clara meliande

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	<title>clara meliande</title>
	<link>https://clarameliande.com</link>
	<description>clara meliande</description>
	<pubDate>Wed, 06 Jun 2018 17:37:48 +0000</pubDate>
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		<pubDate>Wed, 06 Jun 2018 17:37:47 +0000</pubDate>

		<dc:creator>clara meliande</dc:creator>

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		<title>home</title>
				
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		<pubDate>Wed, 06 Jun 2018 17:37:48 +0000</pubDate>

		<dc:creator>clara meliande</dc:creator>

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		<description>clara meliande is a&#38;nbsp;graphic designer who experiments with different forms of research and writing, looking for new  curatorial approaches.
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		<pubDate>Wed, 06 Jun 2018 17:37:48 +0000</pubDate>

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		<description>Cargo Collective, Inc.Los Angeles, Calif.</description>
		
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		<title>São Paulo travelogue</title>
				
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		<pubDate>Wed, 15 Jan 2014 23:20:38 +0000</pubDate>

		<dc:creator>clara meliande</dc:creator>

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		<description>Artigo para a revista Disegno (nº19)
2018
Fui convidada pela Disegno para escrever um artigo em forma de travelogue sobre a comunidade de design em São Paulo (pags 97-112). Interessado em ler? Entre em https://www.disegnodaily.com/journal

O número 19 da Disegno oferece um jornalismo aprofundado e de longa duração, além de retratos, fotografia artística e reportagem inspiradoras, que fornecem uma janela para o design contemporâneo e áreas afins.Disegno Magazine (nº19)
2018I was invited by Disegno to write a Travelogue about São Paulo’s design comunity (pp 97-112). If you wanna read it, please go to https://www.disegnodaily.com/journal
Disegno #19 offers in-depth, long-form journalism and critical writing, as well as inspiring portraiture, arts photography and reportage, all of which provide a window onto contemporary design and surrounding fields.

 
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		<title>Editora temporária (2)</title>
				
		<link>https://clarameliande.com/Editora-temporaria-2</link>

		<pubDate>Fri, 23 Dec 2016 23:05:17 +0000</pubDate>

		<dc:creator>clara meliande</dc:creator>

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		<description>Editora temporária, segunda edição, 2017. Premiado com o Rumos Itau Cultural.&#38;nbsp;
Editora temporária é um projeto de ocupação que propõe o encontro entre pessoas interessadas em pensar publicações de pequenas tiragens com temas relacionados à cidade e sua vivência. Através de uma chamada pública selecionamos projetos para serem desenvolvidos e transformados em livros em aproximadamente três meses. O tema da segunda edição foi a mudança urbana pela qual o Rio de Janeiro passou recentemente devido aos grandes eventos que abrigou.
Os designers Ana Costa, Tatiana Podlubny e Thiago Lacaz participaram conosco da difícil tarefa de escolher 3 dentre 117 pesquisas de pessoas entre 12 e 70 anos, vindas de diversos cantos do país.

O livro “De quem te protege a muralha?”, do historiador e escritor Thiago Florencio, é uma proposta de deriva pela região central do Rio de Janeiro. Ele fala sobre uma grande muralha, que mesmo de curta sobrevivência, e cuja construção não tenha sido totalmente concluída, existiu na cidade do Rio de Janeiro. Em seu projeto original de 1714 ela deveria atravessar a cidade desde o pé do Morro do Castelo, margeando a atual Rua Uruguaiana, passar por cima do Morro da Conceição até findar no Largo da Prainha, nos arredores da atual Praça Mauá. Por meio de uma caminhada, marcada por encontros e descobertas, refizemos o trajeto da muralha, entendendo o que era o dentro e o fora da cidade, o que era margem e o que era centro. A encadernação do livro reforça a ideia de 2 lados, dentro e fora, estabelecido e marginalizado, por ter páginas costuradas dobradas, que só são visíveis se o leitor as abrir lateralmente.

