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‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

‘Debates on the implications of AI on design have softened over time, pushing the idea of an inevitable complement to—not a replacement of—the designer, together with access to a set of tools that can speed up design production and free designers from repetitive and easily predictable (and therefore more easily replicable) tasks. However, these tend to attach the design discipline to that of a technical endeavour under the umbrella of creativity, at the expense of bluntly making it a political project. The past was political and futures are too.’ Graphic Design (Education) After AI is the title of a two-part essay on the futures of graphic design.
—
95 x 148 mm, 96pp, softcover
Published by @stolenbooks. Available at @materia_prima_porto. Thanks to @dellilusofona.
Link to order: https://materiaprima.pt/detail.php?id=77496

🚩Já temos nova data para a conversa “Uma Outra Escola”: 12 de Outubro, às 17:00h, no novo espaço do Canal 180 na Rua Miguel Bombarda.

O livro “A Escola Infinita” serve de mote para uma conversa mais alargada sobre os temas do ensino e dos modelos alternativos de educação e de aprendizagem colectiva que tomam forma em contextos institucionais, auto-organizados e de formação técnica. Os processos de aprendizagem podem acontecer de diversas formas e em diversos lugares mas a sua função social é transversal e é por isso fundamental procurar debater perspectivas e abordagens que ajudem a pensar e criar modelos mais comprometidos, inclusivos, participativos e horizontais. 

Painel: Alice Bernardo, Eva Gonçalves, Francisco Laranjo e Susana Gaudêncio
Moderação: Luís Camanho
12 de Outubro (Sábado) às 17:00h
Canal 180, Rua Miguel Bombarda 425, 4050-378 Porto

1 - School of the Alternative, Carolina do Norte. s.d. ©SoTA
2 - Aula de Fotografia, Black Mountain College, Carolina do Norte. 1944. ©Barbara Morgan / Western Regional Archives, State Archives of North Carolina
3 - Pena Ventosa, Porto. 1977. ©Elvira Leite/Coleção Faculdade de Belas Artes Universidade do Porto
4 - M. Paul Friedberg, Riis Park Plaza, Nova Iorque. 1965. © Modern Records Centre and the Lady Allen of Hurtwood papers, University of Warwick, Coventry UK

“Uma Outra Escola” é organizada pela Vai Vem com o apoio da Matéria-Prima e do Canal 180.

@aalicebernardo @yayeva @sharedinstitute @sgaudencio @materia_prima_porto @canal180 #editora #conversa #ensino #educacao #design #arte #arquitectura #oficios #escolaalternativa #escola

🚩Já temos nova data para a conversa “Uma Outra Escola”: 12 de Outubro, às 17:00h, no novo espaço do Canal 180 na Rua Miguel Bombarda.

O livro “A Escola Infinita” serve de mote para uma conversa mais alargada sobre os temas do ensino e dos modelos alternativos de educação e de aprendizagem colectiva que tomam forma em contextos institucionais, auto-organizados e de formação técnica. Os processos de aprendizagem podem acontecer de diversas formas e em diversos lugares mas a sua função social é transversal e é por isso fundamental procurar debater perspectivas e abordagens que ajudem a pensar e criar modelos mais comprometidos, inclusivos, participativos e horizontais. 

Painel: Alice Bernardo, Eva Gonçalves, Francisco Laranjo e Susana Gaudêncio
Moderação: Luís Camanho
12 de Outubro (Sábado) às 17:00h
Canal 180, Rua Miguel Bombarda 425, 4050-378 Porto

1 - School of the Alternative, Carolina do Norte. s.d. ©SoTA
2 - Aula de Fotografia, Black Mountain College, Carolina do Norte. 1944. ©Barbara Morgan / Western Regional Archives, State Archives of North Carolina
3 - Pena Ventosa, Porto. 1977. ©Elvira Leite/Coleção Faculdade de Belas Artes Universidade do Porto
4 - M. Paul Friedberg, Riis Park Plaza, Nova Iorque. 1965. © Modern Records Centre and the Lady Allen of Hurtwood papers, University of Warwick, Coventry UK

“Uma Outra Escola” é organizada pela Vai Vem com o apoio da Matéria-Prima e do Canal 180.

@aalicebernardo @yayeva @sharedinstitute @sgaudencio @materia_prima_porto @canal180 #editora #conversa #ensino #educacao #design #arte #arquitectura #oficios #escolaalternativa #escola

🚩Já temos nova data para a conversa “Uma Outra Escola”: 12 de Outubro, às 17:00h, no novo espaço do Canal 180 na Rua Miguel Bombarda.

O livro “A Escola Infinita” serve de mote para uma conversa mais alargada sobre os temas do ensino e dos modelos alternativos de educação e de aprendizagem colectiva que tomam forma em contextos institucionais, auto-organizados e de formação técnica. Os processos de aprendizagem podem acontecer de diversas formas e em diversos lugares mas a sua função social é transversal e é por isso fundamental procurar debater perspectivas e abordagens que ajudem a pensar e criar modelos mais comprometidos, inclusivos, participativos e horizontais. 

Painel: Alice Bernardo, Eva Gonçalves, Francisco Laranjo e Susana Gaudêncio
Moderação: Luís Camanho
12 de Outubro (Sábado) às 17:00h
Canal 180, Rua Miguel Bombarda 425, 4050-378 Porto

1 - School of the Alternative, Carolina do Norte. s.d. ©SoTA
2 - Aula de Fotografia, Black Mountain College, Carolina do Norte. 1944. ©Barbara Morgan / Western Regional Archives, State Archives of North Carolina
3 - Pena Ventosa, Porto. 1977. ©Elvira Leite/Coleção Faculdade de Belas Artes Universidade do Porto
4 - M. Paul Friedberg, Riis Park Plaza, Nova Iorque. 1965. © Modern Records Centre and the Lady Allen of Hurtwood papers, University of Warwick, Coventry UK

“Uma Outra Escola” é organizada pela Vai Vem com o apoio da Matéria-Prima e do Canal 180.

@aalicebernardo @yayeva @sharedinstitute @sgaudencio @materia_prima_porto @canal180 #editora #conversa #ensino #educacao #design #arte #arquitectura #oficios #escolaalternativa #escola

🚩Já temos nova data para a conversa “Uma Outra Escola”: 12 de Outubro, às 17:00h, no novo espaço do Canal 180 na Rua Miguel Bombarda.

O livro “A Escola Infinita” serve de mote para uma conversa mais alargada sobre os temas do ensino e dos modelos alternativos de educação e de aprendizagem colectiva que tomam forma em contextos institucionais, auto-organizados e de formação técnica. Os processos de aprendizagem podem acontecer de diversas formas e em diversos lugares mas a sua função social é transversal e é por isso fundamental procurar debater perspectivas e abordagens que ajudem a pensar e criar modelos mais comprometidos, inclusivos, participativos e horizontais. 

Painel: Alice Bernardo, Eva Gonçalves, Francisco Laranjo e Susana Gaudêncio
Moderação: Luís Camanho
12 de Outubro (Sábado) às 17:00h
Canal 180, Rua Miguel Bombarda 425, 4050-378 Porto

1 - School of the Alternative, Carolina do Norte. s.d. ©SoTA
2 - Aula de Fotografia, Black Mountain College, Carolina do Norte. 1944. ©Barbara Morgan / Western Regional Archives, State Archives of North Carolina
3 - Pena Ventosa, Porto. 1977. ©Elvira Leite/Coleção Faculdade de Belas Artes Universidade do Porto
4 - M. Paul Friedberg, Riis Park Plaza, Nova Iorque. 1965. © Modern Records Centre and the Lady Allen of Hurtwood papers, University of Warwick, Coventry UK

“Uma Outra Escola” é organizada pela Vai Vem com o apoio da Matéria-Prima e do Canal 180.

@aalicebernardo @yayeva @sharedinstitute @sgaudencio @materia_prima_porto @canal180 #editora #conversa #ensino #educacao #design #arte #arquitectura #oficios #escolaalternativa #escola

🚩Já temos nova data para a conversa “Uma Outra Escola”: 12 de Outubro, às 17:00h, no novo espaço do Canal 180 na Rua Miguel Bombarda.

O livro “A Escola Infinita” serve de mote para uma conversa mais alargada sobre os temas do ensino e dos modelos alternativos de educação e de aprendizagem colectiva que tomam forma em contextos institucionais, auto-organizados e de formação técnica. Os processos de aprendizagem podem acontecer de diversas formas e em diversos lugares mas a sua função social é transversal e é por isso fundamental procurar debater perspectivas e abordagens que ajudem a pensar e criar modelos mais comprometidos, inclusivos, participativos e horizontais. 

Painel: Alice Bernardo, Eva Gonçalves, Francisco Laranjo e Susana Gaudêncio
Moderação: Luís Camanho
12 de Outubro (Sábado) às 17:00h
Canal 180, Rua Miguel Bombarda 425, 4050-378 Porto

1 - School of the Alternative, Carolina do Norte. s.d. ©SoTA
2 - Aula de Fotografia, Black Mountain College, Carolina do Norte. 1944. ©Barbara Morgan / Western Regional Archives, State Archives of North Carolina
3 - Pena Ventosa, Porto. 1977. ©Elvira Leite/Coleção Faculdade de Belas Artes Universidade do Porto
4 - M. Paul Friedberg, Riis Park Plaza, Nova Iorque. 1965. © Modern Records Centre and the Lady Allen of Hurtwood papers, University of Warwick, Coventry UK

“Uma Outra Escola” é organizada pela Vai Vem com o apoio da Matéria-Prima e do Canal 180.

