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I really do not understand the reason why designers are not fully respected as professionals in the European Union. It seems that in Europe everyone can act as a designer, due to lack of legislation and a completely indifference from the politicians. On a recent trip to Germany and listening to a person responsible for promoting the culture of design in the country I was told that Germans took more than sixty years to understand the importance of the profession and the value of the professionals to their society, culture and economy. Despite of all this long educational process a well known German designer also told me that design students and design teachers are not really interested in changing, at least, the legal role of the profession. Not even to protect the profession under the law, with rights and duties, and to be fully recognized under the economical activities. We were told from a most reliable source that an industrial German design association has no more than four hundred associates. The European Union has created an institution to be focus on design and also “invests” money from the common budget to promote design among European country members. On top of this the European Union gives a reasonable amount of money, under specific economical programs, to privately held “creative” industries mainly to allow them to make a presence in style at some of the most relevant design events worldwide. What is really happening is that all this money is being wasted to sponsor only a slightly |2|

fuzz on design while professionals are being completely ignored and disrespected under each countries laws, explored by industrials and by all sort of market agents. The reality is that in a great number of European countries all these so called creative industries do not have in their line of production a single design professional. It seems that in Europe everyone can play the piano. You have people studying and taking higher educational degrees on design and after all that money invested to be at the best places with the best teachers and all that precious time spent on getting knowledge, these professionals get into the market and what they see around is a bunch of people without any academic background or proper qualifications practicing and earning money as if they were in fact designers. This problem is more than just a simple unlawful behaviour it is a social crime that is contributing for underdeveloped societies, cultures and economies. Now imagine yourself going to the hospital for a surgery and instead of been taking care by a doctor you are left under the hands of a butcher?!!!



EXPRESSIONS Opinion by Rodrigo Costa – Where’s The Artist DESIGN PER/USE


Philipp Kuntze


Interview with Mugendi K. M’Rithaa


Francisco Elias and Nelson Fernandes Secondome



Interview with Barbara Feio


Food Design – Quim Larrea


ARCHITECTURE Recovered Dignity


Reconstruction in Lagos


EVENTS Reviewing Salone


BOOKS Portuguese Contemporary Houses Design Et Al


DISCS Slowly Rolling Camera Phronesis








Editor in chief — Founder Tiago Krusse Executive Designers Joel Costa / Cátia Cunha Text Contributors Francisco Vilaça (Stockholm) Hugo Poge (Reykjavík) Nathalie Wolfs (Brussels) Rodrigo Costa (Oporto) English editing K Photo Contributors FG+SG - Fotografia de Arquitectura João Morgado - Fotografia de Arquitectura Rui Gonçalves Moreno Advertising Office DESIGN MAGAZINE Jardim dos Malmequeres, 4, 2.º Esquerdo 1675-139 Pontinha (Odivelas) - Portugal Publishing House Elementos À Solta — Desenvolvimento de Produtos Multimedia Lda. Rua Adriano Correia Oliveira, 153, 1B 3880-316 Ovar - Portugal NIPC: 503 654 858 Media founded in 2011

This issue cover is an work of the fine artist Rodrigo Costa |6| |7|


Rodrigo Costa

Supported, yet, in the Sarah Thornton’s Seven Days in the Art World, I’m back to approach the artist’s position; for talking about the relationship inside a space where curators, critics and historians have been taking the whole relevance, as though their practical experience is enough to allow them to induce decisions, to draw artistic careers, to point what the proletariat must do and how to behave. Actually, more than ever, we are living in a world mostly inhabited for people desperately seeking fame and money, and, since a long time and after everything to be sold, there are only the souls for selling. All rise! Who’s guilty or not guilty?... The artist, once people go until where they are allowed to go, even if we have one only life, without any other chance to concretize our dreams. But, at this point, are we really talking about dreams?... If so, it’s need to know what sort of dreams are we talking about, given that so as to get fame and money many dreams die along the way. In the chapter, The Prize, the Turner Prize, whose responsibility belongs to the Tate Britain, it’s possible reading two interesting thoughts because they were expressed by significant figures: the director of the Tate, Nick Serota, under which, while judges, people feel themselves ambivalent, because they are very conscious of the fragility of the new art and of the artists’ vulnerability; and Rebecca Warren, a sculptress who was prized: — I don’t love, necessari|8|

ly, what I’m doing; it’s more about to allow us accepting what we are doing. So, I ask what’s needed to be prized?... What’s needed to be recognized?... What’s needed to be successful as an artist?.. What’s needed to be respected, at least?... It’s needed to be banal; available to leave the own voice and obeying to ignorant people — the more they appear wrapped in glittering titles, the more is the obeying due to them! Definitively, it’s needed to transform the artist into an empty box. As I think I wrote in my previous text —I’m not sure —, the History of the Art is a kind of mortuary house where we can visit inanimate names, gestures and events, chronological records, all subjects which should be seen lightened by the Anthropology as the science that knows the animal and his will, his predisposition, because, if we are not able to understand the basic Life-phenomenon, it’s not easy to understand the Art as phenomenon itself. If we can´t understand the animal that supports the reasonable human being, it’s not possible to understand the artist as the human being’s unique voice; his thoughts; his desires; his intentions; the connection between his intention and his calligraphy, at the end, the source of his proposals — the difference between effect and defect, because fame and money are not necessarily a consequence of knowledge and capacity; the World is full of stupid and wealthy people whose success is due to wrong thoughts and bad actions.