“Zonzo: investigadores urbanos” nasceu a partir de um convite a 28 crianças de 09 a 13 anos residentes na Favela da Babilônia, para narrar, mapear e reconstruir coletivamente o espaço onde moram. Juntas com a arquiteta Julia Sant’Anna e a estudante de direito Carolina Movilla, as crianças brincaram, observaram, identificaram, desenharam e reconheceram seu território, seus deveres e direitos, e tornaram-se investigadoras urbanas. O livro convida outras crianças, através dos registros desses meninos e meninas, a zanzarem pela cidade como exercício para entender de onde vêm, quais são suas referências, conhecer seu entorno, sonhar e reivindicar o lugar onde querem viver. O livro é recheado de propostas de investigação e descobrimento partindo da casa, da rua, do bairro até a cidade. Uma publicação sobre mapeamento e urbanismo de crianças para crianças.

“Mobilidade Performativa”, de Elilson Nascimento, propõe através da realização de performances em ruas e em transportes coletivos, colocar em trânsito as transformações na cidade do Rio de Janeiro. O trabalho expõe relações teóricas entre mobilidade urbana e arte da performance, enquanto narra transformações pontuais ocasionadas pelo próprio ato performático no cotidiano da cidade.

Fizemos uma exposição com o processo de desenvolvimento dos 3 livros no Centro Carioca de Design. Fizemos linhas do tempo com os rastros, vestígios, experimentos e testes das publicações.


Temporary Publisher, Second Edition, 2017. The project was contemplated by the Rumos Itaú Cultural award.
Temporary Publisher is an occupation project that allows for the encounter between people interested in thinking short-run publications with themes related to the city and its experience. Through a public call, we selected some projects to be developed and transformed into books in approximately three months. The theme of this second edition was the urban transformation that Rio de Janeiro has recently gone through for the major events hosted by the city.
The designers Ana Costa, Tatiana Podlubny and Thiago Lacaz participated with us in the difficult task of selecting 3 of the of 117 research projects from people ranging from 12 to 70 years old, from various parts of the country.
The historian and writer Thiago Florencio's book "Who Protects You from the Wall?" is an invitation to drift through the central region of Rio de Janeiro. He tells us about a great wall that, albeit not having lasted long nor having been fully completed, existed in the city of Rio de Janeiro. In its original 1714 project, it was supposed to run across the city from the foot of Morro do Castelo, bordering the current Uruguaiana Street, going over Morro da Conceição until it reached Largo da Prainha, in the surroundings of the current Praça Mauá. Through a walk, marked by encounters and discoveries, we retraced the path of the wall, understanding what was inside and outside the city, what was marginal and what was central. The binding of the book reinforces the idea of two sides, in and out, established and marginalized, by having its sewn pages folded, only becoming visible if the reader opens them sideways.
"Zonzo: urban researchers" was born from an invitation to 28 children from 9 to 13 years old, living in Favela da Babilônia (Babilonia Slum), to collectively narrate, map and reconstruct the space where they live. Together with the architect Julia Sant'Anna and the Law student Carolina Movilla, the children played, observed, identified, designed and recognized their territory, their duties and rights, and became urban researchers. The book invites other children, through the records of these boys and girls, to wander around the city as an exercise to understand where they come from and what their references are, to get to know their surroundings, to dream and claim their right to the place where they want to live. The book is filled with research and discovery proposals starting from each house, street and neighborhood to the city. A publication on mapping and urbanism from children to children.
Elilson Nascimento's "Performative Mobility" proposes to set in transit the transformations in the city of Rio de Janeiro, through performances in the streets and in public transport. His work exposes theoretical relations between urban mobility and performance art, while narrating specific transformations caused by the performance act itself in the city's daily life.
We made an exhibition showcasing the development process of the 3 books at Centro Carioca de Design (Carioca Design Center), as well as timelines with its traces, vestiges, experiments and publications tests.


