / FBAUP / FIMS) na FIMS, vai decorrer nos armazéns do edifício da Fundação Marques da Silva situado na rua Visconde de Setúbal, no Porto, entre 29 de janeiro e 2 de fevereiro 2024. Enquanto atividade inserida no programa europeu de pesquisa e inovação pedagógica, Arts and Crafts Aujourd´hui, conta com a participação de alunos, professores e investigadores de uma rede alargada de instituições e grupos de interesse: Faculdade de Belas-Artes da U.Porto, i2ADS, Pure Print Archeology, Académie Royale des Beaux Arts de Bruxelles e École Supérieur d´Art et Design de Saint-Étienne. Como especialistas convidados, estarão presentes José Brandão (HTC / NOVA/ FCSH), Gonçalo Furtado (CIEBA/FAUP) e João Garcia (FLUP). O programa, para além dos momentos oficinais e ações reparativas, inclui visitas à Faculdade de Belas Artes da U.Porto, à Biblioteca Pública e Municipal do Porto, e à sede da Fundação Marques da Silva, assim como incursões pela cidade. Os resultados das pesquisas em curso sobre a litografia serão publicamente apresentados na Exposição ‘NOMADE’ a decorrer no último dia deste Atelier, 2 de fevereiro, a partir das 16h, altura em que as portas do armazém da Rua Visconde de Setúbal irão abrir-se ao público em geral, num convite aberto a todos para descoberta do espaço e observação dos registos que têm vindo a ser produzidos no âmbito desta linha de investigação”. / (IN: https://www.researchcatalogue.net/view/2425517/2425518)   31.1.2014 Visit to FIMS: Layers: crossing the borders of visibility (with Paula Abrunhosa) “Layers: crossing the borders of visibility Visiting the spaces where the headquarters of the Marques da Silva Foundation are located involves engaging with a unique space, shaped by the architectural memory of the houses, their relationship with the city, and the history of their inhabitants. It also reflects the challenge of transforming its original domesticity into a place for an institution designed to house architectural archives, notably those of José Marques da Silva and his daughter and son-in-law, who were also architects. Born under the auspices of the University of Porto, it combines the primary function of being an archive with the mission of promoting research and disseminating the preserved collections, numbering around 40. As a project under construction and in constant expansion, it intertwines times, identities, and geographies, whose meanings and relationships go far beyond what is visible at first glance”. / FROM JURASSIC TO LITHOGRAPHY (WITH JOSÉ MANUEL BRANDÃO ). “The invention of lithography by Alois Senefelder (1771-1834) at the end of the 18th century brought new uses to the limestone exploited in some of Bavaria's quarries: a medium for artistic creation. Formed in lagoon environments with calm, hypersaline and anoxic waters at around 150 M.y. (Upper Jurassic), these limestones are compact, shock-resistant and characterised by their light grey or yellowish colours and low porosity. The slow sedimentation justifies the very fine grain (1/250 mm), which provides great surface regularity when polished, as well as the regularity of the strata, in tabular decimetric benches, which facilitate extraction in slabs of varying sizes. The most important European lithographic limestone deposit is undoubtedly Solnhofen (Bavaria), from which thousands of slabs have been shipped all over the world; however, the high commercial price of these stones was an incentive for other countries to look for limestones with similar characte- ristics, namely in Portugal. It was in this context that some small deposits of Jurassic-age limestone were discovered and exploited during the 19th century ‒ some of which were exhibited at the Crystal Palace Exhibition, London 1851 ‒, making it possible to supply some workshops”. / OPORTO IN HISTORY AND BUILDINGS BY MARQUES DA SILVA (WITH GONÇALO FURTADO ). "In this brief lecture ecture, we delve into the historical aspects of the city of Porto, the education at the Porto School, and the work of José Marques da Silva (1869-1947). In a concise introduction, we reference an article (co-authored with Ricardo Martins) that encompasses the development of the Fernandino urban core, the urban foundation of the 21st century, and the transition to the current 21st century. In the first part, we establish the connection between the city's development and that of the Porto School: the "aulas de debuxo" (1779-1803), the separation between academy and school (1833-1908), the establishment of the Polytechnic Academy (1881), as well as the Urban Improvement Plans (1784, 1877). In the 19th century, following the establishment of the Portuguese Republic (1911) and the University of Porto (1911), urban drawings and plans emerged (1913, 1915-1916, 1932, 1938-40). In terms of artistic education, a new reform stands out (1931), along with creating the 'Porto School of Fine Arts.' This coincides with Marques da Silva's leadership (1913-1939). A graduate of Paris in 1896, he was a notable draftsman and introduced new techniques and programs, being responsible for assimilating the "beaux-arts" system into the Porto School. A careful selection of 11 examples will illustrate his extensive work”. / Gonçalo Furtado holds a degree in architecture from the University of Porto, a master's degree in urban culture from the Polytechnic University of Catalonia, and a doctorate from University College London. Gonçalo Furtado researched archives at the University of Vienna, Canadian Centre for Architecture, MoMA, among others. He was a fellow of the Foundation for Science and Technology and the Luso-British Foundation, and currently teaches at the Faculty of Architecture at the University of Porto. Gonçalo Furtado has been on the editorial team for magazines such as Arqa, Unidade 5, and Nada. He is also a member of the scientific committees of international journals, including those at the University of Lublin and the University of A Coruña. Has co-organized events such as "Plugin Multiple Scale" for Experimenta Design, "O Corpo Enquadrado" at Serralves, "Tracing Portugal" at the Architectural Association in London, "Contemporary Architectural Challenges" at FAUP, and "Critical Machine" at Meetroom in Barcelona, among others. Gonçalo Furtado has delivered lectures in various European, South American, and North American countries. They are the author or co-editor of books such as "Notes on the Space of Digital Technique," "Gordon Pask: Envisaging and Evolving Environment," "Cedric Price's Generator," "A Sobrevivência da Cidade Pós-Industrial," "Escola do Porto: Notas Dispersas," etc. (IN: https://www.researchcatalogue.net/view/2425517/2425518)