Illustration by Rodrigo Costa

I must say that sometimes I feel myself tired. Sometimes I look at me as though I was fighting against the instinctive strength. Nevertheless, I keep the hope of finding the animal available to think, available to the reason, able to contradict the establishment, able to live by himself, in the same way that, as a citizen, he can survive out of any political party; available to hear, but unavailable for blindly follow the mentors’ steps. Yes, it can be asked how to put things in its place. It’s not easy because the world seems to be upside down; the carts are before the horses; the boldness took over the intelligence’s place, and if a dictatorship is not a good idea, I honestly look at democracy as a sloppy regimen, which allows to any stupid to reach an important position; at any time, any ignorant can decide about people’s life — anyone can say that there isn’t a perfect regimen, indeed. It’s right, because as I defend, the problem isn’t the Art, the Religion or the Politics; the problem is the human’s nature. To build a personality involves character, apprenticeship and faith. It’s needed to analyze and self-analyze so as to see what suits to our nature; what kind of proposals we must accept or reject. Our balance — our affective fill — isn’t got by following or accepting the fashion’s dictatorship. Sensibility has not anything to see about sex; sensibility has to see about everything — to be sensitive is an unavoidable condition to feel what’s going on around and, mainly,

what’s going on inside us — unfortunately, in the art world there is more stylists than thinkers, and without thinking, we’ll always stay far from the Sense. So, when somebody, he or she, thinks of being an artist, they must realize if they are prepared to be free1 or to be as small pets in hands of fragile owners… And it mustn’t be forgotten: an artist is himself a collective project... but always an individual entity… 1 – Freedom is a utopia, really. There is only conditional freedom, once we live, at least, arrested by our conscience. |9|


In a world dominated by mass production and consumption, an object becomes all the more desirable when it is made with craftsmanship and love. With natural materials, exquisite design and genuine craftsmanship, the Belgian based design company PER/USE creates a collection that stands out by authenticity and purity of form. Text: Nathalie Wolfs Photos: Courtesy of PER/USE

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PER/USE was founded in 2013 and it is based in Kortrijk, Belgium, in a region that has a long history of fine furniture design and production. The new design company has its roots in this legacy and connects with the language of the great designers and architects of our time. This design approach reaches out beyond the trends, it pursues timeless shapes and forms and has a poetic inclination. The team of designers is a mix of young, upcoming talent and established designers from all over the world. Creative director Lucie Koldova curates the young but growing collection of the company. She actively participates in the design and delineates the identity of the brand by clearly defining the core values: crafts and soul. A well-designed object communicates its elegance by its character. It is made with craft, withstands time and respects nature. It is designed with a passion for pure forms. It seems basic but never tedious, smart but never pretentious. It has a soul. The company line of work embraces honest materials such as glass and wood, and it is no coincidence that artisanal glass making and wood craftsmanship are treasured at PER/USE. Lucie Koldova, as one of the main designers, is fascinated by the mysterious reflection and the shine of the delicate but also strong and everlasting glass that plays with light. The wood, especially oak and beech, is a material that has been cherished for centuries by European artisans and that fits just as well in avant-garde design. Thanks to state-of-the-art production technology, glass and wood featured in the collection are transformed to sculptural objects with a sensuality that lasts. The production of the complete collection is made in Europe. This guarantees the high quality of materials used, with respect for the environment and according to high social and sustainable standards. | 11 |

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Philipp Kuntze

The Swiss Philipp Kuntze is an interior designer and the creative director of the Qn’C studio. Determined on the research of materials Philipp Kuntze is oriented to a design work based on refined handicrafts to produce unique furniture. Unique is not just another adjective to marketing the product, the word is well used when we sense all that accuracy of design. Inspired by old crafts techniques and traditions, the work produced underlines this fascinating way to present new objects with a great amount of care on detail and higher level of quality. Function and form expressing a world of differences when comparing this philosophy of work with mass produced objects that only have little stories to tell. The concerned is to present distinguished furniture with a great deal of background in research and with all those harmonious visual qualities resulting from skilled handmade work. The table series LIF are the good example of the Qn’C orientation, showing a good combination of traditional craftsmanship based on secular woodturning and Swiss inlay techniques. The tables show how well executed they are and how innovative they can be by putting together technology and culture, transforming good materials into unique and timeless products. | 16 |

Photo: Courtesy of Philipp Kuntze | 17 |


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Mugendi K. M’Rithaa

The Professor Doctor Mugendi K. M’Rithaa is an industrial designer, educator and researcher at the Cape Peninsula University of Technology in South Africa. He holds postgraduate qualifications in industrial design, higher education and universal design. He is passionate about various expressions of socially responsive and responsible design, including participatory design, universal design and design for sustainability. Mugendi has a special interest in the pivotal role of design in advancing the developmental agenda on the African continent. He is associated with a number of international networks focusing on design within industrially developing/majority world contexts, and is currently serving as President-Elect of the International Council of Societies of Industrial Design (Icsid) - he will become President during the 2015-2017 term. Text: Tiago Krusse Photo: Couretesy of Mugendi K. M.’Rithaa

What memories do you have from your childhood near Mount Kenya? Thanks for taking me down memory lane Tiago… My childhood memories are filled with beautiful vistas of nature and the merry sounds of a large supportive extended family, including wise and loving grandparents. Your travelling experiences began quite early. Since you left your country as a child, what sort or perceptions were you left with from where you came from? I did indeed leave for the USA at a relatively early age, but the memories of an integrated and connected community in rural Kenya endure till this day. I believe this sense of community and the interconnectedness of humanity informed my worldview in a deeply profound way. In Africa, we refer to this quality of humanness and empathic (and participative) attitude towards other people’s wellbeing as Ubuntu… Kenya went through several difficult political periods since its independence in 1963 from Great Britain. How did those hard times affect your life and what sort of repercussions they had during your growing up? The challenges of a country trying to find its on destiny and identity are not unique to Kenya. Notwithstanding, the legacy of the independence struggle for freedom, equality and human dignity is deeply

ingrained in our national psyche. Kenya still has a number of socio-economic challenges to overcome to achieve the dream of equity and for all its peoples to realise their full human potential – the impact of corruption and high unemployment rates has held the country back somewhat… I am optimistic though that good governance, robust and transparent public institutions, resilient informal sector enterprises, political accountability, and active citizenship are critical prerequisites to Kenya’s future aspirations for a prosperous and socially equitable and cohesive society. The opportunity of getting education abroad how did influence you? How would you describe those years and in what sense they drive you along this way? I am most fortunate to have begun my early childhood education in the USA at a time when I was young enough to internalise paradigm-changing notions. The exposure to a sophisticated economy and industrially advanced contexts was pivotal in laying the foundations for my passion for design and technology. I remember witnessing the moon landing live on television and how that single event captured my imagination. That event also demonstrated to me the power of a collaborative vision, and how much potential we have for good as a human race, provided we embrace our common humanity…