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	De quem te protege a muralha? /&#38;nbsp;Who Protects You from the Wall? (Thiago Florencio)


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	Por uma mobilidade performativa /&#38;nbsp;Performative Mobility (Elilson)


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Zonzo: investigadores urbanos / Zonzo: urban researchers (Julia Sant’Anna &#38;amp; Carolina Movilla)


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		<title>As everything moves</title>
				
		<link>https://clarameliande.com/As-everything-moves</link>

		<pubDate>Fri, 17 Jan 2014 13:57:51 +0000</pubDate>

		<dc:creator>clara meliande</dc:creator>

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		<description>
	Exposição e publicação desenvolvidas como curadora residente no programa de 3 meses do Node Center for Curatorial Studies, Berlim.

Exposição: Dezembro de 2013
Meinblau e.V. (Christinenstr. 18/19, 10119), Berlim

O objetivo da exposição foi enfatizar o papel do curador como tradutor, explorando como uma mudança de abordagem pode revelar e ampliar as camadas de significação entre as obras de arte. Em seu sentido mais básico, uma tradução é a conversão de algo em uma linguagem para outra. O resultado deve manter a essência do original mas inevitavelmente, ganha uma vida própria.

O processo de traduzir implica múltiplas leituras do mesmo assunto, objeto ou conceito. Essa noção pode ser transferida para o campo da arte: envolve ações de repetição, desconstrução, reconfiguração e sistematização. Cada um desses aspectos aparece dentro das práticas dos cinco artistas dessa exposição: Andrea Canepa (PE), Saskia Noor van Imhoff (NL), Jacob Kirkegaard (DK), Maria Lucrezia Schiavarelli (IT) and Sam Smith (AU). Objetos não artísticos relacionados aos aspectos foram adicionados no espaço para agir como sugestões de abordagens, destacando diferentes aspectos das práticas artísticas presentes.


	Exhibition and publication by Node Resident Curators, Autumn 2013
Node Center for Curatorial Studies, Berlin
Exhibition: December, 2013At: Meinblau e.V. Christinenstr. 18/19, 10119 Berlin
This exhibition intends to stress the role of the curator as translator by exploring how a shift of approach can uncover and expand the layers within artworks. In its most basic sense, translation is the conversion of something from one language to another. The translated outcome attempts to maintain the essence of the original, yet inevitably takes on a life of its own. 
The process of translation implies multiple readings of the same subject, object or concept. This notion is transferable to the art field: it involves actions of repetition, deconstruction, reconfiguration and systematization. Each of these topics recurs within the practice of the five artists in the exhibition: Andrea Canepa (PE), Saskia Noor van Imhoff (NL), Jacob Kirkegaard (DK), Maria Lucrezia Schiavarelli (IT) and Sam Smith (AU). Non-art objects related to each topic will act as positions from which to approach the works, highlighting different aspects within each artist’s practice.


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		<title>Writing about design</title>
				
		<link>https://clarameliande.com/Writing-about-design</link>

		<pubDate>Sat, 24 Dec 2016 01:20:57 +0000</pubDate>

		<dc:creator>clara meliande</dc:creator>

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		<description>Eu tive a oportunidade e o prazer de participar do&#38;nbsp;SVA Design Writing and Research Summer Intensive. Foi uma experiência incrível para experimentar diferentes métodos de pesquisa e formatos de escrita. A proposta feita por&#38;nbsp;Adam Harrison Levy era criar uma narrativa a partir de uma imagem tirada pelo legendário fotógrafo novaiorquino&#38;nbsp;Weegee. Fui presenteada com a imagem do balão de papai Noel sendo inflado para a parada do dia de ação de graças promovida pela loja de departamento&#38;nbsp;Macy‘s. Eu gostaria de dividir essa história de Natal.

Esse texto foi originalmente escrito em inglês, não foi traduzido para português.I had the pleasure to be part of the SVA Design Writing and Research Summer Intensive. It was a amazing opportunity to experiment with different research methods and writing formats. Adam Harrison Levy's assignment was to create a narrative story inspired by pictures of the legendary photographer Weegee. The picture that was given to me was the Macy's Thanksgiving Day Parade Santa Claus ballon. I would like to share with you this Christmas Story.


