{"id":15139,"date":"2025-11-26T15:59:47","date_gmt":"2025-11-26T15:59:47","guid":{"rendered":"https:\/\/loulecriativo.pt\/residencias-criativas\/dialogues-between-artisans-and-designers-of-loule\/"},"modified":"2025-12-30T12:55:17","modified_gmt":"2025-12-30T12:55:17","slug":"dialogues-between-artisans-and-designers-of-loule","status":"publish","type":"lc_event","link":"https:\/\/loulecriativo.pt\/en\/residencias-criativas\/dialogues-between-artisans-and-designers-of-loule\/","title":{"rendered":"Dialogues between Artisans and Designers of Loul\u00e9"},"content":{"rendered":"\t\t
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\n \n \n Home\n<\/a>\n \n \n <\/svg>\n \n Creative Residencies\n<\/a>\n \n \n <\/svg>\n
\n Dialogues between Artisans and Designers of Loul\u00e9 <\/div>\n <\/div>\n \t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n CREATIVE RESIDENCY <\/div>\n

\n Dialogues between Artisans and Designers <\/h1>\n \n
\n November 2023 <\/div>\n \n
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New methodologies and approaches of the “Designers de Loul\u00e9” residency<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Created as a second edition of the Designers de Loul\u00e9 residency, it aimed to create conditions for the commercial launch and design of new pieces. In view of the experience acquired over the years by all the actors involved, methodologies and approaches have been fine-tuned with a view to a more effective training of artisans. A greater horizontality of the partnership relationship was worked on, through a greater integration of artisans in the processes of reflection in research, so that during the creation everyone would have the same level of information. <\/p>

The creation of mono-material products was sought so that the producer would be self-sufficient or, if there were several techniques, the integration of materials in which the different stakeholders would be able to articulate themselves was considered, due to geographical proximity or because there was already a synergy relationship.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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BROOMS AND ESPARTO BRUSHES<\/h2>\n \n \n
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ESPARTO materials
esparto work ISIDORO RAMOS
design VANESSA DOMINGUES<\/p> <\/div>\n

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Resgatando a habilidade de trabalhar com esparto, este conjunto de produtos explora detalhes e t\u00e9cnicas tradicionais, aplicando-os para enaltecer objetos de uso di\u00e1rio. O conjunto inclui uma vassoura de ch\u00e3o, duas vassouras de m\u00e3o, uma escova e uma escova para cogumelos.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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OLLA LONGA<\/h2>\n \n \n
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Para iniciar as sess\u00f5es de trabalho, ped\u00edamos aos artes\u00e3os para nos trazerem problem\u00e1ticas que os preocupam e projetos que lhes interessava trabalhar. O Ricardo Lopes trouxe-nos uma Olla que arrancou do seu quintal, onde tinha testado este sistema de rega ancestral muito usado em zonas \u00e1ridas. Decidimos imediatamente que este seria um projeto obrigat\u00f3rio dado o contexto planet\u00e1rio e da seca que assola a regi\u00e3o do Algarve em particular.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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OLLA LONGA<\/h2>\n \n \n
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Materials RED CLAY
pottery RICARDO LOPES
design HENRIQUE RALHETA, HUGO DA SILVA AND VANESSA DOMINGUES<\/p> <\/div>\n

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As Ollas s\u00e3o potes de barro n\u00e3o vidrado que, pela microporosidade deste material, ao serem enterradas na terra, permitem \u00e0s ra\u00edzes das plantas puxar a \u00e1gua conforme as suas necessidades, numa muito eficiente utiliza\u00e7\u00e3o deste recurso esca\u00e7o.
Este modelo foi pensado para hortas dom\u00e9sticas de m\u00e9dia dimens\u00e3o, plantadas em linha, abrangendo cada Olla uma \u00e1rea de 90 x 60cm.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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POTS STORAGE<\/h2>\n \n \n
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Materials RED CLAY
pottery RICARDO LOPES
design HENRIQUE RALHETA<\/p> <\/div>\n