@aalicebernardo @yayeva @sharedinstitute @sgaudencio @materia_prima_porto @canal180 #editora #conversa #ensino #educacao #design #arte #arquitectura #oficios #escolaalternativa #escola

Research, writing and design for @teatronacionalsaojoao, now available as an ebook with the title ’Teatro Visual: 100 Anos de Objectos Gráfico’ (in Portuguese). Photos: João Tuna, Costa Mendes, João Faria, Drop and Shared Institute. Many thanks for the invaluable editorial support from the TNSJ and the restless cooperation of its Documentation Centre. Thank you also to all the designers who generously shared their experience and insight.
—
After being completely destroyed in a fire in 1908, the current building of the São João National Theatre was inaugurated in 1920, designed by the Portuguese architect José Marques da Silva. As a consequence, the oldest object in the archive is now a libretto of The Capulets and the Montagues from 1835, played on the “Royal Theatre of São João of the City of Porto.” Despite the irreparable loss of objects with more than two hundred years of history, the archive still allows a fascinating design journey through the history of the city and the country, highlighting an alternative and distinctive way of presenting itself visually. This historic institution has gained autonomy, maturity and confidence in its contribution to the city’s visual culture and society at large. This is a great compliment to a discipline invariably seen as purely utilitarian, but that in the São João National Theatre finds a singular case-study: a relevant example of public service.

Research, writing and design for @teatronacionalsaojoao, now available as an ebook with the title ’Teatro Visual: 100 Anos de Objectos Gráfico’ (in Portuguese). Photos: João Tuna, Costa Mendes, João Faria, Drop and Shared Institute. Many thanks for the invaluable editorial support from the TNSJ and the restless cooperation of its Documentation Centre. Thank you also to all the designers who generously shared their experience and insight.
—
After being completely destroyed in a fire in 1908, the current building of the São João National Theatre was inaugurated in 1920, designed by the Portuguese architect José Marques da Silva. As a consequence, the oldest object in the archive is now a libretto of The Capulets and the Montagues from 1835, played on the “Royal Theatre of São João of the City of Porto.” Despite the irreparable loss of objects with more than two hundred years of history, the archive still allows a fascinating design journey through the history of the city and the country, highlighting an alternative and distinctive way of presenting itself visually. This historic institution has gained autonomy, maturity and confidence in its contribution to the city’s visual culture and society at large. This is a great compliment to a discipline invariably seen as purely utilitarian, but that in the São João National Theatre finds a singular case-study: a relevant example of public service.

Research, writing and design for @teatronacionalsaojoao, now available as an ebook with the title ’Teatro Visual: 100 Anos de Objectos Gráfico’ (in Portuguese). Photos: João Tuna, Costa Mendes, João Faria, Drop and Shared Institute. Many thanks for the invaluable editorial support from the TNSJ and the restless cooperation of its Documentation Centre. Thank you also to all the designers who generously shared their experience and insight.
—
After being completely destroyed in a fire in 1908, the current building of the São João National Theatre was inaugurated in 1920, designed by the Portuguese architect José Marques da Silva. As a consequence, the oldest object in the archive is now a libretto of The Capulets and the Montagues from 1835, played on the “Royal Theatre of São João of the City of Porto.” Despite the irreparable loss of objects with more than two hundred years of history, the archive still allows a fascinating design journey through the history of the city and the country, highlighting an alternative and distinctive way of presenting itself visually. This historic institution has gained autonomy, maturity and confidence in its contribution to the city’s visual culture and society at large. This is a great compliment to a discipline invariably seen as purely utilitarian, but that in the São João National Theatre finds a singular case-study: a relevant example of public service.

Research, writing and design for @teatronacionalsaojoao, now available as an ebook with the title ’Teatro Visual: 100 Anos de Objectos Gráfico’ (in Portuguese). Photos: João Tuna, Costa Mendes, João Faria, Drop and Shared Institute. Many thanks for the invaluable editorial support from the TNSJ and the restless cooperation of its Documentation Centre. Thank you also to all the designers who generously shared their experience and insight.
—
After being completely destroyed in a fire in 1908, the current building of the São João National Theatre was inaugurated in 1920, designed by the Portuguese architect José Marques da Silva. As a consequence, the oldest object in the archive is now a libretto of The Capulets and the Montagues from 1835, played on the “Royal Theatre of São João of the City of Porto.” Despite the irreparable loss of objects with more than two hundred years of history, the archive still allows a fascinating design journey through the history of the city and the country, highlighting an alternative and distinctive way of presenting itself visually. This historic institution has gained autonomy, maturity and confidence in its contribution to the city’s visual culture and society at large. This is a great compliment to a discipline invariably seen as purely utilitarian, but that in the São João National Theatre finds a singular case-study: a relevant example of public service.

Research, writing and design for @teatronacionalsaojoao, now available as an ebook with the title ’Teatro Visual: 100 Anos de Objectos Gráfico’ (in Portuguese). Photos: João Tuna, Costa Mendes, João Faria, Drop and Shared Institute. Many thanks for the invaluable editorial support from the TNSJ and the restless cooperation of its Documentation Centre. Thank you also to all the designers who generously shared their experience and insight.
—
After being completely destroyed in a fire in 1908, the current building of the São João National Theatre was inaugurated in 1920, designed by the Portuguese architect José Marques da Silva. As a consequence, the oldest object in the archive is now a libretto of The Capulets and the Montagues from 1835, played on the “Royal Theatre of São João of the City of Porto.” Despite the irreparable loss of objects with more than two hundred years of history, the archive still allows a fascinating design journey through the history of the city and the country, highlighting an alternative and distinctive way of presenting itself visually. This historic institution has gained autonomy, maturity and confidence in its contribution to the city’s visual culture and society at large. This is a great compliment to a discipline invariably seen as purely utilitarian, but that in the São João National Theatre finds a singular case-study: a relevant example of public service.

Research, writing and design for @teatronacionalsaojoao, now available as an ebook with the title ’Teatro Visual: 100 Anos de Objectos Gráfico’ (in Portuguese). Photos: João Tuna, Costa Mendes, João Faria, Drop and Shared Institute. Many thanks for the invaluable editorial support from the TNSJ and the restless cooperation of its Documentation Centre. Thank you also to all the designers who generously shared their experience and insight.
—
After being completely destroyed in a fire in 1908, the current building of the São João National Theatre was inaugurated in 1920, designed by the Portuguese architect José Marques da Silva. As a consequence, the oldest object in the archive is now a libretto of The Capulets and the Montagues from 1835, played on the “Royal Theatre of São João of the City of Porto.” Despite the irreparable loss of objects with more than two hundred years of history, the archive still allows a fascinating design journey through the history of the city and the country, highlighting an alternative and distinctive way of presenting itself visually. This historic institution has gained autonomy, maturity and confidence in its contribution to the city’s visual culture and society at large. This is a great compliment to a discipline invariably seen as purely utilitarian, but that in the São João National Theatre finds a singular case-study: a relevant example of public service.

Research, writing and design for @teatronacionalsaojoao, now available as an ebook with the title ’Teatro Visual: 100 Anos de Objectos Gráfico’ (in Portuguese). Photos: João Tuna, Costa Mendes, João Faria, Drop and Shared Institute. Many thanks for the invaluable editorial support from the TNSJ and the restless cooperation of its Documentation Centre. Thank you also to all the designers who generously shared their experience and insight.
—
After being completely destroyed in a fire in 1908, the current building of the São João National Theatre was inaugurated in 1920, designed by the Portuguese architect José Marques da Silva. As a consequence, the oldest object in the archive is now a libretto of The Capulets and the Montagues from 1835, played on the “Royal Theatre of São João of the City of Porto.” Despite the irreparable loss of objects with more than two hundred years of history, the archive still allows a fascinating design journey through the history of the city and the country, highlighting an alternative and distinctive way of presenting itself visually. This historic institution has gained autonomy, maturity and confidence in its contribution to the city’s visual culture and society at large. This is a great compliment to a discipline invariably seen as purely utilitarian, but that in the São João National Theatre finds a singular case-study: a relevant example of public service.

Research, writing and design for @teatronacionalsaojoao, now available as an ebook with the title ’Teatro Visual: 100 Anos de Objectos Gráfico’ (in Portuguese). Photos: João Tuna, Costa Mendes, João Faria, Drop and Shared Institute. Many thanks for the invaluable editorial support from the TNSJ and the restless cooperation of its Documentation Centre. Thank you also to all the designers who generously shared their experience and insight.
—
After being completely destroyed in a fire in 1908, the current building of the São João National Theatre was inaugurated in 1920, designed by the Portuguese architect José Marques da Silva. As a consequence, the oldest object in the archive is now a libretto of The Capulets and the Montagues from 1835, played on the “Royal Theatre of São João of the City of Porto.” Despite the irreparable loss of objects with more than two hundred years of history, the archive still allows a fascinating design journey through the history of the city and the country, highlighting an alternative and distinctive way of presenting itself visually. This historic institution has gained autonomy, maturity and confidence in its contribution to the city’s visual culture and society at large. This is a great compliment to a discipline invariably seen as purely utilitarian, but that in the São João National Theatre finds a singular case-study: a relevant example of public service.

Food Lab was a collaboration between @illustration.school and @thisisMOLD. During 3 days, 9 participants investigated, staged and performed 3 proposals for a sustainable, future Christmas meal in Portugal. Exploring local heritage and tradition, as well as challenges posed by our climate crisis, this lab questioned the limitations and potential of alternatives to our known and largely unaltered rituals. These collective proposals – in between fact and fiction – were a blend of edible parts, metaphors, experiments, illustrated elements and prototypes produced with several materials. Seeds were the starting point, proposed as the foundation of a toolkit to activate the premise of this lab: future-proofing Portuguese Christmas. This Lab collectively laid the foundations for a critical report in the form of a limited-edition publication documenting the debates and prototypes staged during the 3 days. Tutors included @uncannyeditions, @linyeezy, @inesns, and @talkiewalkieinsta. Thanks to all participants!

