A rede de sanitários de Lisboa foi destruída.
Essas obras públicas, que o século XX nos deixou, foram deitadas abaixo ou estão hoje abandonadas, a pagamento, transformadas em restaurantes. 
Este livro faz um levantamento histórico dos sanitários públicos da cidade de Lisboa, critica os novos sistemas de cancela e documenta as injustiças da ausência deste mobiliário no nosso dia a dia. A luta continua pelo direito à habitação, pelo direito a um salário justo e agora, também, pelo direito a ir à casa de banho — que faz parte do direito à cidade.

Based on a visual research carried out for Fala, NOWHERE HOME took shape in an editorial format through which Giulietta Margot explore space and its possibilities. The project embodies a sensory and philosophical approach to the house. Confronting the sterility of traditional architectural representation, this photographic work reveals, through analogy, the value of the house as a space of freedom. The tangible rigidity of walls is redefined by a contemporary domesticity. Shielded from the gaze of others, free from all social constructs, rules dissipate. The images do not account for structural logic, which ultimately belongs to their creator, but rather evoke a dimension where time is measured in square meters. A memory of the intimate, the photographs become liminal spaces where the void is grainy and sunsets fade to shades of grey.

This research, developed between 2019 and 2025, documents thirty paradigmatic cases of Portuguese electrification through the first systematic graphic and audiovisual record of these structures. In light of the transformations of the Anthropocene, this cartographic survey offers a constellation of elements that have shaped the territory as a productive project. Through the act of representation, the project builds an informed foundation for analysing the future of these hydroelectric infrastructures—essential chapters in
territorial transformation and in the history of national electrification.

This book functions as an artist’s book — a photographic essay born from Os Espacialistas’ poetic and performative encounter with Fenda, the installation by architects Manuel and Francisco Aires Mateus at the 2016 Venice Biennale of Architecture.
Inspired by Leonardo da Vinci’s advice to find worlds within wall cracks, Os Espacialistas explored the rift created by the Aires Mateus brothers. Transforming into a wooden sphere drawn toward a line of light, they embarked on a spheroscopic journey through organic and geometric voids, as if traversing a living body.
The Spherical Being — a metaphor for the body and the spatialist gaze — moved freely: entering the fissure, circling spaces, bending at corners, resting in concavities, and receiving light from every direction. Immersed in thought and captured in photographs, it experienced a Promenade Architecturale.
In its rolling reflection, echoes of Magritte, De Maria, De Chirico, Man Ray, and Dürer emerged, turning this horizon line into a spatial and artistic journey through memory and imagination.

An engineered, high-precision desk lamp designed not only for reading but also to appear sculptural. Powered by a battery, it can be carried effortlessly through the space. With its smooth, articulated motion, it offers multiple precise positions.

The book is part of the cultural event Ecoar, which reflects on how questions of identity can be understood in contemporary contexts, particularly in postcolonial settings. Language is brought to the forefront with the main goal of exploring how native languages and the Portuguese language relate to one another across Lusophone countries.
In the first edition of Ecoar, a connection is established between Portugal and Angola.
The book features contributions from various guests interviewed by Banga Coletivo, and through these conversations, Angolan languages are examined in relation to themes such as music, education, the recovery of identity, and tradition.

Printed in Hahneuhle PhotoRag Baryta 315g without frame.

As Alison & Peter Smithson once suggested, the act of writing a book is, in many respects, akin to designing a building. Both acts give tangible form to an arrangement of ideas, gathering others along the way and multiplying their meaning through an exercise in synthesis and composition. In both cases, what is omitted holds as much weight as what is included.Yet this comparison is more than convenient metaphor. Beyond this analogy between buildings and books, there are also parallels and affinities in the very process of making them.
In atelier local: after five years of living, the authors offer a reflective analysis — at once retrospective and introspective — on a selection of projects and buildings that shaped the first five years of their architectural practice.

In Random Assortment of Bits and Pieces, Artur Quieta assembles a deliberately unsteady constellation of images, fragments, and fleeting thoughts. Each page resists linearity, inviting the reader to wander as one might through a box of forgotten keepsakes or the scattered contents of an artist’s studio. Quieta treats each “bit” as both autonomous and interdependent — a photograph leaning into a scribble, a found texture echoing the shadow of a memory. The book unfolds as an intimate archaeology of attention, where the seemingly insignificant becomes luminous through juxtaposition. Neither wholly narrative nor purely abstract, it is a work that thrives in the in-between, mapping the fragile, accidental poetry of accumulation.

Isto é meramente uma coletânia de bicharada.  This is nothing more than a gathering of creatures.

This book depicts a combative state between moments of Quieta´s daily life where there is also a tremendous relationship between colors and his inner toughts.

This book presents a perspective on the recollection of cultural and human experiences. In this collection, there are no hierarchies, none more relevant than the other, thus resulting in a concise sequence of references of the past, calling this an act of archival expolartion. Archives can be used to establish clear narratives across periods of time.