The photographer known for his tight close-ups of arrested criminals, celebrities or everyday new yorkers, usually looks his subjects directly in the eye. Here he trains his camera on a character that can’t look at him. He is laid on the floor and has bulging eyes but he is not dead, actually he is waking up in the early morning. Forty-five foot high, he is the super hero of the holiday season: the floating Santa balloon in the 1940 annual Thanksgiving Day Parade of R. H. Macy’s in Midtown Manhattan.

In the summer of 1940, Weegee was hired by the New York daily newspaper PM. Along with his more typical photos of crime scenes, he also used to take pictures of the city. He was asked to deliver stories about common people, looking for what they used to do during their free time and on holidays. The Thanksgiving Parade balloons were inflated early in the morning and the photographer had a special interest in them, shooting other characters such as clowns and animals. The Santa balloon was a familiar figure at the parade and stood together with the live flesh and blood version of Santa Claus, known for climbing the Macy’s storefront. The gigantic figure was designed in 1939 by the puppeteer and illustrator Tony Sarg and was the biggest balloon at the time. The picture was taken in November 21, 1940. While 12 men, 8000 cubic meters of helium gas, 150 cubic feet of protecting canvas and a vacuum cleaner were combining efforts during two hours to bring Santa Claus to life, Weegee couldn’t know that he was witnessing the Santa balloon’s last appearance.

In the next years the helium-filled reproduction of Santa Claus would not be there again. In 1941 Santa would lead the procession of seven big balloons, but collapsed just before the start of the parade and had to be carted off in a truck. Fifty thousand spectators at the 106th Street were disappointed while Santa deflated in front of their eyes. In the year of 1942 the president of Macy’s, Jack I. Straus, in a patriotic movement, announced that the department store would not hold the parade that year because of war efforts and a shortage of rubber and helium. The waste of gasoline and the required service of 3000 policeman also were considered in this decision. In a ceremony held on the City Hall seven giant balloons were donated to the government’s rubber scrap adding 650 pounds to the pile to be converted to rubber for tanks and planes. Superman, a reluctant dragon, a clown, a goldfish, a pink dumbo, a football player (which some people suspected was the superman of 1940 repainted) and Santa Claus were sacrificed. As a farewell, the dragon was inflated with air for the last time in order to be punched by a new specimen of Saint George: the Mayor of New York La Guardia. In the next 2 years, Macy’s kept the decision to eliminate the parade.

1945 brought a reason to celebrate. Hope was back into the air and so were the balloons. With the end of the war, Goodyear was again able to produce for the department store the giant flying characters. Not anymore with the unique design made famous by Tony Sarg, as he died in 1942. A new era was coming. The balloons were enlisted to the war but they managed to return to the enlightenment of the city, for the joy of Macy’s marketing team and the good of the sales.
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	<item>
		<title>SVA Design Writing and Research, Summer Residency (DxCRIT)</title>
				
		<link>https://clarameliande.com/SVA-Design-Writing-and-Research-Summer-Residency-DxCRIT</link>

		<pubDate>Fri, 27 Jun 2014 14:36:55 +0000</pubDate>

		<dc:creator>clara meliande</dc:creator>

		<guid isPermaLink="true">https://clarameliande.com/SVA-Design-Writing-and-Research-Summer-Residency-DxCRIT</guid>

		<description>Platform Project
2014

Publicação colaborativa dos 22 participantes do curso de verão do SVA Design and Research. Coordenada por&#38;nbsp;Mimi Zeiger e design de&#38;nbsp;Neil Donnelly.
Em duas semanas os participantes visitaram 4 espaços da cidade de Nova York:&#38;nbsp;MoMA/ Folk Art Museum, Penn Station/Madison Square Garden, Domino Sugar Factory no Brooklyn e o New York State Pavilion no Queens. Operando em diversas escalas, esses locais fomentam debates públicos sobre seus usos. Em cada um dos lugares, os grupos de alunos descobriram suas auras, investigando seus contextos e seus significados culturais. Algumas questões surgiram: o que faz um lugar? O que move nossa obscessão por preservação? Quando ela se torna abuso? Como nosso futuro parecia olhando do passado?

Os participantes colocaram essas questões via Twitter entre 2 e 13 de junho de 2014, abrindo espaço para conversa. A publicação capture o rastro desse diálogo.