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What reasons led you to choose industrial design? This is a good question Tiago. As mentioned earlier, the fascination with technology and artefacts began while I was in the USA. My family eventually returned to Kenya and I went on to complete my high school at Lenana School and undergraduate studies on design at the University of Nairobi. My high school art teacher, Ms Themina Kaderbhai is responsible for guiding me towards design... It was during my bachelor’s studies in design that I realised my affinity towards three-dimensional design. After my studies I began working as a professional designer, and during this time I was awarded a Commonwealth Scholarship that enabled me to study industrial design at the Industrial Design Centre (IDC), at the IIT in Mumbai. How did your studies in Indian Institute of Technology (IIT) in Mumbai influence not only your search for knowledge but also the plans you had for your future? The IDC at IIT-B was a perfect mix between socially conscious product design, human-centred design, and high-tech industrial/professional practice. I learnt the value of employing indigenous knowledge in socially responsible (and responsive) ways so as to evolve design solutions that recognise and respect broader social-cultural, economic, ecological, technological and geopolitical concerns. These were the very foundations of my present design philosophy… When you return to Kenya did you already have a plan or an idea of a program to spread to people the importance of design thinking? Yes indeed! I was highly motivated after my two-year study tenure in India. I immediately embarked on teaching at my alma mater, the University of Nairobi where I was appointed to take responsibility for the industrial design and interior design programmes. The human-centred ethos was central to all my teaching and research endeavours. Looking to your path we can easily see this goal of promoting design and spreading design thinking throughout Africa. How did you managed to start this mission? This is a special year for me as it marks exactly 20 years since I began teaching design at university level! | 20 |

I was fortunate to have met Adrienne Viljoen (who was then the Manager of the SABS Design Institute in Pretoria) in 1994 when she visited Nairobi – just as I began my teaching career. I later attended an Icsid-endorsed Interdesign on Water in Pretoria in April 1999. It was during this visit that a group of us under Adrienne’s stewardship formed the Network of Africa Designers (NAD). NAD has been instrumental in enabling designers on our continent to network with one another and exchange best practices in education, research and professional practice. NAD has also provided an excellent platform for like-minded key actors interested in design to engage in meaningful and productive dialogue… What are the most important challenges you face in your line of work? The challenges I face are more around attitude than aptitude. By this I mean that the greatest impediments to progress and development are often not the lack of resources, but typically the lack of goodwill and support for creative thinking strategies to solve problems. This however is changing as more people become aware of the efficacy of design thinking in helping to solve the myriad wicked problems we face almost daily within majority world contexts. Most decision and policy makers fail to recognise the value of design as ‘part of the solution’ in addressing the various developmental challenges in Africa. Another major challenge ids the absence of official design policy to promote and protect the profession on the African continent. What is the awareness that African societies have regarding the role of design towards the improvement of their lives and needs? The awareness is typically quite low. People are familiar with craft, or fine art, or engineering, but not design… We’re hoping that Cape Town’s World Design Capital 2014 events and projects will aid our efforts to promote design literacy and awareness. What sort of changes you can figure ahead if people began to realize the importance of design? I’m excited at the potential Tiago! I believe that once people realise the critical relevance and vast potential of design in solving diverse socio-technical challen-

sistent and proactive line of protective measures? The situation is serious, but not desperate yet. Some Beyond the innovation and the usefulness of countries experiencing decreasing annual rainfalls design there are social, cultural, political and have seen the expansion of the desert as it encroaeconomic aspects that have to be considered ches on arable land, while other regions are experienas a whole. How are all these different sensi- cing severe flooding. The frequency of these extrebilities coping with this urge for development, mes is cause for concern and concerted action. The sustainability and better quality of life? quest for energy security also demands fresh thinking These concerns are all interconnected, precisely be- and investment in distributed renewable sources. Forcause people are at the epicentre of every issue be tunately, a significant number of North-South collait socio-cultural, socio-economic, socio-technical or borative research projects are tackling this important otherwise. Sustainability is the most urgent imperati- global issue – all hope is not lost, yet… ve of our age – we must all act in unison to achieve equity and sustainability: as a popular African proverb What fields of design can play a crucial role goes, “if I run alone, I might run faster; but if we run throughout the African continent and its spetogether we can run farther”… cific needs? A trans-disciplinary approach involving various social How serious is in fact the global environment and applied sciences as well as eco-design, Design issue to African countries? for Sustainability and related sub-disciplines supThis is an important issue and worthy of support by ported by participatory or co-design methodologies all African leaders and their citizenry. Climate change would certainly be helpful… is a real phenomena and those poorer countries in the global South are far more vulnerable than most. You are now the President-Elect of InternaThe time to act is now, and it must be a collective tional Council of Societies of Industrial Design coordinated effort… (Icsid). How do you view this election and how do you see it as an opportunity to reinforce this Has the pollution and the destruction of the mission you have been carrying and the goals environment in Africa reached a point of no re- you still want to accomplish for the benefit of turn? Which natural resources demand a con- people? ges, that Africa could leapfrog into a positively sustainable future for all within one generation…

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It is a huge honour indeed, especially as I will be President for the 2015-2017 term. The faith the Icsid family has demonstrated by electing me to this important office is truly humbling. I am also excited at the historic opportunity of articulating a collective vision many of us on this continent have nurtured over the years. Central to this vision is Icsid’s quest to articulating a nuanced understanding of design agency in advancing humanising technologies and socio-technical solutions that are life-affirming and resonate particularly with younger designers the world over…

cally superior dispensation of design that allows us to achieve great precision and efficiency. I humbly argue that designers in the global South are more attuned to ‘design for need’ which keeps us attuned to the real needs of 90% of the world’s populations – this is what I refer to as human-paced rhythm. I believe that when we combine the best attributes of precision and rhythm that we end up with a perfectly balanced approach to the wicked problems that accost us as a global community – technologically advanced solutions that are humanising, durable and robust!

What sort of role has Icsid in protecting and promoting design worldwide? This is Icsid’s raison d’être – Icsid’s principal reason for being since 1957! Icsid runs a number of exciting programmes, including inter alia: the World Design Impact Prize; the World Industrial Design Day; Interdesign workshops; and the World Design Capital. Subsequently, Icsid supports its membership (listed in the Corporate, Educational, Professional and Promotional pillars) through regular Regional Exchanges where local design communities interact with Icsid representatives, regional advisors and executive board members.

