Page 1

Cliente: Data:


03


Happy Copo para crianças em vidro. Àmedida que bebem o leite, vai sendo desvendado um sorriso. Um incentivo para beber leite.

Cliente: Pessoal Data: 2005

Cliente: Data:


Fruteira Extensível Com estrutura de aço inox e rede de elástico, feita a partir do processo de rede de pesca artesanal. Cada peça de fruta vai moldando a sua forma.

Cliente: Pessoal (Exposição de Finalistas ESAD 2005) Data: 2005

Cliente: Data:


Flex Cabide de parede em fita de a莽o. A flexibilidade do material leva-o ao lugar ap贸s o uso.

Cliente: Pessoal Data: 2005

Cliente: Data:


Relógio de Parede Relógio de parede em acrilíco. Um conceito diferente de ler as horas, num relógio onde a simplicidade impera e tudo o que é supérfulo foi retirado. A passagem do tempo é inevitável, mas é agradável a sensação de o poder fazer voltar atrás.

Cliente: Pessoal Data: 2001


Swing Linha de peças cerâmicas, de mesa e forno com aplicação de decalque decorativo.

013

Cliente: Cerutil (Exposição Feira Ambiente Frankfurt 2009) Data: 2008


Hotel Pro Linha de peças cerâmicas para Hotelaria. Empilhável em tamanhos iguais. Arrumação fácil com o encaixe dos tamanhos mais pequenos nos maiores. Asas ergonómicas para um uso profissional.

Cliente: Metro Cash & Carry - France (Cerutil) (Exposição Feira Ambiente Frankfurt 2009) Data: 2008

015


locais potencialmente interessantes para visitar. O facto de permitir ser compreendido através do tacto, Em cerâmica. Realizado no âmbito de um projecto de possibilita aos visitantes invisuais ter acessibilidade na Q.P.O., levado a cabo a mesma percepção. Este apelo aos pelo Arquitecto Pedro Gouveia, da C.M.L. sentidos é igualmente estimulante

Mapa Táctil

Tem como objectivo dar a conhecer a Quinta no seu todo, dando uma visão geral do espaço e da divisão clara das várias partes de uma Quinta. Ao mesmo tempo, apresenta

para os restantes visitantes, adultos ou crianças, uma vez que os incentiva a explorar o tacto, tirando partido da riqueza das diversas texturas.

Cliente: Quinta Pedagógica dos Olivais Data: 2005


Color Base em cerâmica com aplicação de decalque decorativo.

Cliente: Data:

019

Cliente: Cerutil (Exposição Feira Ambiente Frankfurt 2009) Data: 2009


Bowl Taça em cerâmica, desnivelada, com relevo.

Cliente: Cerutil Data: 2009


Cliente: Data:

023


Galeria Home Desenvolvimento de mangas para peças cerâmicas de mesa e forno revestidas a anti-aderente.

Cliente: Kaufhof -Germany (Cerutil) Data: 2008


Galeria Home Desenvolvimento de embalagem para mortar em cer창mica e pil찾o.

Cliente: Kaufhof -Germany (Cerutil) Data: 2008


Cd Multimédia Catálogo digital de apresentação dos produtos e serviços da empresa.

Cliente: Cralufe Data: 2006


Imagem corporativa Actualização da imagem corporativa : logo, cartões de visita, papel de carta e envelope. cralufe

óri o de escrit mobili ário

Cliente: Cralufe Data: 2009


BUTOH DA

e art form The performanc duct of postbutoh is a pro emerged from war Japan. It erground art the Tokyo und 0s and reflects 196 scene of the era: ial issues of the the major soc ial an-style industr eric Am of the rise ive Japanese nat of loss capitalism, the zation, ridi hyb rnational culture to inte mic bomb. ment of the ato and the develop ense Treaty Def l tua Mu an With the U.S.-Jap its ten year scheduled for was a volatile next year, 1959 renewal in the was a year rife anese history. It tuals moment in Jap sts and intellec arti as , test with civil pro to organize an beg ntry cou this n throughout the dem trations to con as public demons blished Japan treaty which esta orate tect pro ual a virt ted Uni of the States.