Food Lab was a collaboration between @illustration.school and @thisisMOLD. During 3 days, 9 participants investigated, staged and performed 3 proposals for a sustainable, future Christmas meal in Portugal. Exploring local heritage and tradition, as well as challenges posed by our climate crisis, this lab questioned the limitations and potential of alternatives to our known and largely unaltered rituals. These collective proposals – in between fact and fiction – were a blend of edible parts, metaphors, experiments, illustrated elements and prototypes produced with several materials. Seeds were the starting point, proposed as the foundation of a toolkit to activate the premise of this lab: future-proofing Portuguese Christmas. This Lab collectively laid the foundations for a critical report in the form of a limited-edition publication documenting the debates and prototypes staged during the 3 days. Tutors included @uncannyeditions, @linyeezy, @inesns, and @talkiewalkieinsta. Thanks to all participants!

Food Lab was a collaboration between @illustration.school and @thisisMOLD. During 3 days, 9 participants investigated, staged and performed 3 proposals for a sustainable, future Christmas meal in Portugal. Exploring local heritage and tradition, as well as challenges posed by our climate crisis, this lab questioned the limitations and potential of alternatives to our known and largely unaltered rituals. These collective proposals – in between fact and fiction – were a blend of edible parts, metaphors, experiments, illustrated elements and prototypes produced with several materials. Seeds were the starting point, proposed as the foundation of a toolkit to activate the premise of this lab: future-proofing Portuguese Christmas. This Lab collectively laid the foundations for a critical report in the form of a limited-edition publication documenting the debates and prototypes staged during the 3 days. Tutors included @uncannyeditions, @linyeezy, @inesns, and @talkiewalkieinsta. Thanks to all participants!

Food Lab was a collaboration between @illustration.school and @thisisMOLD. During 3 days, 9 participants investigated, staged and performed 3 proposals for a sustainable, future Christmas meal in Portugal. Exploring local heritage and tradition, as well as challenges posed by our climate crisis, this lab questioned the limitations and potential of alternatives to our known and largely unaltered rituals. These collective proposals – in between fact and fiction – were a blend of edible parts, metaphors, experiments, illustrated elements and prototypes produced with several materials. Seeds were the starting point, proposed as the foundation of a toolkit to activate the premise of this lab: future-proofing Portuguese Christmas. This Lab collectively laid the foundations for a critical report in the form of a limited-edition publication documenting the debates and prototypes staged during the 3 days. Tutors included @uncannyeditions, @linyeezy, @inesns, and @talkiewalkieinsta. Thanks to all participants!

Food Lab was a collaboration between @illustration.school and @thisisMOLD. During 3 days, 9 participants investigated, staged and performed 3 proposals for a sustainable, future Christmas meal in Portugal. Exploring local heritage and tradition, as well as challenges posed by our climate crisis, this lab questioned the limitations and potential of alternatives to our known and largely unaltered rituals. These collective proposals – in between fact and fiction – were a blend of edible parts, metaphors, experiments, illustrated elements and prototypes produced with several materials. Seeds were the starting point, proposed as the foundation of a toolkit to activate the premise of this lab: future-proofing Portuguese Christmas. This Lab collectively laid the foundations for a critical report in the form of a limited-edition publication documenting the debates and prototypes staged during the 3 days. Tutors included @uncannyeditions, @linyeezy, @inesns, and @talkiewalkieinsta. Thanks to all participants!

Food Lab was a collaboration between @illustration.school and @thisisMOLD. During 3 days, 9 participants investigated, staged and performed 3 proposals for a sustainable, future Christmas meal in Portugal. Exploring local heritage and tradition, as well as challenges posed by our climate crisis, this lab questioned the limitations and potential of alternatives to our known and largely unaltered rituals. These collective proposals – in between fact and fiction – were a blend of edible parts, metaphors, experiments, illustrated elements and prototypes produced with several materials. Seeds were the starting point, proposed as the foundation of a toolkit to activate the premise of this lab: future-proofing Portuguese Christmas. This Lab collectively laid the foundations for a critical report in the form of a limited-edition publication documenting the debates and prototypes staged during the 3 days. Tutors included @uncannyeditions, @linyeezy, @inesns, and @talkiewalkieinsta. Thanks to all participants!

Food Lab was a collaboration between @illustration.school and @thisisMOLD. During 3 days, 9 participants investigated, staged and performed 3 proposals for a sustainable, future Christmas meal in Portugal. Exploring local heritage and tradition, as well as challenges posed by our climate crisis, this lab questioned the limitations and potential of alternatives to our known and largely unaltered rituals. These collective proposals – in between fact and fiction – were a blend of edible parts, metaphors, experiments, illustrated elements and prototypes produced with several materials. Seeds were the starting point, proposed as the foundation of a toolkit to activate the premise of this lab: future-proofing Portuguese Christmas. This Lab collectively laid the foundations for a critical report in the form of a limited-edition publication documenting the debates and prototypes staged during the 3 days. Tutors included @uncannyeditions, @linyeezy, @inesns, and @talkiewalkieinsta. Thanks to all participants!

Food Lab was a collaboration between @illustration.school and @thisisMOLD. During 3 days, 9 participants investigated, staged and performed 3 proposals for a sustainable, future Christmas meal in Portugal. Exploring local heritage and tradition, as well as challenges posed by our climate crisis, this lab questioned the limitations and potential of alternatives to our known and largely unaltered rituals. These collective proposals – in between fact and fiction – were a blend of edible parts, metaphors, experiments, illustrated elements and prototypes produced with several materials. Seeds were the starting point, proposed as the foundation of a toolkit to activate the premise of this lab: future-proofing Portuguese Christmas. This Lab collectively laid the foundations for a critical report in the form of a limited-edition publication documenting the debates and prototypes staged during the 3 days. Tutors included @uncannyeditions, @linyeezy, @inesns, and @talkiewalkieinsta. Thanks to all participants!

Food Lab was a collaboration between @illustration.school and @thisisMOLD. During 3 days, 9 participants investigated, staged and performed 3 proposals for a sustainable, future Christmas meal in Portugal. Exploring local heritage and tradition, as well as challenges posed by our climate crisis, this lab questioned the limitations and potential of alternatives to our known and largely unaltered rituals. These collective proposals – in between fact and fiction – were a blend of edible parts, metaphors, experiments, illustrated elements and prototypes produced with several materials. Seeds were the starting point, proposed as the foundation of a toolkit to activate the premise of this lab: future-proofing Portuguese Christmas. This Lab collectively laid the foundations for a critical report in the form of a limited-edition publication documenting the debates and prototypes staged during the 3 days. Tutors included @uncannyeditions, @linyeezy, @inesns, and @talkiewalkieinsta. Thanks to all participants!

Food Lab was a collaboration between @illustration.school and @thisisMOLD. During 3 days, 9 participants investigated, staged and performed 3 proposals for a sustainable, future Christmas meal in Portugal. Exploring local heritage and tradition, as well as challenges posed by our climate crisis, this lab questioned the limitations and potential of alternatives to our known and largely unaltered rituals. These collective proposals – in between fact and fiction – were a blend of edible parts, metaphors, experiments, illustrated elements and prototypes produced with several materials. Seeds were the starting point, proposed as the foundation of a toolkit to activate the premise of this lab: future-proofing Portuguese Christmas. This Lab collectively laid the foundations for a critical report in the form of a limited-edition publication documenting the debates and prototypes staged during the 3 days. Tutors included @uncannyeditions, @linyeezy, @inesns, and @talkiewalkieinsta. Thanks to all participants!

Installation by @dmstfctn for @portodesignbiennale, at the @metrodoporto Trindade station, 2019.
"Money has grown independent of its human origins. As an entity with its own intelligence and survival logic, it survives through a global network of “interfaces” for its own accumulation and exchange. Perhaps the most obvious place to find these interfaces is in a tax haven, a place which enables money’s frictionless passage and ensures its safety.
In this installation, following a residency aimed at gathering information on the local financial industry, the Demystification Committee mapped the connection between some of money’s interfaces found in Porto.
Different interfaces are grouped in different clusters of tiles. An interface is either a local tax advisor, a shell company, an intermediary or the address of an unspecified financial entity. Adjacent tiles trace the connections through which money moves or shields itself. In most cases this leaves Porto and Portugal entirely, travelling through other jurisdictions to make use of beneficial treaties and legal frameworks. There are common elements in these clusters, such as the recurring names of known accounting firms — key interfaces in the survival network of money.
A screening of the Demystification Committee short film Interface Chaos will complement this installation, showing money as an autonomous nonhuman intelligence in a journey for survival.” A public screening of ‘Interface Chaos’ and a conversation with the curator of ‘Design Systems', Francisco Laranjo, took place at the end of October 2019 at the Campo 24 de Agosto metro station. Photos by @inesdorey

Installation by @dmstfctn for @portodesignbiennale, at the @metrodoporto Trindade station, 2019.
"Money has grown independent of its human origins. As an entity with its own intelligence and survival logic, it survives through a global network of “interfaces” for its own accumulation and exchange. Perhaps the most obvious place to find these interfaces is in a tax haven, a place which enables money’s frictionless passage and ensures its safety.
In this installation, following a residency aimed at gathering information on the local financial industry, the Demystification Committee mapped the connection between some of money’s interfaces found in Porto.
Different interfaces are grouped in different clusters of tiles. An interface is either a local tax advisor, a shell company, an intermediary or the address of an unspecified financial entity. Adjacent tiles trace the connections through which money moves or shields itself. In most cases this leaves Porto and Portugal entirely, travelling through other jurisdictions to make use of beneficial treaties and legal frameworks. There are common elements in these clusters, such as the recurring names of known accounting firms — key interfaces in the survival network of money.
A screening of the Demystification Committee short film Interface Chaos will complement this installation, showing money as an autonomous nonhuman intelligence in a journey for survival.” A public screening of ‘Interface Chaos’ and a conversation with the curator of ‘Design Systems', Francisco Laranjo, took place at the end of October 2019 at the Campo 24 de Agosto metro station. Photos by @inesdorey