For you Good Design stands for what? This has been a most stimulating interview Tiago and I thank you most sincerely for this opportunity to dialogue with you… To conclude, for me Good Design is inclusive, participative and ‘honest’. Good Design is respectful of human aspirations and cognisant of the subtle nuances that makes us truly human – it is giving (generous), and forgiving (empathic)…

The current technological development keeps on offering new chances for innovative solutions but is design really serving humankind? This is a tough one Tiago! I believe that technology on its own is neutral in its quality and intent. It is human will and social agency that appropriates technology to serve different needs and functions. This ultimately is a question of ethics and choice – we (the human race) must make informed and beneficent choices that improve the life qualities of other people as well as protect the environment that we all need for our survival as a species. In this sense, design is a powerful force that can be harnessed and channelled towards the greater good… How do you evaluate our personal contribution to Design? Where do you feel there is still a whole lot of work to be done? I believe that every designer no matter what sub-disciplinary focus they pursue for a livelihood can and should make a difference – we can all be part of the solution! The global North has advanced a technologi| 23 |


Francisco Elias and Nelson Fernandes

Francisco Elias and Nelson Fernandes won a platinum nomination for packaging under the 2013/14 A’Design Award competition. Francisco is a graphic designer, graduated in Communication Design at the ARCA EUAC, the University School of Arts in Coimbra, Portugal. One after graduation he started an Intensive Master in Graphic Design at Istituto Europeo di Design in Madrid, Spain. His professional life began working as a trainee at the Erretes Studio and soon after that first experience he developed graphic design and creative direction under the P28 Association. Today Francisco Elias works as an independent communication designer. Nelson Fernandes is an artist that since 200 has been working in different creative fields like video, animation cinema, photography, painting and illustration. For eight years he gave his contribution working as collaborator for an international young cinema festival called Imago, held in Fundão, Portugal. After such an intense experience working as production assistant, programmer and film selector he felt it was time for him to learn about integral animation techniques and to embrace more filming experiences. Last year he | 24 |

developed his latest animation titled Paths of Light. The Paths of Light DVD box is the result of the work between these different artists whose purpose was to ensure that the short animation was beautifully packed. Francisco Elias sent us a describing text in which is underlined that “the medium used was a single wooden plank on which he reinvented/unrolled all his visual and poetic discourse, using multiple techniques”. The box had two distinct construction phases, one mechanical and the other manual. The mechanical work involved cutting and laser printing operations, taking one hour and 30 minutes to produce 6 different pieces. The manual phase explored the use of collage techniques putting together all the pieces and letting them to dry for two days. The process ends with a sand-paper finishing to ensure the unique qualities of box.

Text: Tiago Krusse Photo: Courtesy of Francisco Elias | 25 |


Claudia Pignatale found Secondome in 2006, a design gallery in Rome, Italy. The main purpose of the gallery is give space to designers and let them propose innovative products. The production of the objects is handmade in Italy by skilled artisans that fully follow the essence of each contributing designer to the gallery collection. A whole lot of a series of objects were produce since the opening of the gallery and some collections were showed at museums worldwide like the La Triennale, in Italy, New Museum, in United States of America, The Grand Hornu, in Belgium, Vitra Museum, in Germany, and in the Museum of Glass in China. Two years after the opening of the gallery, Claudia Pignatale started the brand Secondome Edizioni and a production of different objects for collections gathering designers such as Nigel Coates, Alfredo Häberli, Sam Baron, Kiki van Eijk, FX Ballèry, Zaven or Faton Gjoni. Photo: Courtesy of Secondome

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Barbara Feio

The Portuguese fashion designer settled in a small studio in Lisbon tell us about the university experience and the challenges embraced since the birth six years ago of her brand. She left us a clear vision on how is it like to work in this field in a small market with plenty of competition. Beyond trends the one undeniable fact is that she’s very passionately about her work. Interview by Tiago Krusse Photos: Courtesy of Bmounti

Why did you left architecture and then choose to become a fashion designer? Fashion has always been my true passion. My family demanded me to apply Architecture at the Lisbon Technical University. At that time most of the people believed that I could become a fashion designer without attending university. Since I achieved very good grades my family persuaded me to choose something more “safe” and steady for my future. Even if I was to follow my dream later at least I would have something solid to depend upon. After three years I had courage enough to ask to be transferred. It became too hard for me to go on engaged with models and drafts when my only will was developing collections, making patterns and testing prototypes in the opposite building where fashion design classes were taking place. I was given equivalence in a few subjects but in fact I had to start all over again.

sionally provide and in this sense I believe that the course could have been more comprehensive in such matters. While studying did you planned to become a specific professional? Yes I did. As I started developing my several collections it became more obvious that the things I would be enjoying doing and feeling more sense to design were female clothing and accessories. By the fifth year of studies I had already found my own way and style. The collection I presented at the end of that year was already a good impression of what is my aesthetic concept nowadays.

You feel that those years gave you the knowledge you need to start your own career? The course was five years long plus a six month internship. At first I thought it would be the enough How would you describe the whole university time to learn almost everything I needed but the truexperience? th is that there are many details, mainly the practice It was great. The first years of learning architecture ones, that you never learn at university and yet they provided me with some knowledge that I’m still using prove to be essential when you are about to start a today. Architecture is very interesting indeed but I career. Especially for someone like me who took the was determined in taking fashion as my professional risk of creating a brand. Everything seemed new to purpose in life. The fashion design course did not di- me, I had no experience at all and this was the great sappoint me either. Our teachers were respected pe- challenge I had to face at the first minute I decided ople in Portuguese fashion community and they filled to started my own business. our time in class with good knowledge. They also inspired us with dreams, glamour and perhaps a rather Did you have any teacher or mentor who gave utopian perspective of what we were supposed to do you those crucial orientations that you were in real life. Not everyone will succeed as a well-known seeking out? designer, not everyone will present collections at the They all influenced me in some positive way. Profesmain fashion events. Those achieving that will be the sors Eduarda Abbondanza and Manuel Alves were exception. Despite all that you still have a lot of other perhaps the most important ones in helping me to jobs and tasks that a fashion graduate can profes- define my own way as a designer. | 29 |

Which are the key elements to become a good fashion designer? First of all you must love what you are doing because there’s always hard work to deal with. You have to live in permanent alert to all those things that surrounds you. You have to be an autodidact and be able to be in continuous updating as well as determined, engaged … proving good ability to work, dynamism and great attention to details. You agree when people say that the fashion industry it is only about trends and superficiality? I disagree. I think there is always some way to express ourselves with more or less quality and to develop our skills with more or less deepness no matter what you do. I believe one of the problems that fashion faces nowadays is banality resulting from the fact that it seems that anyone apparently can design a collection. But that’s not true. The great designers develop collections based in deep themes and concepts, they innovate and use new technologies, both in materials and applied methods. We are talking about an industry in permanent evolution and changing, following the human being evolution. I think is simplifying too much to regard fashion as something superficial.