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In 1933, Junic hiro Tanizaki had published an essay entitled .In Praise of Shad ows, which begi ns by addressin g the prob lems in accommodatin g the traditional Japanese hom e with the lates t in modern lighting, heating, and lavat ory facilities. Couc hed in a high ly passive commentary on Japanese aesth etics is Tanizaki.s indic tment against the wholesale importation of things foreign at the expense of traditional cultu re. He writes, .Whe never I see the alcove of a tastefully built Japanese room marvel at our ,I comprehension of the secrets shadows, our sensi of tive use of shad ow and light.... [I]n this small corner of the atmo stphere there reigns complete and utter silen ce..1 Tanizaki witnesses .the This much-vaunted transforming .brilliance. of modern elect ric lighting. swal it into .mer protest lowing up the precious shad e ows of , Japa void.. In the nese architectu lacquerware, mo vem ent final re, and potte paragraph of ry. He resen the developments ts the the essay, known as of history and Tanizaki revea progress since rendered e, ls his purpose: ggl Stru the .In the Meiji Restoratio Ampo mansion calle of antagonism n which se d literature Iwou sen g win ld have the eaves deep and a the darkness concrete a gro the walls dark ards Americforce ..2 As scientifi antment tow rationalism shine c in out into the s its inspector.s and disench been brewing lamp into every unknown had t tha o p en, corner, looking and Europe for facts to atmosphere illuminate and ic lypt oca classify, the artist t-ap es must save humankind from cod the bleak pos l civi its evolution 1950s. New toward an intellectual dem of Japan in the ernment ystification of the universe. Occupation gov As a writer, Taniz aki is personally installed by the nize.gender compelled to save the and .moder .world of shad n atio ows. to redefine through urbaniz literature. For Tatsumi Hijikata, l as massive it would relations as wel be through danc n of huge ctio stru e. Writi con ng at the same g time as Taniz and the ensuin plexes aki, though a dominium com century ahead if dated ge impersonal con from the incep tion of traditional villa the Industrial Revolution in had destroyed was France as opposed to ctures. Japan its inception and family stru o in Japan, Antonin med into a joh Artaud speaks rapidly transfor , of .shadows. as an essential, rmation society enriching elem shakai, or .info are ent absent ses mas in contemporary in which the European homogenized culture. He writes, .Our controlled and petrified idea of er-oriented the theater is by a consum

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centralized media and a hority. bureaucratic aut

1963 is red Dance. of The .Rose -Colo ata.s first stage of Hijik typical of this apher as choreogr development istent ded by a pers Impe er. danc and the l awkwardness, and intentiona a ble through stum omly men rand sometimes tic posturings, series of balle more but e esqu arab n falling into a uniso s. They chao in nd the grou often falling to of light with out of pools wander in and and terrified by hed, mystified arms outstretc then jump presence, and own unkn , dark some wrestling and others. arms, jovially into each e and disturbing vagu a is e embracing. Ther dancers rifle emotion as the inconstancy of and an ominous ree physicality between caref e. Eventually, ern classical danc mockery of West ses, revealing ped of their dres the men are strip pt for white bodies bare exce loths, paint and loinc writhe and the on