Installation by @dmstfctn for @portodesignbiennale, at the @metrodoporto Trindade station, 2019.
"Money has grown independent of its human origins. As an entity with its own intelligence and survival logic, it survives through a global network of “interfaces” for its own accumulation and exchange. Perhaps the most obvious place to find these interfaces is in a tax haven, a place which enables money’s frictionless passage and ensures its safety.
In this installation, following a residency aimed at gathering information on the local financial industry, the Demystification Committee mapped the connection between some of money’s interfaces found in Porto.
Different interfaces are grouped in different clusters of tiles. An interface is either a local tax advisor, a shell company, an intermediary or the address of an unspecified financial entity. Adjacent tiles trace the connections through which money moves or shields itself. In most cases this leaves Porto and Portugal entirely, travelling through other jurisdictions to make use of beneficial treaties and legal frameworks. There are common elements in these clusters, such as the recurring names of known accounting firms — key interfaces in the survival network of money.
A screening of the Demystification Committee short film Interface Chaos will complement this installation, showing money as an autonomous nonhuman intelligence in a journey for survival.” A public screening of ‘Interface Chaos’ and a conversation with the curator of ‘Design Systems', Francisco Laranjo, took place at the end of October 2019 at the Campo 24 de Agosto metro station. Photos by @inesdorey

Installation by @dmstfctn for @portodesignbiennale, at the @metrodoporto Trindade station, 2019.
"Money has grown independent of its human origins. As an entity with its own intelligence and survival logic, it survives through a global network of “interfaces” for its own accumulation and exchange. Perhaps the most obvious place to find these interfaces is in a tax haven, a place which enables money’s frictionless passage and ensures its safety.
In this installation, following a residency aimed at gathering information on the local financial industry, the Demystification Committee mapped the connection between some of money’s interfaces found in Porto.
Different interfaces are grouped in different clusters of tiles. An interface is either a local tax advisor, a shell company, an intermediary or the address of an unspecified financial entity. Adjacent tiles trace the connections through which money moves or shields itself. In most cases this leaves Porto and Portugal entirely, travelling through other jurisdictions to make use of beneficial treaties and legal frameworks. There are common elements in these clusters, such as the recurring names of known accounting firms — key interfaces in the survival network of money.
A screening of the Demystification Committee short film Interface Chaos will complement this installation, showing money as an autonomous nonhuman intelligence in a journey for survival.” A public screening of ‘Interface Chaos’ and a conversation with the curator of ‘Design Systems', Francisco Laranjo, took place at the end of October 2019 at the Campo 24 de Agosto metro station. Photos by @inesdorey

Installation by @dmstfctn for @portodesignbiennale, at the @metrodoporto Trindade station, 2019.
"Money has grown independent of its human origins. As an entity with its own intelligence and survival logic, it survives through a global network of “interfaces” for its own accumulation and exchange. Perhaps the most obvious place to find these interfaces is in a tax haven, a place which enables money’s frictionless passage and ensures its safety.
In this installation, following a residency aimed at gathering information on the local financial industry, the Demystification Committee mapped the connection between some of money’s interfaces found in Porto.
Different interfaces are grouped in different clusters of tiles. An interface is either a local tax advisor, a shell company, an intermediary or the address of an unspecified financial entity. Adjacent tiles trace the connections through which money moves or shields itself. In most cases this leaves Porto and Portugal entirely, travelling through other jurisdictions to make use of beneficial treaties and legal frameworks. There are common elements in these clusters, such as the recurring names of known accounting firms — key interfaces in the survival network of money.
A screening of the Demystification Committee short film Interface Chaos will complement this installation, showing money as an autonomous nonhuman intelligence in a journey for survival.” A public screening of ‘Interface Chaos’ and a conversation with the curator of ‘Design Systems', Francisco Laranjo, took place at the end of October 2019 at the Campo 24 de Agosto metro station. Photos by @inesdorey

Installation by @dmstfctn for @portodesignbiennale, at the @metrodoporto Trindade station, 2019.
"Money has grown independent of its human origins. As an entity with its own intelligence and survival logic, it survives through a global network of “interfaces” for its own accumulation and exchange. Perhaps the most obvious place to find these interfaces is in a tax haven, a place which enables money’s frictionless passage and ensures its safety.
In this installation, following a residency aimed at gathering information on the local financial industry, the Demystification Committee mapped the connection between some of money’s interfaces found in Porto.
Different interfaces are grouped in different clusters of tiles. An interface is either a local tax advisor, a shell company, an intermediary or the address of an unspecified financial entity. Adjacent tiles trace the connections through which money moves or shields itself. In most cases this leaves Porto and Portugal entirely, travelling through other jurisdictions to make use of beneficial treaties and legal frameworks. There are common elements in these clusters, such as the recurring names of known accounting firms — key interfaces in the survival network of money.
A screening of the Demystification Committee short film Interface Chaos will complement this installation, showing money as an autonomous nonhuman intelligence in a journey for survival.” A public screening of ‘Interface Chaos’ and a conversation with the curator of ‘Design Systems', Francisco Laranjo, took place at the end of October 2019 at the Campo 24 de Agosto metro station. Photos by @inesdorey

Installation by @dmstfctn for @portodesignbiennale, at the @metrodoporto Trindade station, 2019.
"Money has grown independent of its human origins. As an entity with its own intelligence and survival logic, it survives through a global network of “interfaces” for its own accumulation and exchange. Perhaps the most obvious place to find these interfaces is in a tax haven, a place which enables money’s frictionless passage and ensures its safety.
In this installation, following a residency aimed at gathering information on the local financial industry, the Demystification Committee mapped the connection between some of money’s interfaces found in Porto.
Different interfaces are grouped in different clusters of tiles. An interface is either a local tax advisor, a shell company, an intermediary or the address of an unspecified financial entity. Adjacent tiles trace the connections through which money moves or shields itself. In most cases this leaves Porto and Portugal entirely, travelling through other jurisdictions to make use of beneficial treaties and legal frameworks. There are common elements in these clusters, such as the recurring names of known accounting firms — key interfaces in the survival network of money.
A screening of the Demystification Committee short film Interface Chaos will complement this installation, showing money as an autonomous nonhuman intelligence in a journey for survival.” A public screening of ‘Interface Chaos’ and a conversation with the curator of ‘Design Systems', Francisco Laranjo, took place at the end of October 2019 at the Campo 24 de Agosto metro station. Photos by @inesdorey

Installation by @acedinstitute for the @portodesignbiennale in the @metrodoporto station of São Bento, 2019.
"How can a society have an informed understanding of world events? Impartial Spectrum is an exploration of news culture, in which notions of journalistic neutrality and the framing of global affairs are explored. This research project collects and compares different publication behaviours by international news media. Four subjects are selected as case studies to be presented in this iteration: climate crisis, Hong Kong protests, anti-abortion movement, and tourism. The selection is based on the subjects’ controversial and global narratives that have been covered in a wide range of forms, as well as a consequence of the engagement with both locals and visitors of Porto. The installation of 100 prints in the main hall of São Bento metro station contains a collection of images and headlines from multiple international media sources, covering the selected cases. Impartial Spectrum presents diverse ways in which news are highlighted in the media, arranged by their tone of voice, political agenda, and local vs. global narrative. It aims to reveal subtle patterns and media positioning within the seemingly objective reporting, encouraging at the same time the audience to recognise the variety of news framing in their daily news consumption.” Photos by Shared Institute and @inesdorey

Installation by @acedinstitute for the @portodesignbiennale in the @metrodoporto station of São Bento, 2019.
"How can a society have an informed understanding of world events? Impartial Spectrum is an exploration of news culture, in which notions of journalistic neutrality and the framing of global affairs are explored. This research project collects and compares different publication behaviours by international news media. Four subjects are selected as case studies to be presented in this iteration: climate crisis, Hong Kong protests, anti-abortion movement, and tourism. The selection is based on the subjects’ controversial and global narratives that have been covered in a wide range of forms, as well as a consequence of the engagement with both locals and visitors of Porto. The installation of 100 prints in the main hall of São Bento metro station contains a collection of images and headlines from multiple international media sources, covering the selected cases. Impartial Spectrum presents diverse ways in which news are highlighted in the media, arranged by their tone of voice, political agenda, and local vs. global narrative. It aims to reveal subtle patterns and media positioning within the seemingly objective reporting, encouraging at the same time the audience to recognise the variety of news framing in their daily news consumption.” Photos by Shared Institute and @inesdorey

Installation by @acedinstitute for the @portodesignbiennale in the @metrodoporto station of São Bento, 2019.
"How can a society have an informed understanding of world events? Impartial Spectrum is an exploration of news culture, in which notions of journalistic neutrality and the framing of global affairs are explored. This research project collects and compares different publication behaviours by international news media. Four subjects are selected as case studies to be presented in this iteration: climate crisis, Hong Kong protests, anti-abortion movement, and tourism. The selection is based on the subjects’ controversial and global narratives that have been covered in a wide range of forms, as well as a consequence of the engagement with both locals and visitors of Porto. The installation of 100 prints in the main hall of São Bento metro station contains a collection of images and headlines from multiple international media sources, covering the selected cases. Impartial Spectrum presents diverse ways in which news are highlighted in the media, arranged by their tone of voice, political agenda, and local vs. global narrative. It aims to reveal subtle patterns and media positioning within the seemingly objective reporting, encouraging at the same time the audience to recognise the variety of news framing in their daily news consumption.” Photos by Shared Institute and @inesdorey

Installation by @acedinstitute for the @portodesignbiennale in the @metrodoporto station of São Bento, 2019.
"How can a society have an informed understanding of world events? Impartial Spectrum is an exploration of news culture, in which notions of journalistic neutrality and the framing of global affairs are explored. This research project collects and compares different publication behaviours by international news media. Four subjects are selected as case studies to be presented in this iteration: climate crisis, Hong Kong protests, anti-abortion movement, and tourism. The selection is based on the subjects’ controversial and global narratives that have been covered in a wide range of forms, as well as a consequence of the engagement with both locals and visitors of Porto. The installation of 100 prints in the main hall of São Bento metro station contains a collection of images and headlines from multiple international media sources, covering the selected cases. Impartial Spectrum presents diverse ways in which news are highlighted in the media, arranged by their tone of voice, political agenda, and local vs. global narrative. It aims to reveal subtle patterns and media positioning within the seemingly objective reporting, encouraging at the same time the audience to recognise the variety of news framing in their daily news consumption.” Photos by Shared Institute and @inesdorey