I started to structure the project’s profile. I made a market research in order to test Bmounti’s relevance according the way I’ve planned and it seemed to me it could make sense to position the brand in a medium target, between mass distributed fashion and top designers. My wish was to allow people to have access to beautiful and well made pieces without having to pay a fortune for it. The brand’s key items are dresses, party dresses in particular, purposed from a real market need as I’ve noticed. Do you work with all sorts of materials? Where do you get them? I work mainly delicate light weight fabrics because I find them perfect to achieve my designs. For the same reason I love silks, which I buy in Italy or from Portuguese and Spanish suppliers. However and due to the fact that my collections are becoming more diversified year after year, I also started to work with other sort of fabrics like cotton, wool, knitted fabrics… But my preference goes to natural fibers.

What is the real importance of knowing how to work with colors? In my opinion that is vital. My great inspiration comes from the color. And it is often the starting point for my collections. In general I enjoy playing with colors People see you as a professional? What sort and testing unpredictable combinations. Colors and of reputation does a fashion designer have in patterns are important features in my work. I canPortugal? not imagine myself designing a collection in black and These last years have contribute to make this activity white only, although sometimes I dress myself in that become more and more respected, maybe because way and love the work by some designers who are people are also more able to realize the concept value more minimalist. But colors are one of the characteof this work, or perhaps just because fashion is more ristics of my collections. and more in fashion and people pay more attention to Portuguese designers. In my case I feel my work Through the whole production line which key is respected and recognized in its aesthetic qualities aspects you have to be more meticulous and and when properly explained it is also appreciated as rigorous? a whole. I find them all important, but maybe I could underline the quality of fabrics and perfect tailoring. To achieve When did you decide to start your own busi- that, it’s essential to have the right people working ness? with you. We are talking about team work. I’ve started Bmounti by Barbara Feio in January 2008. I am a natural undertaker and having a studio and a What sort of differences do you establish bebrand of my own has always been one of my goals. tween designing clothes and creating a piece of art? How did you establish the mission and line of Fashion is thought to be used, pieces must be enjoyed work of the studio? and it should suit our life style. This should always be By the end of 2007 at the very beginning was when present on our mind. No doubt fashion is also art, but | 30 |

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in such a way that to dress should always be to focus on the body as the most important part to consider. Are there any golden rules for a good aesthetic quality on a fashion product? I pay great attention to fabrics and tailoring, since both may improve or rather ruin any design. In my opinion, attention to details is becoming more and more important if you want to make a difference. In these days we are living in neither simple or complex things are out. That’s why I can design minimalistic collections, or more ethnic ones, with plenty of details. We are supposed to have fun with fashion and pass on a message. Today we can be wearing in a very specific way and tomorrow in a completely different one. This would only make sense as long as we feel good in our own skin and with the world around us. Your customers are aware of all subtleties of your work? I try to achieve it. Bmounti is selling through our e-store and although I try to describe and photograph all the details, my clients always say that the pieces are much more beautiful live. I guess online purchases sometimes have this kind of limitation. Nevertheless it is better this way now. Are there any special achievements on your career that you would like to underline? Working as a probationer at Vogue magazine where I learned a lot. To produce costumes for theater and television and that turned out to be one of the most enjoyable parts of my work. The challenge I assumed when I decided to create my own brand particularly since it occurred in a very difficult economical scenario. To dress some Portuguese VIP’s, mainly on television, which allowed me to introduce the brand to a larger audience. Despite that I’m always embracing so many projects and I believe that the best is still to come. What challenges lay ahead regarding your future as a fashion designer? The biggest challenge is definitely to keep on alert to the change factor. And I don’t mean trends, because that’s the easier part. I’m speaking about purchase habits, niche market evolution, technologic revolutions that might change consumers, and so on. That’s

why it is so important to stay alert, going out, socializing, travelling, in a word, being attentive to what happens around and take the right decisions. Then, you have the challenges that do not depend on me only, for instance, the economic environment. But I believe that when a brand allows you to have some management flexibility, you can always find a way out and succeed in turning difficulties aside. Do Portuguese people know how to dress well? Yes. In my opinion globalization, knowledge and trademarks, along with the mass production process, all these aspects allowed people to dress better. Most people, even those who are not trendsetter, or fashion it girls, still know how to dress. What is your favorite piece of clothing? Dresses, definitely! | 33 |


Quim Larrea

Rita is an elegant teapot design by Quim Larrea and produced by Teforas, a company based and producing from Barcelona, in Catalunya, Spain. Quim Larrea is an architect and we have the pleasure of knowing him since the time he was president of Arquinfad, a multidisciplinary association settled in Barcelona with the mission of promoting architectural culture and interior design. We still remember a good talking over lunch discussing about some few and polemical urban decisions concerning Barcelona. Quim Larrea worked with Juli Capella, from 1982 to 1997, and after that he started his own architecture and design studio, Quim Larrea & Associates. His passion for architecture and design lead him to be part of a whole lot of cultural initiatives worldwide bringing to all them his expertise and the will to promote architecture and design through so different continents such as Europe, Asia or America. At the moment Quim Larrea is president of Surgenia, the | 34 |

Andaluz Technological Design Center. When we got Rita on our hands it was more than a surprise, it was getting in touch again with Quim Larrrea, with his knowledge, his keen to design and his essence has a creative. Rita is a well design artisan pottery with a specific shape with the purpose of optimizing temperature conservation. The interior is enameled in white and hygienic. And Rita’s performance not only shows optimal heat conservation but also anti-slip characteristics from the chosen material. With his know-how and culture Quim Larrea brings us an innovative product, clearly perceived in all functions and outstanding aesthetic quality. Every detail rightly achieved and superb finishes. Wonderful simplicity! Text: Tiago Krusse Photos: Courtesy of Teforas

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The 2014 award of the 25th edition of the International Carlo Scarpa Prize for Gardens was given to the villages of Osmače and Brežani, in Bosnia. The Fondazione Benetton Studi Ricerche promotes every year this campaign in order to capture the interest to a specific site not only regarding the landscape but also including aspect related to its natural, historical and creative values. This year edition has putted on focus the Podringe region which after all the horrors of war is trying to put things in its right place at the best possible way. Due to the delicate matter of the subject we editorially decided to reproduce in full the jury report of this year’s edition.