Dance Associatio n to showcase new dancers and choreogr aphers. Tatsumi had approached Yukio Mishima, requ esting permission to adapt his nove l Forbidden Colors (Kinjiki) and its theme of homosex uality to a dance perfo rmance. The danc e was short and perfo rmed in silence. A young boy, Kazuo Ohno .s son Yoshito, enacted sexual intercour se with a live chicken, smothering it to death in the process, and then surrender ed to the hom osexual advances of Hijikata hims elf. In general, the audience found Tatsumi.s choreography to be horrifying and offensive, and he was subsequently labeled a .dang connected erous dancer. and expelled from the Danc w i t h e Association. Early in his artist career, Hijikata ic our took inspiratio petrified n from European authors (Gen idea of a et, de Sade, culture Artaud) whos without shad writings deal with e ows, where, matter which social outcasts no way it turns, and deviants. Hijikata.s early our mind (espr choreography encounters only it) pays particular emptiness, thou homage to hom gh space is full.....3 Reminisc osexuals, trans vestites, and ent of Tanizaki.s hermaphrodite claim that s. Considering space is a .mer sexuality to be e void. without precious glimpse a the subtle texture and into primeval mystery of shad human nature, Hijikata conc ows, entra states that only Artaud ted heavily on .emptiness. revea eroticism, often involving ls itself in a .culture without potential viole nce, in creating shadows.. Tatsu the imag ery of his danc mi Hijikata.s. Dance of Utter es, as a mean Darkness. seek personal explo s of s to retain these ration into the precious and repressed zone vanishing shad of human cons s ows spoken ciousness. of by Tanizaki and Artaud in The phrase whic the 1930s. He believes that tradi h Hijikata used as tionally .the Japa the most essential definitio nese have a fundamentally n of his danc anarchic conc e was .body on the edge ept of the body of crisis.. The He continues:. .4 novelist, Yukio When we walk Mishima, wrot our feet slip to e: .Almost every one side and we form of art has are continually an awareness off balance. of crisis at its There are no root....This is also paths to follow true in classical and even the ballet. Those unna sky poses a threa t; consequently tural dance shoes...seem to our make the hum walking is so unsu way of an beings lose re.... [F]or me there balance; they were only impose a sense the borders of the paddy fields of crisis, since the dancer is to help me find barely and peril my way.5 Tatsu ously mi first appeared standing. Avan t-Garde dance on the Tokyo underground does not use art scene in May the dance shoes....If the 1959 with his requirement of controversial perfo the latter is to rmance of .Forb realize .the balan idden Colors. at an event orga ce on the verg e nized by the All of crisis,. that of the Flesh . is former Japan Artis.Revo to express the tic lt of the crisis itself..6 in their work..8 g of ata.s recapturin embodies Hijik by his roots, catalyzed his personal . Flesh the of ku. .Revolt return to Toho ewal of complete esch is seen as his nning of es and the begi foreign influenc the nel nfluences and chan to pt his attem complete his dance (see of Tohoku into n the dying spirit essio proc a with e begins Figure 3). The danc theater and the rear of the entering from house. Wearing the front of the to ng eedi proc of a Japanese l white kimono the traditiona hair swept up front and his long bride back to ed through the Hijikata is carri in a loose bun, a wooden liner in stage onto the audience and in a baby crib pig lingering several men. A of supported by in hed to the end on a platter attac and rabbit on quin in its farming the makeshift palan the w follo a pole crowd. He ities rs through the commun euve man s e precariou re gauzy, whit h. For their the stage whe of the nort is released onto Hosoe formations and journey, w into womblike photographic sailcloths billo lly from the flies the persona of l hang horizonta ata to take on s strip sheets of meta and on hair dem instructed Hijik his el weas ata lets down hi, an invisible like swing. Hijik e al his bronzed the kamaitac paddies. Hoso kimono to reve hievously in rice himself of the en phallus ren that lurks misc pt for a gold hood, .We child exce child d his nake e , body ally possessed writes of hors ething would loins. Demonic tened that som strapped to his ..7 seethes with were always frigh ide after dark tions, Hijikata n we went outs by barbarous gyra aitachi catch us whe s uncontrollably kam leap e.s and r Hoso lvement in tically great sexual fervo Hijkata.s invo l plates, chao the northern ed him to the flying meta onto ence. The o. audi Toky series reawaken to the moving out into left behind in reflecting light danger climaxes country he had in Tohoku me violence and of his childhood extre of ories by e mem sens there rooster, Hijikata.s tional Japanese neck of a liver access to tradi as he breaks the serve as his ration for the half of the as direct inspi Colors. ending the first folk culture and climate of to Forbidden harsh ence the refer a In h. piece with creation of buto ata is awkwardly ents impose segment Hijik ring natural elem In the second . own, complete Tohoku, the unca human suffering enormous ballg rstanding of front of bound in an a bodily unde long train, the of suffering. He y sleeves and a e is born out us puff danc with ata.s the of Hijik like a mischievo many the body that periodically lifts of he h said is whic .It e below. He danc writes: nese folkloric al his private parts reve Japa to of s girl g step youn tormented visiting rhythms and contortions and peasants by a sque the grote to s d contrasts were introduce els with ridiculou his board and ted at his bow o in return for struggles direc monk from Toky urage them to help and enco lodging. This was

Butoh Paginação de artigo sobre dança.