Platform Project 2014
Collaborative publication authored by twenty-one Summer Residency participants, with Mimi Zeiger and design by Neil Donnelly. 
Over the course of two weeks, program participants visited four sites in New York City: MoMA/ Folk Art Museum, Penn Station/Madison Square Garden, Domino Sugar Factory in Brooklyn, and the New York State Pavilion in Queens. Operating across several scales, these sites spark public debate. At each location, teams sought out the aura of the place, investigating and researching cultural and contextual significances. Questions arose: What makes a place? What fuels our obsession with preservation? When does use become abuse? What did our future look like from the past?
Project participants engaged these questions via Twitter from June 2–13, 2014, opening up a space for conversation. This publication captures a trace of their dialogue.


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	<item>
		<title>Escola Aberta</title>
				
		<link>https://clarameliande.com/Escola-Aberta</link>

		<pubDate>Fri, 17 Jan 2014 11:04:32 +0000</pubDate>

		<dc:creator>clara meliande</dc:creator>

		<guid isPermaLink="true">https://clarameliande.com/Escola-Aberta</guid>

		<description>Escola Aberta, 2012
http://www.escola-aberta-rio.com


Escola Aberta foi uma escola de design temporária montada no Rio de Janeiro. O projeto reuniu cerca de 40 professores e alunos da Gerrit Rietveld Academie (Amsterdam) para conduzir uma semana de workshops, com a intenção de discutir maneiras de ensino e aprendizado em arte e design e estabelecer um intercâmbio de idéias com o Brasil. 50 brasileiros, estudantes, designers, artistas foram selecionados para participar dessa experiência, de forma gratuita.  O programa foi desenvolvido em torno das questões: o que uma escola de arte e design deve ensinar e o que faz uma escola ser uma escola?
Nós tentamos levantar mais questões do que  buscar respostas, procurando discutir os modelos das escolas de arte e alternativas para formatos tradicionais. O processo de seleção não analisou portfólios ou experiência dos candidatos. Nós apenas pedíamos que eles respondessem a três perguntas: 
1. "Quem é você?"; 2. "O que você gostaria de aprender?"; 3. "O que você tem a ensinar?".
Foram 17 atividades em uma semana, incluindo uma variedade grande de aulas, uma biblioteca temporária, sessões de cinema (sobre os primeiros filmes de diretores famosos), talk-shows, a criação de um museu, debates, etc.
Algumas das atividades eram abertas ao púbico em geral e acreditamos que aproximadamente 500 pessoas visitaram a Escola Aberta.
O projeto contou com o patrocínio da Central de Cultura (Mondriaan Fund) e do Pró-Design, programa de fomento do Instituto Rio Patrimônio da Humanidade, da Prefeitura da CIdade do Rio de Janeiro.
Escola Aberta, 2012
http://www.escola-aberta-rio.com


Escola Aberta was a temporary design school based in Rio de Janeiro. The project brought 40 teachers and students from the Gerrit Rietveld Academie (Amsterdam) to conduct a week of workshops, aiming to ignite a discussion on ways of teaching and learning and to establish an exchange of ideas with Brazil. 50 brazilian students and designers were selected to this experience, free of charge. Some of the topics that were developed were “what a school of art and design should teach?”, “what makes a school?”.We tried to raise more questions than answer in order to discuss the models of the art schools, trying to create alternatives to traditional formats. The selection procedure didn’t evaluate portfolios or previous experience. We just asked 3 questions: 1. ‘Who are you?’; 2. ‘What do you wanna learn?’; 3. ‘What you could teach?’. We had 17 activities in one week, including a variety of classes, a temporary library, film sessions (about first film of famous directors), talk-shows, the creation of a museum, debates, etc. Some activities were open to the general public. We believe that a sum of 500 people visit the Escola Aberta. We were sponsored by Central de Cultura (Mondriaan Fund) and Pró-Design, a funding program recently initiated by the city of Rio’s Design and Architecture Secretary.