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The Jury of the International Carlo Scarpa Prize for Gardens has decided unanimously to dedicate the twenty-fifth annual award to Osmače and Brežani, two villages in Podrinje, a region of eastern Bosnia, near the border with Serbia. We are on the plateau above Srebrenica, a place where the landscape is furrowed by watercourses and wrinkled like a walnut, enclosed by the deep cut gullies of a big loop of the Drina, a river which has played a crucial role in European history and culture, at once separating and connecting major civilizations in the Balkans; an area that inevitably prompts one to reflect on the contradiction between the beauty of nature and the still omnipresent signs of war. Osmače and Brežani together comprise one of the many places in Bosnia where, two decades ago, the life was torn from a community, its long-established tradition of living together in a multi-cultural environment was destroyed and those who survived were dispersed. What makes these villages a witness to a supremely significant experience is the presence of a small group of families, farmers and stockbreeders, who for some years have been trying to find the road back to the texture of the life they remember, to construct new relationships between people, to renew the necessary ties binding space to be occupied, land to be tended, houses to be rebuilt, human dignity to be recovered. “Before the troubles”, in 1991, Osmače had 942 inhabitants and Brežani 273. No-one lived there from 1993 to 2002. Today around a hundred people live in the districts comprising Osmače: Mahale, Hadrovici, Sedlari, Podstran, Prisoje, Mursalovici and Secimici; and several families live in Primilac, Posolila, Gajic or Turija, all parts of the adjoining village of Brežani. So the place is now a sort of archipelago of hamlets, settlement cells a few hundred metres from each other scattered over an area of around 20 square kilometres at an altitude of between 900 and 1,000 metres, a patchwork of meadows and woods scored by streams and rivers. Every hamlet in turn is made up of a varying number of houses far enough from each other to be called detached, but close enough to connote a settlement with a name. The houses, buildings whose constructional simplicity is visibly derived from the basic nature of the means and materials available, are each surrounded by an open space allotted to a courtyard for domestic animals, a kitchen garden and an orchard; each pro| 40 |

perty shares common boundaries with those of other houses on several sides and on one side gives onto the road, a layout that lends itself to interrelations, to neighbourliness, to the exchange of the fruits of the land and of the kitchen. The personal and family relationships that are developing from such beginnings, expressions of a common material culture and a collective care for the physical environment, seem capable, in time, of constructing a new integrated anthropological texture based on full respect for differences of culture, taste and devotional practice. The houses and their immediate environs are the intersections in a network which constitutes, at hamlet level, the foundation of community space and time. The way these hamlets relate to each other without hierarchy, without a centre, surprises us. But in fact, the archipelago of settlements that gives shape to a multicultural microcosm is developing within spaces that bear the marks of different memories, different hierophanies, the different religious buildings, the little cemetery, the little shrine with its list of the fallen, the crossroads with the fountain, a meeting-place for passers-by and grazing animals. One of the striking revelations of our visit was the crucial functional and symbolic importance of the school, which “before” had brought together over 500 children from various surrounding villages in a fine “modern” school building constructed in the 1970s that now lies in ruins, as if suspended in time, waiting for decisions about its fate, in the centre of a huge clearing in the woods between the villages of Brežani and Osmače. The first steps along the road back were taken at the beginning of the new millennium against a background of painstaking preparation and small-scale experiments, at a time when everything – people, houses, ferns invading the fields – still showed the signs of severe shock and long absence. The work of documenting and giving a historical perspective to the four-year period from 1992 to 1995, in particular to the atrocities committed in July 1995, is still far from finished. The remains of another 409 people were laid to rest in July 2013, bringing to 6,066 the overall number of tabut (coffins in the language of Bosnian Muslims) now buried at the Potočari Memorial site. In Tuzla, the victim identification centre contains the human remains of another 1,500 still without a name, and the official estimate is that the

Photo by Zijah Gafić for Fondazione Benetton Studi Ricerche

overall total will exceed 2,000; the task of finding the remaining victims to recompose and give them peace is complicated by the fact that after interment in mass graves the bodies were dismembered and reburied in so-called secondary mass graves, scattered all over eastern Bosnia, with the deliberate intention of concealing the evidence. After seven years as refugees, of diaspora and exile, the first people began to return in 2002. A similar pattern of events took place throughout Podrinje, an area administered by two municipalities, Bratunac and Srebrenica, which in turn contain dozens of local communities, 19 of which, including Brežani and its component village of Osmače, lie within the municipal area of Srebrenica. The small steps of the returnees, and their eagerness to find the energy to stay, found their efforts braced by relationships and expressions of support kindled back in the years and events of unspeaka-

ble horror and sustained ever since. And the scenario being played out in Bosnia draws strength from the thought of Alexander Langer (Vipiteno/Sterzing 1946-Florence 1995), whose work through the war years was of compelling maieutic impact. In particular with his 1994 work Tentativo di decalogo per la convivenza inter-etnica (An attempt to establish a set of guidelines for inter-ethnic co-habitation) he created the theoretical and practical basis for the quest for “the road back”, describing «mixed, inter-ethnic groups, however small they may be, as the pioneer organisms of the culture of co-habitation». But it was latent endogenous energy, as it slowly and laboriously re-emerged, that gradually managed to appeal for and attract new initiatives and projects. Irfanka Pašagić, a psychiatrist who was awarded the 2005 International Alexander Langer Prize, who worked tirelessly in Srebrenica and who founded and directs the Tuzlanska Amica association in the Bos| 41 |