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Partindo do funcionamento das Ollas (em que as ra\u00edzes puxam a \u00e1gua atrav\u00e9s do barro n\u00e3o vidrado, conforme as suas necessidades) foi criado este modelo de vaso, com dep\u00f3sito de \u00e1guas nas suas paredes. Esta alternativa \u00e0 rega, permite uma utiliza\u00e7\u00e3o racional da \u00e1gua e intervalos de rega muito maiores.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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VEGETABLE BOXES<\/h2>\n \n \n
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Materials CLAY
pottery RICARDO LOPES
design VANESSA DOMINGUES<\/p> <\/div>\n

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Partindo das propriedades de regula\u00e7\u00e3o de temperatura e humidade naturais ao barro, foi criado um sistema de caixas para arruma\u00e7\u00e3o de legumes, que ajudar\u00e3o a prolongar a longevidade e frescura dos mesmos.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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BREAD BOX<\/h2>\n \n \n
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Materials CLAY PINE
pottery RICARDO LOPES
woodworking WESLEY SACARDI
design VANESSA DOMINGUES<\/p> <\/div>\n

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Partindo das propriedades de regula\u00e7\u00e3o de temperatura e humidade naturais ao barro, foi concebida uma caixa para guardar p\u00e3o que ajuda a preservar a sua frescura durante mais tempo. A tampa em madeira foi pensada para servir de t\u00e1bua de corte.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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BIG-HEADED POTS<\/h2>\n \n \n
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materials BODIES IN CLAY OR COPPER, PALM COVERS
work in palm S\u00d3NIA MENDEZ
boiler shop NUNO PALMA
pottery RICARDO LOPES
design HENRIQUE RALHETA<\/p> <\/div>\n

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A partir de reminisc\u00eancias do centen\u00e1rio entrudo louletano, potes de silhuetas tradicionais mascaram-se com tampas desconcertantes. As tampas s\u00e3o aqui uma manifesta\u00e7\u00e3o de liberdade criativa provando que a express\u00e3o das t\u00e9cnicas tradicionais pode levar-nos a novos universos.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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BOTTLE<\/h2>\n \n \n
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Materials CLAY
pottery RICARDO LOPES
design HUGO DA SILVA<\/p> <\/div>\n

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Inspirados pelo esplendor dos Banhos Isl\u00e2micos em Loul\u00e9, onde uma riqueza de pe\u00e7as fragmentadas revela um processo meticuloso de reconstru\u00e7\u00e3o, sentimos o \u00edmpeto de refletir sobre a reprodu\u00e7\u00e3o dessa mescla de formas. No entanto, ao serem moldadas na roda do oleiro, tudo se transforma e se une de maneira surpreendente. As m\u00e3os de mestre do Ricardo captam a forma em cada pe\u00e7a, mas o resultado \u00e9 \u00fanico e irrepet\u00edvel.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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ABANICOS<\/h2>\n \n \n
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materials PALM AND OLIVE WOOD (from pruning)
work in palm S\u00d3NIA MENDEZ
cabinetmaker WESLEY SACARDI
design HENRIQUE RALHETA<\/p> <\/div>\n

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Os abanicos s\u00e3o uma das pe\u00e7as mais emblem\u00e1ticas da produ\u00e7\u00e3o em palma. Usados ainda hoje para avivar as brasas do lume, continuam a ser produzidos pelas artes\u00e3s da casa da empreita. Geralmente, para o cabo, \u00e9 usada uma cana ou um ramo de aloendro presa com um prego dobrado.<\/p>

O que propomos aqui \u00e9 uma pequena atualiza\u00e7\u00e3o com a cria\u00e7\u00e3o de um cabo mais robusto em que a fixa\u00e7\u00e3o \u00e9 uma costura em palma, sem a introdu\u00e7\u00e3o de elementos n\u00e3o naturais.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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PALM BRUSHES<\/h2>\n \n \n
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Materials PALM AND OLIVE WOOD
work in palm S\u00d3NIA MENDEZ
woodworking WESLEY SACARDI
design HENRIQUE RALHETA<\/p> <\/div>\n

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Utilit\u00e1rias escovas que juntam a bela madeira de oliveira proveniente de podas locais com a tradicional palma que foi aqui ripada at\u00e9 ficar com finos e resistentes fios. O entrela\u00e7ar dos dois materiais gera singulares padr\u00f5es gr\u00e1ficos.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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FIREWOOD RUG<\/h2>\n \n \n
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ESPARTO materials
esparto work ISIDORO RAMOS
design VANESSA DOMINGUES<\/p> <\/div>\n