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</description>
		
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	<item>
		<title>Editora temporaria (1)</title>
				
		<link>https://clarameliande.com/Editora-temporaria-1</link>

		<pubDate>Wed, 15 Jan 2014 17:15:50 +0000</pubDate>

		<dc:creator>clara meliande</dc:creator>

		<guid isPermaLink="true">https://clarameliande.com/Editora-temporaria-1</guid>

		<description>Editora temporária, primeira edição, 2013
Premiado no Pró-Design, programa de fomento do Instituto Rio Patrimônio da Humanidade, Prefeitura da Cidade do Rio de Janeiro.&#38;nbsp;Iniciativa própria em parceria com Tania Grillo.
A editora temporária é um projeto de edição de livros que produzam pensamento sobre design e cidade, propondo, ao mesmo tempo, discursos e reflexões sobre como costumamos fazer publicações. Ocupamos o Centro Carioca de Design com uma estrutura temporária de editora, com o objetivo de editar e gerar a produção de 4 livros impressos de baixa tiragem a partir de pesquisas selecionadas através de uma chamada pública.

Em sua primeira edição, a Editora Temporária se dedicou a explorar os grandes temas das cidades: planejamento e caos, mudanças e memórias, vestígios e esquecimentos, mapeamentos e circulações, usos públicos e privados, interferências urbanas, etc.

A-125
Autoras: Juliana Borzino e Juliana Frontin / Designer: Miguel Nóbrega

Livro-coleção de série de postais produzidos através da transformação analógica de escritos e fotografias encontrados em diversas partes da cidade. São fotografias antigas com as imagens desvanecendo aos poucos. O processo de impressão do livro busca reforçar essa transformação das fotografias com o uso de objetos de impressão analógicos – carimbo, fotocopiadora, solvente para tintas, máquina de escrever e duplicadora – para reproduzir as imagens da frente e anotações do verso. O processo analógico traz perdas de informação por um lado e ganhos de ruídos por outro, que, por sua vez, transformam as imagens em algo novo, desvinculado de seu original. Essas fotografias e escritos foram reunidos no livro ao acaso e formam uma coleção devido a sua condição de transformação e reprodução, mas, ao mesmo tempo, o formato de postal estimula que essa coleção se disperse novamente.
Cidade-andaime: estruturas transitórias na cidade contemporânea
Autor: Pedro Évora / Designer: Luiz Arbex

Uma investigação sobre o papel das estruturas arquitetônicas transitórias que, por sua adaptação e flexibilidade às condicionantes que atuam na cidade, tornaram-se indissociáveis do metabolismo da urbe. Mas como seria então caso tais estruturas não existissem? E ainda, como será quando os andaimes ou as escoras forem a própria arquitetura ﬁnal? O projeto gráfico de Luiz Arbex procura evidenciar o tema da transitoriedade presente na pesquisa, e na própria condição de sua publicação em uma editora temporária, por meio de um layout e uma encadernação que não se apresentam fixos, definitivos. Ao contrário da tradição livresca da permanência e da linearidade, a proposta se aventura na investigação de outras dinâmicas de leitura e fruição do livro impresso.

Caderno de Observações ou Coreografias do Cotidiano
Autora: Emika Takaki / Designer: Tania Grillo

Um caderno-livro-mapa sobre o movimento do corpo na cidade. Fragmentos e alguma poesia de observação do movimento das pessoas na cidade do Rio de Janeiro. Através de percepções compartilhadas entre a autora e a designer, o livro foi desenvolvido para novas possíveis percepções do movimento do corpo na cidade: caminhar à deriva, aleatoriamente, sem um objetivo além do próprio caminhar e observar a cidade. Mapas, textos e imagens se intercalam, conversam, se interrompem.... E o leitor/performer escolhe por onde continuar. Faz parte do jogo ser observado no ambiente urbano, sentir-se vulnerável, deixar-se perder para encontrar respostas que antes talvez estivessem ocultas no caminhar cotidiano, inconsciente e coreográfico. O material utilizado levou em consideração os fragmentos da tese de doutorado da autora e seus vídeos de observação do movimento das pessoas na cidade.
Editora temporária: processo impresso
Autora e Designer: Clara Meliande

