TACET, 2016
In Sines is located the largest port area of Portugal, devoted to logistics interface and petrochemical industry.
If until the early 1970s, it was a small fishing village, the deep-sea waters of the shore dictated its vocation to become a port complex with abrupt industrialization of the landscape and sudden population increase. With an economy depending on energy production, oil refining and international trade, the industrial fabric encloses the historic centre and claims the sea. The common inhabitant cannot relate to the nature, scale and impact of the ever-emergent oppressive structures, and the property limits become more severe due to safety or corporative motifs. Albeit the birthplace of the explorer Vasco da Gama, the territory of Sines is unexplorable.
If until the early 1970s, it was a small fishing village, the deep-sea waters of the shore dictated its vocation to become a port complex with abrupt industrialization of the landscape and sudden population increase. With an economy depending on energy production, oil refining and international trade, the industrial fabric encloses the historic centre and claims the sea. The common inhabitant cannot relate to the nature, scale and impact of the ever-emergent oppressive structures, and the property limits become more severe due to safety or corporative motifs. Albeit the birthplace of the explorer Vasco da Gama, the territory of Sines is unexplorable.
To the traditional sounds that, in the city, periodically incite social, communal and spacial cohesion, it adjoins a reified interlude to immerse in the industrial fabric, via the cycling lane. Known sounds, as intrinsic references for a community, are pre-visual and emulate the emitter, whose form — dissolved during the propagation of its sound — reconfigures itself in mental images (be they a church from a bell or fishery from a boat's horn.)
In order to conciliate itself with the city and its inhabitants, the industry must become relational and fuse critically with the context. Supressing the limits of the plot by turning them into interactive structures, fosters the dialectics between body and non-place, in an haptic dimension stimulated by the soundscape. Actions define the place, planting a new stratum in the void: a trail that is a (con)sequence of the dialogues established with the context through bare structures, immaterial volumes for a continuous derive.
In order to conciliate itself with the city and its inhabitants, the industry must become relational and fuse critically with the context. Supressing the limits of the plot by turning them into interactive structures, fosters the dialectics between body and non-place, in an haptic dimension stimulated by the soundscape. Actions define the place, planting a new stratum in the void: a trail that is a (con)sequence of the dialogues established with the context through bare structures, immaterial volumes for a continuous derive.