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Inspirado na robustez do esparto e na sua utiliza\u00e7\u00e3o para cestos resistentes e dur\u00e1veis, este tapete para transportar lenha foi criado para reimaginar a aplica\u00e7\u00e3o pr\u00e1tica deste material, com um design mais simples e enfatizando a praticidade de uso.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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MICRO-ENTERPRISE JEWELLERY BOX<\/h2>\n \n \n
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PALM materials
SONIA MENDEZ
design HUGO DA SILVA<\/p> <\/div>\n

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Al\u00e9m dos trabalhos em palma mais conhecidos, encontramos em museus pe\u00e7as que exibem um minucioso, cuidadoso e delicado uso de uma palma ainda mais fina do que o habitual. Esse foi o desafio que apresent\u00e1mos \u00e0 Sonia Mendez, cuja habilidade nos permitiu criar formas inspiradas nas influ\u00eancias \u00e1rabes das chamin\u00e9s algarvias. Essas formas foram simplificadas para destacar a per\u00edcia e a min\u00facia do trabalho.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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JEWELRY BOX<\/h2>\n \n \n
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Materials COPPER
JORGE D\u00d3RIA boiler shop
design VANESSA DOMINGUES<\/p> <\/div>\n

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Honrando a hist\u00f3rica arte de trabalhar o cobre, t\u00edpica de Loul\u00e9, foi desenhado uma pequena caixa guarda joias. A sua forma \u00e9 inspirada nas cl\u00e1ssicas cataplanas e recupera as t\u00e9cnicas de produ\u00e7\u00e3o artesanais de forma minuciosa e delicada a cada martelada que a molda.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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SPROUTED BOWLS<\/h2>\n \n \n
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Materials COPPER
boiler shop ANALIDE CARMO
design HUGO DA SILVA<\/p> <\/div>\n

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As ta\u00e7as surgiram da busca por criar pe\u00e7as com formas org\u00e2nicas, mantendo ao m\u00ednimo poss\u00edvel o desperd\u00edcio de chapa de cobre. Durante o processo de planifica\u00e7\u00e3o, as formas emergem como bolhas que se encaixam e se deformam entre si harmoniosamente. \u00c0 medida que adquirem volume, surgem ondula\u00e7\u00f5es \u00fanicas e cada pe\u00e7a cresce de forma distinta.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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MESH SHELF<\/h2>\n \n \n
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materials PALM, CANA
work in palm OLIMPIA CABRITA
design HENRIQUE RALHETA<\/p> <\/div>\n

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A malha de palma com alma em cana, \u00e9 uma bel\u00edssima t\u00e9cnica tradicional que merece ser potenciada. Foi muito usada em acess\u00f3rios como malas, cestas, cedoiras e tabuleiros. Nesta cole\u00e7\u00e3o de produtos testou-se o potencial do material em tr\u00eas vertentes: resist\u00eancia, linguagem geom\u00e9tricas e escala, aproximando-se de mobili\u00e1rio e desafiando a versatilidade que a t\u00e9cnica oferece.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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SHELF WITH POCKET<\/h2>\n \n \n
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materials PALM, CANA
work in palm OLIMPIA CABRITA
design HUGO DA SILVA<\/p> <\/div>\n

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A malha de palma com alma em cana, \u00e9 uma bel\u00edssima t\u00e9cnica tradicional que merece ser potenciada. Foi muito usada em acess\u00f3rios como malas, cestas, cedoiras e tabuleiros. Nesta cole\u00e7\u00e3o de produtos testou-se o potencial do material em tr\u00eas vertentes: resist\u00eancia, linguagem geom\u00e9tricas e escala, aproximando-se de mobili\u00e1rio e desafiando a versatilidade que a t\u00e9cnica oferece.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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BEDSIDE TABLE<\/h2>\n \n \n
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BEDSIDE TABLE
materials PALM, CANA
work in palm OLIMPIA CABRITA
design VANESSA DOMINGUES<\/p> <\/div>\n