O livro registra a feitura dos outros 3 livros - “A-125”, “Cadernos de Observações ou Coreografias do Cotidiano” e “Cidade-andaime: estruturas transitórias na cidade contemporânea”, através do recolhimento e edição de rastros dos processos. Foram coletados estudos de layout, material original das pesquisas, experiências de impressão e desenhos esquemáticos. Foi pedido também que cada autor, junto com o designer, escrevesse um texto sobre &#38;nbsp;o processo de fazer o livro.
Editora temporária, first edition, 2013


The project was contemplated by an award from Pro-Design, an impulse program of Instituto Rio Patrimônio da Humanidade (Rio Patrimony of Humanity Institute), Rio de Janeiro City Hall.&#38;nbsp;Personal initiative in collaboration with Tania Grillo.


Temporary Publisher is a project for publishing books that foster thought on design and the city, while also proposing reflections and discussions on the theme of how we normally make publications. We occupied Centro Carioca de Design (Carioca Design Center) with a temporary publisher structure, with the objective of editing and generating the production of 4 short-run printed books from 4 research projects, selected through a public call.


In its first edition, Editora Temporária was dedicated to exploring some of the great themes of cities: planning and chaos, changes and memories, traces and lapses, mappings and circulations, public and private uses, urban interferences, etc.


A-125

Authors: Juliana Borzino and Juliana Frontin / Designer: Miguel Nóbrega


A book-series collection of postcards produced through the analogical transformation of writings and photographs found in different parts of the city. They were old photographs, with gradually fading images. The book's printing process seeks to reinforce this transformation of photographs with the use of analogical printing objects – stamps, photocopy machines, ink solvents, typewriters and duplicators – to reproduce the front images and the notes on the back. The analogical process causes, on the one hand, loss of information, and on the other hand the acquisition of a certain 'noise', which, in turn, transforms the images into something new, unrelated to its original version. These photographs and writings were randomly put together in the book and form a collection due to their common condition of having been transformed and reproduced; at the same time, however, the postcard format prompts this collection to be once again dispersed.


Scaffold-city: transitional structures in the contemporary city
Author: Pedro Évora / Designer: Luiz Arbex
An investigation into the role of transitional architectural structures that, due to their adaptation and flexibility to conditioning situations that act out in the city, became inseparable from the town’s metabolism. But then, what would it be like if such structures did not exist? And moreover, what will it be like when the scaffolding or the supports become themselves the final architecture? Luiz Arbex’s graphic project seeks to highlight the transience theme present in the research, and in the very condition of its publication by a temporary publishing house, through a layout and binding that are not fixed or definite. Unlike the bookish tradition of permanence and linearity, the proposal ventures into the investigation of other enjoyment and reading dynamics of the printed book.


Observation Notebook or Choreographies of Daily Life 

Author: Emika Takaki / Designer: Tania Grillo

A notebook-book-map about the movement of bodies in the city. A few fragments and some observation poetry on people's movement in the city of Rio de Janeiro. Through shared perceptions between the author and the designer, the book was developed for new possibilities of perceiving the movement of bodies around the city: walking adrift, randomly, without a goal other than just walking and observing the city. Maps, texts and images are interspersed, conversed, interrupted... And the reader/performer chooses what way to continue. It's part of the game to be observed in the urban environment, to feel vulnerable, to lose oneself in order to find answers that may have been hidden in the everyday unconscious and choreographic walking. The work’s material gathered fragments of the author’s PhD thesis and her observation videos of people getting around in the city.


Temporary Publisher: Printed Process

Author and Designer: Clara Meliande

The book records the making process of the other three books - "A-125", "Observation Notebooks or Choreographies of Daily Life" and "Scaffold-City: Transitional Structures in the Contemporary City", by collecting and editing traces of each process. Layout studies, original research material, print experiments and schematic drawings were collected. It was also requested that each author, together with the designer, write a text about the making of the book.


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A125
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Cidade Andaime
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Caderno de Observações
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Processo Impresso
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