Installation by @acedinstitute for the @portodesignbiennale in the @metrodoporto station of São Bento, 2019.
"How can a society have an informed understanding of world events? Impartial Spectrum is an exploration of news culture, in which notions of journalistic neutrality and the framing of global affairs are explored. This research project collects and compares different publication behaviours by international news media. Four subjects are selected as case studies to be presented in this iteration: climate crisis, Hong Kong protests, anti-abortion movement, and tourism. The selection is based on the subjects’ controversial and global narratives that have been covered in a wide range of forms, as well as a consequence of the engagement with both locals and visitors of Porto. The installation of 100 prints in the main hall of São Bento metro station contains a collection of images and headlines from multiple international media sources, covering the selected cases. Impartial Spectrum presents diverse ways in which news are highlighted in the media, arranged by their tone of voice, political agenda, and local vs. global narrative. It aims to reveal subtle patterns and media positioning within the seemingly objective reporting, encouraging at the same time the audience to recognise the variety of news framing in their daily news consumption.” Photos by Shared Institute and @inesdorey

Installation by @acedinstitute for the @portodesignbiennale in the @metrodoporto station of São Bento, 2019.
"How can a society have an informed understanding of world events? Impartial Spectrum is an exploration of news culture, in which notions of journalistic neutrality and the framing of global affairs are explored. This research project collects and compares different publication behaviours by international news media. Four subjects are selected as case studies to be presented in this iteration: climate crisis, Hong Kong protests, anti-abortion movement, and tourism. The selection is based on the subjects’ controversial and global narratives that have been covered in a wide range of forms, as well as a consequence of the engagement with both locals and visitors of Porto. The installation of 100 prints in the main hall of São Bento metro station contains a collection of images and headlines from multiple international media sources, covering the selected cases. Impartial Spectrum presents diverse ways in which news are highlighted in the media, arranged by their tone of voice, political agenda, and local vs. global narrative. It aims to reveal subtle patterns and media positioning within the seemingly objective reporting, encouraging at the same time the audience to recognise the variety of news framing in their daily news consumption.” Photos by Shared Institute and @inesdorey

Installation by @acedinstitute for the @portodesignbiennale in the @metrodoporto station of São Bento, 2019.
"How can a society have an informed understanding of world events? Impartial Spectrum is an exploration of news culture, in which notions of journalistic neutrality and the framing of global affairs are explored. This research project collects and compares different publication behaviours by international news media. Four subjects are selected as case studies to be presented in this iteration: climate crisis, Hong Kong protests, anti-abortion movement, and tourism. The selection is based on the subjects’ controversial and global narratives that have been covered in a wide range of forms, as well as a consequence of the engagement with both locals and visitors of Porto. The installation of 100 prints in the main hall of São Bento metro station contains a collection of images and headlines from multiple international media sources, covering the selected cases. Impartial Spectrum presents diverse ways in which news are highlighted in the media, arranged by their tone of voice, political agenda, and local vs. global narrative. It aims to reveal subtle patterns and media positioning within the seemingly objective reporting, encouraging at the same time the audience to recognise the variety of news framing in their daily news consumption.” Photos by Shared Institute and @inesdorey

Installation by @acedinstitute for the @portodesignbiennale in the @metrodoporto station of São Bento, 2019.
"How can a society have an informed understanding of world events? Impartial Spectrum is an exploration of news culture, in which notions of journalistic neutrality and the framing of global affairs are explored. This research project collects and compares different publication behaviours by international news media. Four subjects are selected as case studies to be presented in this iteration: climate crisis, Hong Kong protests, anti-abortion movement, and tourism. The selection is based on the subjects’ controversial and global narratives that have been covered in a wide range of forms, as well as a consequence of the engagement with both locals and visitors of Porto. The installation of 100 prints in the main hall of São Bento metro station contains a collection of images and headlines from multiple international media sources, covering the selected cases. Impartial Spectrum presents diverse ways in which news are highlighted in the media, arranged by their tone of voice, political agenda, and local vs. global narrative. It aims to reveal subtle patterns and media positioning within the seemingly objective reporting, encouraging at the same time the audience to recognise the variety of news framing in their daily news consumption.” Photos by Shared Institute and @inesdorey

Installation by @untoldstoriesamsterdam for the @portodesignbiennale, in the @metrodoporto stations of Bolhão and Campo 24 de Agosto, 2019.
"So you want to become a designer? Design is a popular profession. Almost two-and-a-half thousand new students enrol in design schools in Portugal every year. The popularity of design is closely linked to romantic ideas of creativity, innovation and novelty which are nurtured in social spheres of class, family, and education. Spheres that support the needs of capitalist society for students to acquire professional skills as quickly as possible, so they can become productive citizens in the labour market.
Once you graduate, what will you do? Thousands of talented design graduates are faced with a labour market with few jobs, unpaid work, and flexible contracts. Designers are engaged in fierce competition, pressured to present themselves as productive, flexible, and as creative as possible on social media. This process of self-optimisation leads to the anxiety of not being relevant or active enough, obsessively posting and censoring work that is too personal or political in order to attract the right clients. Career anxiety runs parallel to mental health issues such as depression, which has risen in the last decades of neoliberal capitalist society.
Post Millennial Career Anxiety is a series of provocative questions and statements in the public space made during a three-day workshop in June 2019. Written and designed collectively, they critically explore the relation of design education and capitalism. By sharing them in the public space, the participants hope to engage the public by triggering and stimulating thinking about alternative models of value in design. By selecting texts which refer to general tendencies in the economy, the commercialisation of education and career anxiety, we hope they reach all those who pass by on their way to school or work.” Photos by @inesdorey

Installation by @untoldstoriesamsterdam for the @portodesignbiennale, in the @metrodoporto stations of Bolhão and Campo 24 de Agosto, 2019.
"So you want to become a designer? Design is a popular profession. Almost two-and-a-half thousand new students enrol in design schools in Portugal every year. The popularity of design is closely linked to romantic ideas of creativity, innovation and novelty which are nurtured in social spheres of class, family, and education. Spheres that support the needs of capitalist society for students to acquire professional skills as quickly as possible, so they can become productive citizens in the labour market.
Once you graduate, what will you do? Thousands of talented design graduates are faced with a labour market with few jobs, unpaid work, and flexible contracts. Designers are engaged in fierce competition, pressured to present themselves as productive, flexible, and as creative as possible on social media. This process of self-optimisation leads to the anxiety of not being relevant or active enough, obsessively posting and censoring work that is too personal or political in order to attract the right clients. Career anxiety runs parallel to mental health issues such as depression, which has risen in the last decades of neoliberal capitalist society.
Post Millennial Career Anxiety is a series of provocative questions and statements in the public space made during a three-day workshop in June 2019. Written and designed collectively, they critically explore the relation of design education and capitalism. By sharing them in the public space, the participants hope to engage the public by triggering and stimulating thinking about alternative models of value in design. By selecting texts which refer to general tendencies in the economy, the commercialisation of education and career anxiety, we hope they reach all those who pass by on their way to school or work.” Photos by @inesdorey

Installation by @untoldstoriesamsterdam for the @portodesignbiennale, in the @metrodoporto stations of Bolhão and Campo 24 de Agosto, 2019.
"So you want to become a designer? Design is a popular profession. Almost two-and-a-half thousand new students enrol in design schools in Portugal every year. The popularity of design is closely linked to romantic ideas of creativity, innovation and novelty which are nurtured in social spheres of class, family, and education. Spheres that support the needs of capitalist society for students to acquire professional skills as quickly as possible, so they can become productive citizens in the labour market.
Once you graduate, what will you do? Thousands of talented design graduates are faced with a labour market with few jobs, unpaid work, and flexible contracts. Designers are engaged in fierce competition, pressured to present themselves as productive, flexible, and as creative as possible on social media. This process of self-optimisation leads to the anxiety of not being relevant or active enough, obsessively posting and censoring work that is too personal or political in order to attract the right clients. Career anxiety runs parallel to mental health issues such as depression, which has risen in the last decades of neoliberal capitalist society.
Post Millennial Career Anxiety is a series of provocative questions and statements in the public space made during a three-day workshop in June 2019. Written and designed collectively, they critically explore the relation of design education and capitalism. By sharing them in the public space, the participants hope to engage the public by triggering and stimulating thinking about alternative models of value in design. By selecting texts which refer to general tendencies in the economy, the commercialisation of education and career anxiety, we hope they reach all those who pass by on their way to school or work.” Photos by @inesdorey

Installation by @untoldstoriesamsterdam for the @portodesignbiennale, in the @metrodoporto stations of Bolhão and Campo 24 de Agosto, 2019.
"So you want to become a designer? Design is a popular profession. Almost two-and-a-half thousand new students enrol in design schools in Portugal every year. The popularity of design is closely linked to romantic ideas of creativity, innovation and novelty which are nurtured in social spheres of class, family, and education. Spheres that support the needs of capitalist society for students to acquire professional skills as quickly as possible, so they can become productive citizens in the labour market.
Once you graduate, what will you do? Thousands of talented design graduates are faced with a labour market with few jobs, unpaid work, and flexible contracts. Designers are engaged in fierce competition, pressured to present themselves as productive, flexible, and as creative as possible on social media. This process of self-optimisation leads to the anxiety of not being relevant or active enough, obsessively posting and censoring work that is too personal or political in order to attract the right clients. Career anxiety runs parallel to mental health issues such as depression, which has risen in the last decades of neoliberal capitalist society.
Post Millennial Career Anxiety is a series of provocative questions and statements in the public space made during a three-day workshop in June 2019. Written and designed collectively, they critically explore the relation of design education and capitalism. By sharing them in the public space, the participants hope to engage the public by triggering and stimulating thinking about alternative models of value in design. By selecting texts which refer to general tendencies in the economy, the commercialisation of education and career anxiety, we hope they reach all those who pass by on their way to school or work.” Photos by @inesdorey