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Photo by Filippo Giannone-Agronomi e Forestali Senza Frontiere

nian town of Tuzla, had been involved since 1992 in helping and caring for women and children from areas subjected to “ethnic cleansing”. In 2005, with the concrete support of the Langer Foundation and of Tuzlanska Amica, a number of young people with different ethnic and national backgrounds and from different religious traditions (they were children in 1995) got together to organize an informal group which they called Adopt Srebrenica; their aim, to create a context in which they could talk about their future and about the prospects for their town. In subsequent years some ten families first began to engage in dialogue and then, like real pioneer species, took the decisive step to return to the villages up on the plateau in order to take in hand the land | 44 |

of their fathers and mothers, to tend and cherish it. And this was the background, in 2010, to the experiment of sowing buckwheat in Osmače, one the many actions launched in several parts of Podrinje thanks to the exchange of knowledge and practical help involving operators and technical experts from many international bodies in various specialist sections of the agricultural, forestry and livestock economy, particularly those with expertise in growing cereals, fruit and soft fruit, and in rearing sheep and cattle. In 2011, Adopt Srebrenica, with the help of the Historical Archives of Bolzano, planned a documentation centre to record the individual stories and collective history of the community; another step towards the reconciliation of different pasts, born of the conviction that any practicable proposal for the future must

necessarily originate from a knowledge and preservation of the common historical heritage. It is difficult to give an orderly account of all those providing direct and indirect support for this collective experiment in looking after the land which is being conducted in Srebrenica and of the families living and working in Osmače and Brežani, but as well as the already mentioned Langer Foundation and Tuzlanska Amica we must at least name Venice City Council’s Centro Pace, the Agronomi senza Frontiere of Padua, the agricultural cooperative El Tamiso and the Associazione di Cooperazione e Solidarietà Italia. The ongoing project designed to improve the growing potential of buckwheat and other species suited to the environmental and soil conditions of the plateau bears the eloquent name Seminando il ritorno / Sowing the return and it is supported by the Tavola Valdese of the Methodist Church. In August 2013 an international solidarity network involving a number of cities and cultural centres was set up around the Adopt Srebrenica group. The role the International Carlo Scarpa Prize for Gardens aims to play in this immense framework of reflection and action, the contribution it wishes to make, lies in trying to achieve a more intimate understanding, and in ensuring wider awareness of the profound reasons that bind individuals or families or small community groupings to the place inhabited by their memories and informed with their plans. Reasons and ties that are so strong that, as demonstrated by the case of Osmače and Brežani, they can confront chasms that appear unassailable. Dialogue with those involved and their direct testimony help us to see the most suitable ways and the most useful equipment for taking on the care of the physical environment; they also provide insights into what life is really like in an area in which the recent heartbreaking upheavals are only the latest and most painful of the accumulated layers of constant geopolitical metamorphosis laid down throughout history and in the broad context of Euro-Mediterranean geography. More in general, the villages raise the urgent question of how best to construct a multi-cultural space, proceeding not from the distribution of places to the different elements but from a vision in which the different, together, inhabit a unitary place. The Jury has decided to entrust the Carlo Scarpa seal to two of the leading figures in this process, representatives and

witnesses of their communities, their cultures and their villages – Muhamed Avdić and Velibor Rankić. In so doing, the Jury expresses its affectionate affinity and encouragement, reiterates its commitment to comprehend and communicate the difficulties and hopes that underlie their endeavours and thanks them for the life-enhancing lesson, as topical as it is universal, that comes from their tenacious resolve on the plateau above Srebrenica.

Photo by Filippo Giannone-Agronomi e Forestali Senza Frontiere

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RECONSTRUCTION IN LAGOS Architecture: Vitor Vilhena Photo: João Morgado – Architectural Photography

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A decaying building in the touristic town of Lagos, in the South region of Portugal, was demolished due to the impossibility of rehabilitation. The architect Vitor Vilhena and his team were fully authorized by the local governmental authorities to a complete demolition of the building located at the historical center of the town. The architectural project is from 2011 and it was completed one year after. The reconstruction project presents two houses with two bedrooms and eleven houses with 3 bedrooms distributed over three floors, all designed for family housing use. This new urban complex also includes a basement, parking area, gym and indoor and outdoor pools. The new program has a single access to the building that “makes the distribution in outer gallery, promoting the area for residential use�. The entrance is made via a courtyard that promotes a private outdoor use. The facade and the interior composition were harmonized to establish a relation between the rooms and the streets. Circulating areas of the bedrooms

and kitchens were oriented towards the interior of the building. On the roof top a pool takes advantage of the surrounding view to the Lagos bay and the Bensafrim River, providing also a comfortable leisure area. At the basement there’s space for the interior pool alongside showers, Turkish bath, sauna and gym areas. The new built site was developed as three separated volumes putting in evidence the different dimensions of the whole but also with the purpose of respecting the urban plan not only regarding streets characteristics but also the harmony of the building height within the whole skyline. | 47 |

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Technical information Architecture: Vitor Vilhena, Michael Vieira, Liliana Sequeira, Mario Espinha Location: Lagos historical town centre, in Algarve, Portugal Project year: 2011 Construction year: 2012 Building area: 2605.00 m2 Plot area: 879.50 m2 | 57 |


“Pegasus Home Desk”, by Ippolito Fleitz Group / Tilla Goldberg for ClassiCon

The 53 rd edition of the Salone Internazionale del Mobile in Milan, Italy, held between the 8th and 13th of April, has exceeded the expectations of the organizers. Almost 360 thousand visitors which shows an increase of 13% when comparing with last year’s edition and a most significant number of visitors coming from 160 different countries. Our approach to Salone requests every year that sense of responsibility not only because of the size of the event but also due to all the events occurring at the fair ground and all over town. We always keep focus on the fairground following a previous plan of the information sent from Cosmit but also from behalf of the companies. It is a great amount of responsibility that a journalist has to take regarding each decision made, because the size of the event surpasses the human ability to see it all and time runs quickly. All these circumstances request us to have a previous and well organized agenda so we could try to cope with all our editorial perspectives. Dropping by every booth marked on the agenda is quite easy to follow but them we have to search for news and above all it is crucial to find the time to be well informed about new products by talking with designers, architects of communication managers. With a crowd of journalists making a whole deal of fuss in every booth we have to create a scheme that allows to get those fun| 58 |