3

1

ground. Hijik ata.s is back r to painted in colo his flesh is appear as if the and revealing splitting open ember of 1967 ns within. In Sept bones and orga o for Tashiro in Hijikata left Toky Eiko Hosoe and a photographic Prefecture,on Ugo Town, Akita from Hosoe.s ture memories recap to r ion miss Like many othe (see Figure 2). Tokyo own childhood evacuated from was e Hoso .city kids. delivered to the and II War during World e. Hosoe of the countrysid relative safety in their mutual interest and Hijikata.s country in the northern ancestral roots ce of issan ral rena reflects a gene ist folk Japan of nativ popularity in est the 1960s. Inter studies during ies, folklore stud in Japanese n Kunio Yanagitai founded by ication of publ the 1910 with ari) ogat Mon o Tales of Tono (Ton The s. 1960 soared in the gives a matterTales of Tono the ription of of-fact desc d of demons and fantastical worl till

5

Cliente:Pessoal Data: 2009


Joey Lawrence Paginação de artigo sobre o fotógrafo.

Cliente: Pessoal Data: 2009


Marcadores de mesa Marcação de mesas para aniversário com motivos de frutos africanos.

Cliente: Pessoal Data: 2008


Cartaz Cartaz para festival de mĂşsica de verĂŁo.

Cliente: Pessoal Data: 2008


Brinde Bolsa de transporte para cd’s. Um objecto prático, permite o transporte de 3 cd’s de modo seguro. Oferta em festival de música de verão.

Cliente: Pessoal Data: 2008


Receita Tagine Receita para acompanhar tagine no ponto de venda.

Cliente: Auchan (Cerutil) Data: 2009


Cliente: Data:

045


Feira Ambiente - Frankfurt 2009 13 - 17 Fevereiro Concepção e desenvolvimento de Stand Expositor para peças utilitárias em cerâmica de mesa e forno. Desenvolvimento de linhas e decorações e escolha de cores.

Cliente: Data:

047

Cliente: Cerutil Data: 2009


Cozinha Projecto de interiores e implantação do respectivo mobiliário.

Cliente: Particular (MOB) Data: 2003


Cozinha Projecto de interiores e implantação do respectivo mobiliário.

Cliente: Particular (MOB) Data: 2003


FirstStop Projecto de interiores e implantação do respectivo mobiliário.

Cliente: FirstStop - Sintra (Cralufe) Data: 2006


Celeiro da Memória Projecto de interiores e implantação do respectivo mobiliário.

Cliente: Celeiro da Memória- Montijo (cralufe) Data: 2006


Office Center Projecto de armazem e implantação de diversos tipos de estantes: kantilever, picking, estante compacta e estante convencional.

Cliente: Office Centre - Alverca (Cralufe) Data: 2007


Algo Azul Desenvolvimento de balcĂŁo de atendimento e carrinho de qapoio para Spa.

Cliente: Algo Azul - Lisboa (CentĂ­metro) Data: 2007


Estante Desenvolvimento de estante para sala.

Cliente: Particular (CentĂ­metro) Data: 2007


Cliente: Data:

063


Nurofen Modelação 3D.

Cliente: Pessoal (exercício de formação) Data: 2009

Cliente: Data:

065


Lipton Modelação 3D.

Cliente: Pessoal (exercício de formação) Data: 2009


Mesa Modelação 3D.

Cliente: Pessoal (exercício de formação) Data: 2009


Catarina Amaro | Designer  

Designer

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