Installation by @untoldstoriesamsterdam for the @portodesignbiennale, in the @metrodoporto stations of Bolhão and Campo 24 de Agosto, 2019.
"So you want to become a designer? Design is a popular profession. Almost two-and-a-half thousand new students enrol in design schools in Portugal every year. The popularity of design is closely linked to romantic ideas of creativity, innovation and novelty which are nurtured in social spheres of class, family, and education. Spheres that support the needs of capitalist society for students to acquire professional skills as quickly as possible, so they can become productive citizens in the labour market.
Once you graduate, what will you do? Thousands of talented design graduates are faced with a labour market with few jobs, unpaid work, and flexible contracts. Designers are engaged in fierce competition, pressured to present themselves as productive, flexible, and as creative as possible on social media. This process of self-optimisation leads to the anxiety of not being relevant or active enough, obsessively posting and censoring work that is too personal or political in order to attract the right clients. Career anxiety runs parallel to mental health issues such as depression, which has risen in the last decades of neoliberal capitalist society.
Post Millennial Career Anxiety is a series of provocative questions and statements in the public space made during a three-day workshop in June 2019. Written and designed collectively, they critically explore the relation of design education and capitalism. By sharing them in the public space, the participants hope to engage the public by triggering and stimulating thinking about alternative models of value in design. By selecting texts which refer to general tendencies in the economy, the commercialisation of education and career anxiety, we hope they reach all those who pass by on their way to school or work.” Photos by @inesdorey

Installation by @untoldstoriesamsterdam for the @portodesignbiennale, in the @metrodoporto stations of Bolhão and Campo 24 de Agosto, 2019.
"So you want to become a designer? Design is a popular profession. Almost two-and-a-half thousand new students enrol in design schools in Portugal every year. The popularity of design is closely linked to romantic ideas of creativity, innovation and novelty which are nurtured in social spheres of class, family, and education. Spheres that support the needs of capitalist society for students to acquire professional skills as quickly as possible, so they can become productive citizens in the labour market.
Once you graduate, what will you do? Thousands of talented design graduates are faced with a labour market with few jobs, unpaid work, and flexible contracts. Designers are engaged in fierce competition, pressured to present themselves as productive, flexible, and as creative as possible on social media. This process of self-optimisation leads to the anxiety of not being relevant or active enough, obsessively posting and censoring work that is too personal or political in order to attract the right clients. Career anxiety runs parallel to mental health issues such as depression, which has risen in the last decades of neoliberal capitalist society.
Post Millennial Career Anxiety is a series of provocative questions and statements in the public space made during a three-day workshop in June 2019. Written and designed collectively, they critically explore the relation of design education and capitalism. By sharing them in the public space, the participants hope to engage the public by triggering and stimulating thinking about alternative models of value in design. By selecting texts which refer to general tendencies in the economy, the commercialisation of education and career anxiety, we hope they reach all those who pass by on their way to school or work.” Photos by @inesdorey

Installation by @untoldstoriesamsterdam for the @portodesignbiennale, in the @metrodoporto stations of Bolhão and Campo 24 de Agosto, 2019.
"So you want to become a designer? Design is a popular profession. Almost two-and-a-half thousand new students enrol in design schools in Portugal every year. The popularity of design is closely linked to romantic ideas of creativity, innovation and novelty which are nurtured in social spheres of class, family, and education. Spheres that support the needs of capitalist society for students to acquire professional skills as quickly as possible, so they can become productive citizens in the labour market.
Once you graduate, what will you do? Thousands of talented design graduates are faced with a labour market with few jobs, unpaid work, and flexible contracts. Designers are engaged in fierce competition, pressured to present themselves as productive, flexible, and as creative as possible on social media. This process of self-optimisation leads to the anxiety of not being relevant or active enough, obsessively posting and censoring work that is too personal or political in order to attract the right clients. Career anxiety runs parallel to mental health issues such as depression, which has risen in the last decades of neoliberal capitalist society.
Post Millennial Career Anxiety is a series of provocative questions and statements in the public space made during a three-day workshop in June 2019. Written and designed collectively, they critically explore the relation of design education and capitalism. By sharing them in the public space, the participants hope to engage the public by triggering and stimulating thinking about alternative models of value in design. By selecting texts which refer to general tendencies in the economy, the commercialisation of education and career anxiety, we hope they reach all those who pass by on their way to school or work.” Photos by @inesdorey

Installation by @untoldstoriesamsterdam for the @portodesignbiennale, in the @metrodoporto stations of Bolhão and Campo 24 de Agosto, 2019.
"So you want to become a designer? Design is a popular profession. Almost two-and-a-half thousand new students enrol in design schools in Portugal every year. The popularity of design is closely linked to romantic ideas of creativity, innovation and novelty which are nurtured in social spheres of class, family, and education. Spheres that support the needs of capitalist society for students to acquire professional skills as quickly as possible, so they can become productive citizens in the labour market.
Once you graduate, what will you do? Thousands of talented design graduates are faced with a labour market with few jobs, unpaid work, and flexible contracts. Designers are engaged in fierce competition, pressured to present themselves as productive, flexible, and as creative as possible on social media. This process of self-optimisation leads to the anxiety of not being relevant or active enough, obsessively posting and censoring work that is too personal or political in order to attract the right clients. Career anxiety runs parallel to mental health issues such as depression, which has risen in the last decades of neoliberal capitalist society.
Post Millennial Career Anxiety is a series of provocative questions and statements in the public space made during a three-day workshop in June 2019. Written and designed collectively, they critically explore the relation of design education and capitalism. By sharing them in the public space, the participants hope to engage the public by triggering and stimulating thinking about alternative models of value in design. By selecting texts which refer to general tendencies in the economy, the commercialisation of education and career anxiety, we hope they reach all those who pass by on their way to school or work.” Photos by @inesdorey

Installation in the @metrodoporto station Aliados by @luizap and @pjliveira for the @portodesignbiennale, 2019.
"During a 3-day workshop, we worked with participants to map networks that emerge around the making of objects, and are often obscured or suppressed. These ranged from the extraction of raw matter to the manufacturing process, culminating with the power relations and influence generated through the presence of an object in the world. In this workshop we expand the understanding of the design of an object as a delicate balance between the actors that compose this network.
As designers, we are typically trained to understand things in terms of usability, ergonomics, aesthetics, and industrial manufacturing. However, little attention is given to the political and sociocultural issues that surround an object, or that are shaped by it. These dynamics of action-reaction aren’t just a matter of cause and consequence, but rather a materialisation of historical processes which, often, determine and condition the object in its current shape.
These reflections led our workshop participants to choose the low-cost airline sized suitcase as an object through which to explore issues connecting the city of Porto to the international circulation of tourists, migration routes, and Portugal’s own colonial past. Together, we mapped how the presence of such an object conditions architecture, commerce, urbanism, class struggles, and gentrification in the urban space. This installation was conceived as a composition played on the station’s speakers, and a series of posters based on the maps we developed." Photos by @inesdorey

Installation in the @metrodoporto station Aliados by @luizap and @pjliveira for the @portodesignbiennale, 2019.
"During a 3-day workshop, we worked with participants to map networks that emerge around the making of objects, and are often obscured or suppressed. These ranged from the extraction of raw matter to the manufacturing process, culminating with the power relations and influence generated through the presence of an object in the world. In this workshop we expand the understanding of the design of an object as a delicate balance between the actors that compose this network.
As designers, we are typically trained to understand things in terms of usability, ergonomics, aesthetics, and industrial manufacturing. However, little attention is given to the political and sociocultural issues that surround an object, or that are shaped by it. These dynamics of action-reaction aren’t just a matter of cause and consequence, but rather a materialisation of historical processes which, often, determine and condition the object in its current shape.
These reflections led our workshop participants to choose the low-cost airline sized suitcase as an object through which to explore issues connecting the city of Porto to the international circulation of tourists, migration routes, and Portugal’s own colonial past. Together, we mapped how the presence of such an object conditions architecture, commerce, urbanism, class struggles, and gentrification in the urban space. This installation was conceived as a composition played on the station’s speakers, and a series of posters based on the maps we developed." Photos by @inesdorey

Installation in the @metrodoporto station Aliados by @luizap and @pjliveira for the @portodesignbiennale, 2019.
"During a 3-day workshop, we worked with participants to map networks that emerge around the making of objects, and are often obscured or suppressed. These ranged from the extraction of raw matter to the manufacturing process, culminating with the power relations and influence generated through the presence of an object in the world. In this workshop we expand the understanding of the design of an object as a delicate balance between the actors that compose this network.
As designers, we are typically trained to understand things in terms of usability, ergonomics, aesthetics, and industrial manufacturing. However, little attention is given to the political and sociocultural issues that surround an object, or that are shaped by it. These dynamics of action-reaction aren’t just a matter of cause and consequence, but rather a materialisation of historical processes which, often, determine and condition the object in its current shape.
These reflections led our workshop participants to choose the low-cost airline sized suitcase as an object through which to explore issues connecting the city of Porto to the international circulation of tourists, migration routes, and Portugal’s own colonial past. Together, we mapped how the presence of such an object conditions architecture, commerce, urbanism, class struggles, and gentrification in the urban space. This installation was conceived as a composition played on the station’s speakers, and a series of posters based on the maps we developed." Photos by @inesdorey