damental information which you’ll not get it from a standard press release. In this edition we sensed an extra care by the organizers towards the journalists and their conditions to work and relax during the fair, but there was also a different attitude from the companies concerning our urge to get that crucial information from the key protagonists. Three aspects that we find important to underline is the increasing importance of SaloneSatellite, the call to the participation of architects and designers in specific events or installations and the way each pavilion it’s organized, either with good informative directions and either with a well kept balance between exhibiting areas, corridors and places to rest. We don’t know if it was caused by the European economical crises or due to other factor, but we found Eurocucina – the international kitchen furniture exhibition some points below previous editions. We feel that this segment has a great deal of potential when going beyond the simple show of new furniture designs or kitchen appliances. Just a little bit more than half of a year to the Expo 2015 in Milan we can anticipate what sort of extra fuss next year will be.

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“Element”, by Tokujin Toshioka for Desalto

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“II Dodge”, by Giorgia Zanellato & Daniele Bortotto for Moroso

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The Portuguese Contemporary Houses is a sort of a mirror of Portuguese contemporary architecture developed over the last fifteen years. The book gathers a selection of 148 ateliers and a visual approach to 231 different houses. José Manuel das Neves the editor of the book continues with his contribution in “promoting” the work of Portuguese architects worldwide. He states that “the whole corresponds to a selection of houses designed by 151 architectural practices covering a complex and inclusive universe, both in terms of the number of architects but also in terms of the variety of aesthetic and conceptual options”. It is good to have this perception how Portuguese architects from different generations and with different backgrounds present buildings in such a vast and unique reflections towards the housing theme. The book is focused mainly in designed houses located at the Lisbon and Porto regions. Very interesting the opening text The Idea Of A House by Ricardo Carvalho which leaves a well documented perception not only about dwelling but also a brief historical evolution of the house concept as well as critical opinion about the architecture produced in Portugal. A good sum of reasons makes this book an important document, besides its purpose of promoting Portuguese architecture abroad we sense this genuine passion on the work by José Manuel das Neves in leaving an historical legacy for future generations. A great deal of good Portuguese houses photos with some interesting working statements from architects gathered in this selection. Title: Portuguese Contemporary Houses Author: José Manuel das Neves Release date: November 2013 Number of pages: 357 ISBN: 978-989-8456-60-1 Language: Portuguese, English Publisher: Uzina Books

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The coordination of Design Et Al was lead by Emílio Távora Vilar who was able to gather Eduardo Aires, Francisco Providência, Heitor Alvelos, José Bártolo, Maria Teresa Cruz, Mário Moura, Paulo Parra, Vasco Branco and Victor M. Almeida to leave their testimonies about the discipline. The book explores not only the discipline and the reflections about it but also gives different and personal approaches to design as a professional activity under the fundamental categories of industrial, communication, management, product, research, multimedia, history and theory. The purpose of the book written by reputed authors and teachers in the field of design is to provide a debate among students and researchers, focusing on reflections and perspectives of a reality which is not well comprehend yet in nowadays. The aim to stimulate reflection not only on concepts about design, methods or to contextualize the origin of Portuguese design is putted in simple and well documented content. Most accessible and direct perspectives, having all the quality to put us way beyond the generalizations and leaving us the way to get a little bit more into the subjects. Considering all the good authors in this book and specially knowing about their solid reputation, we would like to express their capacity of leaving us with a deep look into design and letting us thinking about visual perception, aesthetic qualities, golden rules, thoughts and procedures of a designer, critical positions about the profession, development or even satirical statements of human “evolution”.

Title: Design Et Al Coordination: Emílio Távora Vilar Release date: January 2014 Number of pages: 213 ISBN: 978-972-20-5396-9 Language: Portuguese Publisher: Publicações Dom Quixote

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The debut album by Slowly Rolling Camera has music by Dave Stapleton, lyrics by Dionne Bennett and it’s under the Edition Records label. The quartet is formed by Dionne Bennett, Dave Stapleton, Deri Roberts and Elliot Bennett. To the quartet other 13 musicians join through the 11 themes gathered. A good start with Protagonist tell us immediately the standards putted on all single notes, creating momentum and natural well balanced rhythm explosions. Carry on to the second track, Dream A Life, we get into a more complex mixture of genres with a great soulful orchestral mood. Under the Rain That Falls the perception of that cool jazz grooves gets even more intense with the warm vocals. Passing on to the Bridge the symphony first movement leads to a quiet but delightful pop song. By Slowly Rolling Camera we are already fully into the atmosphere of the album, getting all those well defined movements and arrangements. Well recorded and mastered the album invites us for an inspirational and an emotive musical travelling that captures not only our ears but is capable of underlining the intention in every sound. Apparently simple the whole leaves deep roots inside us spreading that warmth feeling that this music always belong to the listener.

Album: Slowly Rolling Camera Author: Slowly Rolling Camera Release date: January 2014 Number of tracks: 11 Editor: Edition Records Distribution (Portugal): Distrijazz

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We are facing a live album with such a good recorded level and atmosphere. It was recorded live at Jazz In The Round at the Cockpit, in London, on the 16 and 17 of November of 2013. Life To Everything is the fifth album by Phronesis, trio formed by Jasper Høiby, on double bass, Ivo Neame, on piano, and Anton Eger on drums. From the very beginning with Urban Control we get the vibrant and passionate performance. A whole lot of lungs and blowin with such vividness like Behind Bars clearly shows. Even when it gets deeper into those “crazy” dynamics we can submerge into that intrinsic of emotion and technical deliverance. Wings 2 The Mind is that track in which we get on those broken times the richness of the players and how they make all that irregular, improvised syncopation something irresistible. They are not playing for themselves, they like to play together and the audience gets that magic among players. Nine fantastic pieces of music that get us in such a good vibe and a little bit with envy of those who were attending live at The Cockpit. Inside the inlay of this album a sentence by Plato: “music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything”.

Album: Life To Everything Author: Phronesis Release date: April 2014 Number of tracks: 09 Editor: Edition Records Distribution (Portugal): Distrijazz

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