Tatiana Letier Pinto is an architect currently based in Stockholm as an independent researcher at the Royal Institute of Art. After practising architecture in her office TAMABI, Rio de Janeiro, she engaged in research during the Master Building and Urban Design in Development at University College London. Her main research interests revolve around social inequalities, the political aspect of space and the responsibilities of architects in current societal struggles. Her trans-disciplinary work combines architecture, art, activism, writing and public interaction.
Presented ‘Letters’ at the Alliance and Commonalities conference at UniArts, Stockholm University of the Arts.
Stockholm – online
‘Letters’ is a continuation of research on the Casa del Mutilato site, in which Sylvia Pankhurst and I exchange words of encouragement, support each other and share experiences in anti-fascism activism. While re-reading and re-typing Sylvia’s existing letters, I reconnect with her anti-fascist advocacy during the Italian invasion of Ethiopia and question my own position as an architect and artist in resisting fascism now. Sylvia Pankhurst, as a woman who was not directly involved in the conflict but understood that social justice is a cause we should all fight for, has become a role model in my practice.
Started a six-month residency at Iaspis, the Swedish Arts Grants Committee International Program for Visual and Applied Artists.
During the residency, I am continuing my investigation of the responsibilities of architects in building for society, in particular the society initiated in Trialogue Act 1 and Act 2. Trialogue Act 3 is a conversation between Oscar Niemeyer, the most prominent Brazilian architect and an icon of Brazilian modernism; trained architect Aida Boal; and anarcho-feminist writer Maria Lacerda de Moura. Their dialogue will contest the persistent myth of Brasilia as an acclaimed realisation of progressive modern ideals. Bringing to light the fact that Niemeyer’s 1960 Senate House didn’t include female toilets until 2015, Act 3 evidences the homogenisation, segregation and exclusion inherent to the modernist project. The absence of the toilets — not to mention the normalisation of this architectural deficiency for 55 years — demonstrates the various degrees of violence architecture can perpetrate.
Presented ‘Mapping Heritage’, a workshop expanding narratives on the built environment as part of of Architektūros fondas’ programme Building Narratives within the Future Architecture platform and European Architecture programme 2020.
In collaboration with Benas Gerdžiūnas
The workshop is based on a mapping methodology used for an investigation about Tomteboda, an old post terminal in Stockholm. With the group, we discussed the different stories about Vilnius Palace of Concerts and Sports and collectively placed those narratives side by side in a big drawing on the wall of the main foyer of the building. The stories were a collection from past, present and future to understand the space and broaden the debate around the future of this empty landmark.