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A malha de palma com alma em cana, \u00e9 uma bel\u00edssima t\u00e9cnica tradicional que merece ser potenciada. Foi muito usada em acess\u00f3rios como malas, cestas, cedoiras e tabuleiros. Nesta cole\u00e7\u00e3o de produtos testou-se o potencial do material em tr\u00eas vertentes: resist\u00eancia, linguagem geom\u00e9tricas e escala, aproximando-se de mobili\u00e1rio e desafiando a versatilidade que a t\u00e9cnica oferece.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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ROLLER BENCH<\/h2>\n \n \n
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Materials ESPARTO AND WOOD
esparto work ISIDORO RAMOS
woodworking WESLEY SACARDI
design HENRIQUE RALHETA<\/p> <\/div>\n

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Nesta pe\u00e7a recuperam-se as rodilhas de assento, usadas em diferentes pontos do pa\u00eds, sobre bancos, cadeiras ou diretamente no ch\u00e3o. Noutras escalas serviam para assentar c\u00e2ntaros ou panelas. Aqui integramos numa estrutura fixa e passa a ser um banco. Mas porque n\u00e3o esquece a sua hist\u00f3ria, chama-se banco Rodilho.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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FABRIC<\/h2>\n \n \n
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Materials PORTUGUESE WOOL, NATURAL DYEING
WITH CISTUS, POMEGRANATE PEELS, LICHENS AND EUCALYPTUS LEAVES
weaving SUSANA MENDEZ
design HUGO DA SILVA<\/p> <\/div>\n

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Num processo conjunto de investiga\u00e7\u00e3o de padr\u00f5es dos antigos alforges tecidos e o padr\u00e3o em diamante das mantas alentejanas, surgiu um tecido singular e assim\u00e9trico. Cada fase de tecelagem dedicado a cada padr\u00e3o reflete-se no resultado final, ora mais denso e uniforme, ora mais espa\u00e7ado e simples, permitindo a passagem da luz. Os tingimentos s\u00e3o feitos manualmente, utilizando materiais naturais encontrados no barrocal e na serra Algarvia.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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ASK PROCESS<\/h2>\n \n \n
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Materials COPPER AND OLIVE WOOD
boiler shop NUNO PALMA
woodworking WESLEY SACARDI<\/p> <\/div>\n

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Moldar uma pe\u00e7a em cobre passa por diferentes fases em que o material vai assumindo diferentes cores e texturas, apaixonantes para quem assiste ao trabalho dos caldeireiros.
Nesta pe\u00e7a propomos a vis\u00e3o de todo o processo, numa cronologia do trabalho que revela:
1. o corte,
2. a queima que amolece,
3. a martelada que molda e enrijece,
4. o areado de limpeza,
5. a martelada de acabamento,
6. o polimento final.<\/p>

A pe\u00e7a de parede tem uma natureza mais decorativa; a de mesa \u00e9 mais utilit\u00e1ria mas o que se procura nas duas \u00e9 a valoriza\u00e7\u00e3o deste saber fazer.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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SEED BOWLS<\/h2>\n \n \n
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Materials COPPER
boiler shop JURGEN CRAMER
design HUGO DA SILVA<\/p> <\/div>\n

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A arte do trabalho em cobre surge do martelar da chapa, que a molda em formas e volumes distintos. Inicialmente, question\u00e1vamos como atribuir valor, volume e peso visual a uma chapa plana de cobre. Essa indaga\u00e7\u00e3o levou-nos a criar uma pe\u00e7a dupla, onde o vazio interior \u00e9 percebido como volume. A combina\u00e7\u00e3o com texturas decorativas que o Jurgen desenvolveu d\u00e3o vida \u00e0 pe\u00e7a, assemelhando-se a sementes prestes a germinar.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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CEILING LAMP<\/h2>\n \n \n
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Materials COPPER
boiler shop JURGEN CRAMER
design VANESSA DOMINGUES<\/p> <\/div>\n