Installation in the @metrodoporto station Aliados by @luizap and @pjliveira for the @portodesignbiennale, 2019.
"During a 3-day workshop, we worked with participants to map networks that emerge around the making of objects, and are often obscured or suppressed. These ranged from the extraction of raw matter to the manufacturing process, culminating with the power relations and influence generated through the presence of an object in the world. In this workshop we expand the understanding of the design of an object as a delicate balance between the actors that compose this network.
As designers, we are typically trained to understand things in terms of usability, ergonomics, aesthetics, and industrial manufacturing. However, little attention is given to the political and sociocultural issues that surround an object, or that are shaped by it. These dynamics of action-reaction aren’t just a matter of cause and consequence, but rather a materialisation of historical processes which, often, determine and condition the object in its current shape.
These reflections led our workshop participants to choose the low-cost airline sized suitcase as an object through which to explore issues connecting the city of Porto to the international circulation of tourists, migration routes, and Portugal’s own colonial past. Together, we mapped how the presence of such an object conditions architecture, commerce, urbanism, class struggles, and gentrification in the urban space. This installation was conceived as a composition played on the station’s speakers, and a series of posters based on the maps we developed." Photos by @inesdorey

Installation in the @metrodoporto station Aliados by @luizap and @pjliveira for the @portodesignbiennale, 2019.
"During a 3-day workshop, we worked with participants to map networks that emerge around the making of objects, and are often obscured or suppressed. These ranged from the extraction of raw matter to the manufacturing process, culminating with the power relations and influence generated through the presence of an object in the world. In this workshop we expand the understanding of the design of an object as a delicate balance between the actors that compose this network.
As designers, we are typically trained to understand things in terms of usability, ergonomics, aesthetics, and industrial manufacturing. However, little attention is given to the political and sociocultural issues that surround an object, or that are shaped by it. These dynamics of action-reaction aren’t just a matter of cause and consequence, but rather a materialisation of historical processes which, often, determine and condition the object in its current shape.
These reflections led our workshop participants to choose the low-cost airline sized suitcase as an object through which to explore issues connecting the city of Porto to the international circulation of tourists, migration routes, and Portugal’s own colonial past. Together, we mapped how the presence of such an object conditions architecture, commerce, urbanism, class struggles, and gentrification in the urban space. This installation was conceived as a composition played on the station’s speakers, and a series of posters based on the maps we developed." Photos by @inesdorey

Installation in the @metrodoporto station Aliados by @luizap and @pjliveira for the @portodesignbiennale, 2019.
"During a 3-day workshop, we worked with participants to map networks that emerge around the making of objects, and are often obscured or suppressed. These ranged from the extraction of raw matter to the manufacturing process, culminating with the power relations and influence generated through the presence of an object in the world. In this workshop we expand the understanding of the design of an object as a delicate balance between the actors that compose this network.
As designers, we are typically trained to understand things in terms of usability, ergonomics, aesthetics, and industrial manufacturing. However, little attention is given to the political and sociocultural issues that surround an object, or that are shaped by it. These dynamics of action-reaction aren’t just a matter of cause and consequence, but rather a materialisation of historical processes which, often, determine and condition the object in its current shape.
These reflections led our workshop participants to choose the low-cost airline sized suitcase as an object through which to explore issues connecting the city of Porto to the international circulation of tourists, migration routes, and Portugal’s own colonial past. Together, we mapped how the presence of such an object conditions architecture, commerce, urbanism, class struggles, and gentrification in the urban space. This installation was conceived as a composition played on the station’s speakers, and a series of posters based on the maps we developed." Photos by @inesdorey

Installation in the @metrodoporto station Aliados by @luizap and @pjliveira for the @portodesignbiennale, 2019.
"During a 3-day workshop, we worked with participants to map networks that emerge around the making of objects, and are often obscured or suppressed. These ranged from the extraction of raw matter to the manufacturing process, culminating with the power relations and influence generated through the presence of an object in the world. In this workshop we expand the understanding of the design of an object as a delicate balance between the actors that compose this network.
As designers, we are typically trained to understand things in terms of usability, ergonomics, aesthetics, and industrial manufacturing. However, little attention is given to the political and sociocultural issues that surround an object, or that are shaped by it. These dynamics of action-reaction aren’t just a matter of cause and consequence, but rather a materialisation of historical processes which, often, determine and condition the object in its current shape.
These reflections led our workshop participants to choose the low-cost airline sized suitcase as an object through which to explore issues connecting the city of Porto to the international circulation of tourists, migration routes, and Portugal’s own colonial past. Together, we mapped how the presence of such an object conditions architecture, commerce, urbanism, class struggles, and gentrification in the urban space. This installation was conceived as a composition played on the station’s speakers, and a series of posters based on the maps we developed." Photos by @inesdorey

Installation in the @metrodoporto station Aliados by @luizap and @pjliveira for the @portodesignbiennale, 2019.
"During a 3-day workshop, we worked with participants to map networks that emerge around the making of objects, and are often obscured or suppressed. These ranged from the extraction of raw matter to the manufacturing process, culminating with the power relations and influence generated through the presence of an object in the world. In this workshop we expand the understanding of the design of an object as a delicate balance between the actors that compose this network.
As designers, we are typically trained to understand things in terms of usability, ergonomics, aesthetics, and industrial manufacturing. However, little attention is given to the political and sociocultural issues that surround an object, or that are shaped by it. These dynamics of action-reaction aren’t just a matter of cause and consequence, but rather a materialisation of historical processes which, often, determine and condition the object in its current shape.
These reflections led our workshop participants to choose the low-cost airline sized suitcase as an object through which to explore issues connecting the city of Porto to the international circulation of tourists, migration routes, and Portugal’s own colonial past. Together, we mapped how the presence of such an object conditions architecture, commerce, urbanism, class struggles, and gentrification in the urban space. This installation was conceived as a composition played on the station’s speakers, and a series of posters based on the maps we developed." Photos by @inesdorey

Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the @portodesignbiennale, the project ‘Design Systems’ proposed a variety of perspectives—social, cultural, political—to challenge this deeply engrained tradition.
The residencies offered the workshop participants and the public, an introduction to systems thinking in design, challenging a one-dimensional view of design, stripped of its inherent relations, tensions, problems, consequences. Brazilian design researchers @luizap and @pjliveira (A Parede) held a workshop with the goal of unpacking the networks that inform the existence of an object in the world, as well as its implications in-use. This workshop was followed by a study of Portuguese news media by Thai researcher @bellenuan (@acedinstitute), making use of the archives of the Municipal Library of Porto. It used cross-field research methodologies to discover unseen patterns and collect evidence that could be constructed into a coherent narrative. Dutch designer @untoldstoriesamsterdam’s workshop mapped, deconstructed, and visualised the means of production of contemporary graphic design in the context of the cities of Porto and Matosinhos, and the way economic value is created and sustained. Finally, the collective @dmstfctn traveled to Porto to conduct field-research in the context of their project and film ‘Interface Chaos’ (2019), mapping and connecting the behaviour of money through tax havens in Porto and its infrastructure. By covering a wide range of areas of interest with diverse approaches, Design Systems proposes an exposure to the ways in which design can analyse, deconstruct, reveal and challenge the systems in which we live and how these, in turn, design us back. — Thanks to all participants and the Porto Design Biennale!

Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the @portodesignbiennale, the project ‘Design Systems’ proposed a variety of perspectives—social, cultural, political—to challenge this deeply engrained tradition.
The residencies offered the workshop participants and the public, an introduction to systems thinking in design, challenging a one-dimensional view of design, stripped of its inherent relations, tensions, problems, consequences. Brazilian design researchers @luizap and @pjliveira (A Parede) held a workshop with the goal of unpacking the networks that inform the existence of an object in the world, as well as its implications in-use. This workshop was followed by a study of Portuguese news media by Thai researcher @bellenuan (@acedinstitute), making use of the archives of the Municipal Library of Porto. It used cross-field research methodologies to discover unseen patterns and collect evidence that could be constructed into a coherent narrative. Dutch designer @untoldstoriesamsterdam’s workshop mapped, deconstructed, and visualised the means of production of contemporary graphic design in the context of the cities of Porto and Matosinhos, and the way economic value is created and sustained. Finally, the collective @dmstfctn traveled to Porto to conduct field-research in the context of their project and film ‘Interface Chaos’ (2019), mapping and connecting the behaviour of money through tax havens in Porto and its infrastructure. By covering a wide range of areas of interest with diverse approaches, Design Systems proposes an exposure to the ways in which design can analyse, deconstruct, reveal and challenge the systems in which we live and how these, in turn, design us back. — Thanks to all participants and the Porto Design Biennale!

Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the @portodesignbiennale, the project ‘Design Systems’ proposed a variety of perspectives—social, cultural, political—to challenge this deeply engrained tradition.
The residencies offered the workshop participants and the public, an introduction to systems thinking in design, challenging a one-dimensional view of design, stripped of its inherent relations, tensions, problems, consequences. Brazilian design researchers @luizap and @pjliveira (A Parede) held a workshop with the goal of unpacking the networks that inform the existence of an object in the world, as well as its implications in-use. This workshop was followed by a study of Portuguese news media by Thai researcher @bellenuan (@acedinstitute), making use of the archives of the Municipal Library of Porto. It used cross-field research methodologies to discover unseen patterns and collect evidence that could be constructed into a coherent narrative. Dutch designer @untoldstoriesamsterdam’s workshop mapped, deconstructed, and visualised the means of production of contemporary graphic design in the context of the cities of Porto and Matosinhos, and the way economic value is created and sustained. Finally, the collective @dmstfctn traveled to Porto to conduct field-research in the context of their project and film ‘Interface Chaos’ (2019), mapping and connecting the behaviour of money through tax havens in Porto and its infrastructure. By covering a wide range of areas of interest with diverse approaches, Design Systems proposes an exposure to the ways in which design can analyse, deconstruct, reveal and challenge the systems in which we live and how these, in turn, design us back. — Thanks to all participants and the Porto Design Biennale!

Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the @portodesignbiennale, the project ‘Design Systems’ proposed a variety of perspectives—social, cultural, political—to challenge this deeply engrained tradition.
The residencies offered the workshop participants and the public, an introduction to systems thinking in design, challenging a one-dimensional view of design, stripped of its inherent relations, tensions, problems, consequences. Brazilian design researchers @luizap and @pjliveira (A Parede) held a workshop with the goal of unpacking the networks that inform the existence of an object in the world, as well as its implications in-use. This workshop was followed by a study of Portuguese news media by Thai researcher @bellenuan (@acedinstitute), making use of the archives of the Municipal Library of Porto. It used cross-field research methodologies to discover unseen patterns and collect evidence that could be constructed into a coherent narrative. Dutch designer @untoldstoriesamsterdam’s workshop mapped, deconstructed, and visualised the means of production of contemporary graphic design in the context of the cities of Porto and Matosinhos, and the way economic value is created and sustained. Finally, the collective @dmstfctn traveled to Porto to conduct field-research in the context of their project and film ‘Interface Chaos’ (2019), mapping and connecting the behaviour of money through tax havens in Porto and its infrastructure. By covering a wide range of areas of interest with diverse approaches, Design Systems proposes an exposure to the ways in which design can analyse, deconstruct, reveal and challenge the systems in which we live and how these, in turn, design us back. — Thanks to all participants and the Porto Design Biennale!

Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the @portodesignbiennale, the project ‘Design Systems’ proposed a variety of perspectives—social, cultural, political—to challenge this deeply engrained tradition.
The residencies offered the workshop participants and the public, an introduction to systems thinking in design, challenging a one-dimensional view of design, stripped of its inherent relations, tensions, problems, consequences. Brazilian design researchers @luizap and @pjliveira (A Parede) held a workshop with the goal of unpacking the networks that inform the existence of an object in the world, as well as its implications in-use. This workshop was followed by a study of Portuguese news media by Thai researcher @bellenuan (@acedinstitute), making use of the archives of the Municipal Library of Porto. It used cross-field research methodologies to discover unseen patterns and collect evidence that could be constructed into a coherent narrative. Dutch designer @untoldstoriesamsterdam’s workshop mapped, deconstructed, and visualised the means of production of contemporary graphic design in the context of the cities of Porto and Matosinhos, and the way economic value is created and sustained. Finally, the collective @dmstfctn traveled to Porto to conduct field-research in the context of their project and film ‘Interface Chaos’ (2019), mapping and connecting the behaviour of money through tax havens in Porto and its infrastructure. By covering a wide range of areas of interest with diverse approaches, Design Systems proposes an exposure to the ways in which design can analyse, deconstruct, reveal and challenge the systems in which we live and how these, in turn, design us back. — Thanks to all participants and the Porto Design Biennale!

Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the @portodesignbiennale, the project ‘Design Systems’ proposed a variety of perspectives—social, cultural, political—to challenge this deeply engrained tradition.
The residencies offered the workshop participants and the public, an introduction to systems thinking in design, challenging a one-dimensional view of design, stripped of its inherent relations, tensions, problems, consequences. Brazilian design researchers @luizap and @pjliveira (A Parede) held a workshop with the goal of unpacking the networks that inform the existence of an object in the world, as well as its implications in-use. This workshop was followed by a study of Portuguese news media by Thai researcher @bellenuan (@acedinstitute), making use of the archives of the Municipal Library of Porto. It used cross-field research methodologies to discover unseen patterns and collect evidence that could be constructed into a coherent narrative. Dutch designer @untoldstoriesamsterdam’s workshop mapped, deconstructed, and visualised the means of production of contemporary graphic design in the context of the cities of Porto and Matosinhos, and the way economic value is created and sustained. Finally, the collective @dmstfctn traveled to Porto to conduct field-research in the context of their project and film ‘Interface Chaos’ (2019), mapping and connecting the behaviour of money through tax havens in Porto and its infrastructure. By covering a wide range of areas of interest with diverse approaches, Design Systems proposes an exposure to the ways in which design can analyse, deconstruct, reveal and challenge the systems in which we live and how these, in turn, design us back. — Thanks to all participants and the Porto Design Biennale!

Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the @portodesignbiennale, the project ‘Design Systems’ proposed a variety of perspectives—social, cultural, political—to challenge this deeply engrained tradition.
The residencies offered the workshop participants and the public, an introduction to systems thinking in design, challenging a one-dimensional view of design, stripped of its inherent relations, tensions, problems, consequences. Brazilian design researchers @luizap and @pjliveira (A Parede) held a workshop with the goal of unpacking the networks that inform the existence of an object in the world, as well as its implications in-use. This workshop was followed by a study of Portuguese news media by Thai researcher @bellenuan (@acedinstitute), making use of the archives of the Municipal Library of Porto. It used cross-field research methodologies to discover unseen patterns and collect evidence that could be constructed into a coherent narrative. Dutch designer @untoldstoriesamsterdam’s workshop mapped, deconstructed, and visualised the means of production of contemporary graphic design in the context of the cities of Porto and Matosinhos, and the way economic value is created and sustained. Finally, the collective @dmstfctn traveled to Porto to conduct field-research in the context of their project and film ‘Interface Chaos’ (2019), mapping and connecting the behaviour of money through tax havens in Porto and its infrastructure. By covering a wide range of areas of interest with diverse approaches, Design Systems proposes an exposure to the ways in which design can analyse, deconstruct, reveal and challenge the systems in which we live and how these, in turn, design us back. — Thanks to all participants and the Porto Design Biennale!

Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the @portodesignbiennale, the project ‘Design Systems’ proposed a variety of perspectives—social, cultural, political—to challenge this deeply engrained tradition.
The residencies offered the workshop participants and the public, an introduction to systems thinking in design, challenging a one-dimensional view of design, stripped of its inherent relations, tensions, problems, consequences. Brazilian design researchers @luizap and @pjliveira (A Parede) held a workshop with the goal of unpacking the networks that inform the existence of an object in the world, as well as its implications in-use. This workshop was followed by a study of Portuguese news media by Thai researcher @bellenuan (@acedinstitute), making use of the archives of the Municipal Library of Porto. It used cross-field research methodologies to discover unseen patterns and collect evidence that could be constructed into a coherent narrative. Dutch designer @untoldstoriesamsterdam’s workshop mapped, deconstructed, and visualised the means of production of contemporary graphic design in the context of the cities of Porto and Matosinhos, and the way economic value is created and sustained. Finally, the collective @dmstfctn traveled to Porto to conduct field-research in the context of their project and film ‘Interface Chaos’ (2019), mapping and connecting the behaviour of money through tax havens in Porto and its infrastructure. By covering a wide range of areas of interest with diverse approaches, Design Systems proposes an exposure to the ways in which design can analyse, deconstruct, reveal and challenge the systems in which we live and how these, in turn, design us back. — Thanks to all participants and the Porto Design Biennale!

Within graphic design, the concept of systems is profoundly rooted in form. Starting from a series of design research residencies in the context of the @portodesignbiennale, the project ‘Design Systems’ proposed a variety of perspectives—social, cultural, political—to challenge this deeply engrained tradition.
The residencies offered the workshop participants and the public, an introduction to systems thinking in design, challenging a one-dimensional view of design, stripped of its inherent relations, tensions, problems, consequences. Brazilian design researchers @luizap and @pjliveira (A Parede) held a workshop with the goal of unpacking the networks that inform the existence of an object in the world, as well as its implications in-use. This workshop was followed by a study of Portuguese news media by Thai researcher @bellenuan (@acedinstitute), making use of the archives of the Municipal Library of Porto. It used cross-field research methodologies to discover unseen patterns and collect evidence that could be constructed into a coherent narrative. Dutch designer @untoldstoriesamsterdam’s workshop mapped, deconstructed, and visualised the means of production of contemporary graphic design in the context of the cities of Porto and Matosinhos, and the way economic value is created and sustained. Finally, the collective @dmstfctn traveled to Porto to conduct field-research in the context of their project and film ‘Interface Chaos’ (2019), mapping and connecting the behaviour of money through tax havens in Porto and its infrastructure. By covering a wide range of areas of interest with diverse approaches, Design Systems proposes an exposure to the ways in which design can analyse, deconstruct, reveal and challenge the systems in which we live and how these, in turn, design us back. — Thanks to all participants and the Porto Design Biennale!

‘Modes of Criticism 5 – Design Systems’, with contributions by @luizap, @pjliveira, @acedinstitute, @untoldstoriesamsterdam, @dmstfctn, Shannon Mattern, @ianlynam, Brave New Alps, @georgina_voss, and Francisco Laranjo. Available worldwide via @onomatopeenet and in Portugal via @portodesignbiennale. And stockists around the world.

‘Modes of Criticism 4 - Radical Pedagogy’, with contributions by @danah.abdulla, Anne-Marie Willis, Tanveer Ahmed, @kennethfitzgerald, @depatriarchisedesign, @grooooten, and @hnnhlls. Available worldwide via @onomatopeenet and distributors around the world.

For the next year we will be writing (and designing a book) about the 100 years of (visual) history of the National Theatre of São João, in Porto. A real pleasure to go through these very rich archives in the Monastery of São Bento da Vitória.

For the next year we will be writing (and designing a book) about the 100 years of (visual) history of the National Theatre of São João, in Porto. A real pleasure to go through these very rich archives in the Monastery of São Bento da Vitória.

For the next year we will be writing (and designing a book) about the 100 years of (visual) history of the National Theatre of São João, in Porto. A real pleasure to go through these very rich archives in the Monastery of São Bento da Vitória.

For the next year we will be writing (and designing a book) about the 100 years of (visual) history of the National Theatre of São João, in Porto. A real pleasure to go through these very rich archives in the Monastery of São Bento da Vitória.

For the next year we will be writing (and designing a book) about the 100 years of (visual) history of the National Theatre of São João, in Porto. A real pleasure to go through these very rich archives in the Monastery of São Bento da Vitória.