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Olhar, criar, fazer : fotografia, design e museografia
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Este trabalho contempla a atividade desenvolvida em torno de três vetores de criação: a fotografia, o design de produto e o design museográfico, desenvolvidos ao longo de quarenta anos de percurso profissional. Estes três eixos articulam-se entre si e refletem-se na edificação de um ideário. Têm impacto no período de afirmação da atividade museográfica em Portugal (1980-2020). São discutidos em detalhe um conjunto selecionado de trabalhos, incluindo quatro projetos de fotografia, três sistemas modulares de design de equipamento e catorze projetos museográficos, a maioria destes últimos realizados no quadro institucional da Fundação Calouste Gulbenkian. É demonstrada a articulação entre estes três processos criativos, subsumidos na prática museográfica. A fotografia estruturou uma forma de organização do universo visível, patente nos projetos museográficos. Os sistemas modulares desenvolvidos em design de produto foram aplicados a um modus operandi da praxis museográfica. Os projetos que dão corpo a cada núcleo são introduzidos por um texto explanativo das intenções subjacentes, acompanhados de desenhos técnicos e fotografias, cuja leitura articulada permite mapear o corpo conceptual de referentes desenvolvido, e o conjunto de soluções criadas e implementadas de modo a produzir um objeto comunicacional coeso e com uma matriz identitária própria. Partindo do mapeamento de signos, traços e estratégias que instrumentalizaram os diversos projetos, procede-se à identificação de um corpo comum de valores. Através da sistematização e decantação desses mesmos valores, será possível identificar o recorte da edificação de um ideário.
This work contemplates the activity developed around three creative vectors: photography, product design and museum design, conceived over forty years of professional career. These three axes articulate with each other and are reflected in the elaboration of an ideology. They impact the affirmation period of museography activity in Portugal (1980-2020). A selected set of works is discussed in detail, including four photography projects, three modular equipment design systems and fourteen museography projects. Exhibition projects were mainly carried out within the institutional framework of the Calouste Gulbenkian Foundation. The articulation between these three creative processes, subsumed in the museography practice, is demonstrated. Photography structured a way of organizing the visible universe, which is evident in museum projects. The modular systems developed in product design were applied to a modus operandi of museography praxis. The projects that give shape to each nucleus are detailed and introduced by an explanatory text of the underlying intentions, accompanied by technical drawings and photographs, whose articulated reading allows mapping the conceptual body of referents developed, as well as the set of solutions created and implemented to produce a cohesive communication object with its identity matrix. From mapping signs, traits, and strategies that instrumentalized the different projects, we identify a standard body of values. Through the systematization and decantation of these same values, it will be possible to recognize the outline of the elaboration of a worldview.
This work contemplates the activity developed around three creative vectors: photography, product design and museum design, conceived over forty years of professional career. These three axes articulate with each other and are reflected in the elaboration of an ideology. They impact the affirmation period of museography activity in Portugal (1980-2020). A selected set of works is discussed in detail, including four photography projects, three modular equipment design systems and fourteen museography projects. Exhibition projects were mainly carried out within the institutional framework of the Calouste Gulbenkian Foundation. The articulation between these three creative processes, subsumed in the museography practice, is demonstrated. Photography structured a way of organizing the visible universe, which is evident in museum projects. The modular systems developed in product design were applied to a modus operandi of museography praxis. The projects that give shape to each nucleus are detailed and introduced by an explanatory text of the underlying intentions, accompanied by technical drawings and photographs, whose articulated reading allows mapping the conceptual body of referents developed, as well as the set of solutions created and implemented to produce a cohesive communication object with its identity matrix. From mapping signs, traits, and strategies that instrumentalized the different projects, we identify a standard body of values. Through the systematization and decantation of these same values, it will be possible to recognize the outline of the elaboration of a worldview.
Descrição
Tese de doutoramento, Belas-Artes, Especialidade em Ciências da Arte e do Património, 2026, Universidade de Lisboa, Faculdade de Belas-Artes. Tese apresentada ao abrigo do DL 175/2020, 2ª série, de 8 de setembro, artigo 25º, 2, alínea d); artigo 26º, 2, alínea b)), artigo 29º, 1.
Palavras-chave
Photography Industrial Design Museography Museology Calouste Gulbenkian Foundation Fotografia Design de Equipamento Museografia Museologia Fundação Calouste Gulbenkian