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Este candeeiro explora a flexibilidade do cobre enaltecendo a simples chapa cheia de hist\u00f3ria na arte de trabalhar o cobre. A superf\u00edcie polida ajuda a refletir a luz em v\u00e1rias dire\u00e7\u00f5es acompanhando a forma da pe\u00e7a.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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ROCHA DOS SOIDOS RUG<\/h2>\n \n \n
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ESPARTO materials
esparto work MARIA JOS\u00c9 RAMOS
design HUGO DA SILVA<\/p> <\/div>\n

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A Maria Jos\u00e9 Ramos \u00e9 uma das artes\u00e3s que mant\u00e9m a arte do
esparto viva nas Aldeia das Sarnadas. Sempre que sai de casa, contempla a Rocha dos Soidos - uma imponente forma\u00e7\u00e3o rochosa onde a vegeta\u00e7\u00e3o teima em crescer, criando um jogo de texturas que, nesta representa\u00e7\u00e3o, convidou \u00e0 mistura de diversas t\u00e9cnicas do trabalho em esparto.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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FRUIT BOWL VALE DAS SARNADAS<\/h2>\n \n \n
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ESPARTO materials
esparto work MARIA JOS\u00c9 RAMOS
design HENRIQUE RALHETA<\/p> <\/div>\n

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O artesanato \u00e9 por princ\u00edpio intimamente ligado ao territ\u00f3rio. Os lugares marcam as pessoas e marcam as suas pr\u00e1ticas. A aldeia das Sarnadas foi um importante polo de produ\u00e7\u00e3o do trabalho em esparto. Recentemente foi l\u00e1 montada a s\u00e9tima oficina do Loul\u00e9 Criativo e o saber adormecido renasceu com grande fulgor. Esta pe\u00e7a representa o vale onde esta aldeia cresceu e os serros que a envolvem. A Divis\u00e3o de Sistemas de Informa\u00e7\u00e3o Geogr\u00e1fica do Munic\u00edpio de Loul\u00e9 preparou-nos uma aplica\u00e7\u00e3o de acesso \u00e0s altimetrias do concelho. A partir da topografia da zona das Sarnadas, pudemos reproduzir artesanalmente os relevos daquele lugar e descobrir-lhes possibilidades de utiliza\u00e7\u00e3o.<\/p> <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n

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November 2023<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Gama Lobo Palace \u2013 Loul\u00e9
Loul\u00e9 Criativo workshop network \u2013 Loul\u00e9 and Sarnadas<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Participants<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Artisans:
<\/strong>Analide Carmo (boilermaking)
Isidoro Ramos (esparto)
Jorge D\u00f3ria (boiler shop)
Jurgen Cramer (boilermaker)
Maria Jos\u00e9 Ramos (esparto)
Nuno Palma (boilermaking)
Olimpia Cabrita (palm mesh)
Ricardo Lopes (pottery)
S\u00f3nia Mendez (contractor)
Susana Mendez (textiles)
Wesley Sacardi (woodworking)

<\/p>

Designers<\/strong>:
Vanessa Domingues
Henrique Ralheta
Hugo da Silva<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Loul\u00e9 Criativo \u2013 Loul\u00e9 City Council<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Jorge Gra\u00e7a<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Home Creative Residencies CREATIVE RESIDENCY Dialogues between Artisans and Designers November 2023 New methodologies and approaches of the “Designers de Loul\u00e9” residency Created as a second edition of the Designers de Loul\u00e9 residency, it aimed to create conditions for the commercial launch and design of new pieces. In view of the experience acquired over the […]<\/p>\n","protected":false},"featured_media":13203,"template":"","meta":{"_acf_changed":false},"class_list":["post-15139","lc_event","type-lc_event","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nDialogues between Artisans and Designers of Loul\u00e9 - Loul\u00e9 Criativo<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/loulecriativo.pt\/en\/residencias-criativas\/dialogues-between-artisans-and-designers-of-loule\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dialogues between Artisans and Designers of Loul\u00e9\" \/>\n<meta property=\"og:description\" content=\"Home Creative Residencies CREATIVE RESIDENCY Dialogues between Artisans and Designers November 2023 New methodologies and approaches of the “Designers de Loul\u00e9” residency Created as a second edition of the Designers de Loul\u00e9 residency, it aimed to create conditions for the commercial launch and design of new pieces. 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