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2023Portraits of a Portuguese House survival in a Radioactive Wildernesspublication
2023Monster fightspublication
2023A huge platform for Decarbonisationpublication
2022Refractions (Nuno Cera, Distant Lights)exhibition text
2022Lost Zoneeditorial research
2021Limen (Pedro Vaz, Limen)exhibition text
2021Prelude to an Analysis of Borders, in Marquespaper
2020Domestic Dustsbooklet
2020The Nuclear in The Ural Montainspaper
2019Who's the Savage in our Reservations?publication
2019Burying Solid Waste Problemspublication
2019Omega (Yota Ayaan, Omega)exhibition text
2019Reversible Deskobject
2018Dirty Paths for a Green Mandatepublication
2018Nos Antrópicosexhibition review
2017450 Meters Deep into 1 Million Years Safetypublication
2017Building Risk Reservespaper
2017Rolling Stonesvideo
2017Trick tickling clockobject
2017Keeping in ReservePhD thesis
2016Panorama Boa Vistaexhibition text
2015Pripyat (1999)publication
2015Questioning the Reservepaper
2015Rooftop Issueeditorial research
2015Multimanifestoeditorial research
2014MAS and the Reserves of Future Catastrophepaper
2013Contested Symmetries & Other Predicamentspublication
2012Anti-nuclear Bunkers IIbook of copies
2012Pillars of Herculespostcard
2011Islands of Light and Steelpublication
2010A Letter to the Zoologistspublication
2009Coll()sionMres thesis
2007On the Techno-SublimeMa thesis
2006Lamp for Outletsobject
200701-Armazém do cháarchitecture

Joana Rafael (b.1979) is an architect practitioner, researcher and writer, currently based in Porto. Holds a PhD in Visual Cultures and a MRes in Research Architecture from Goldsmiths, University of London, and a MA from the Metropolis program, once administered by the Polytechnic University of Catalonia and the Center for Contemporary Culture in Barcelona. She dedicates herself to the development of projects and provides architectural consultancy. As a researcher, Joana develops interdisciplinary work centred on (issues of) ecology, contemporary, digital and material culture, technology and natural sciences. Uses writing as a research tool. Joana received the Erasmus+ grant (2001), FCT´s PhD Research Scholarship (2008), a study grant from Concordia University, Montreal (2008) and the Research (2019) and Production (2020) grant from Digital Cultures, Creative Industries NL, Netherlands - which led to the development of Lost Zone: Hiking the Dawn of the Metaverse, published by ViaIndustriae, Italia. Joana has been Assistant Professor at Central St. Martins, London (2009 – 2015), the University of Creative Arts, Canterbury (2013–15), the Instituto de Ciências Educativas, Penafiel (2017–20) and Escola Superior Artística do Porto (2020-2022). Teaches Contextual Studies and Contemporary Culture-related courses, and is a member of ISPUP (Institute of Public Health of the University of Porto) and CEGOT (Center for Studies in Geography and Spatial Planning). Joana is also a certified farmer.

editorial research About

Rooftop Issue

assembled for PUBLIC DOMAIN, a project by Andrea Caputo Research Office


Rooftops have long been popular urban substitutions for yards: elements that have enhanced the environmental standards of buildings. Every time that the climate permitted, rooftops have provided space for sunbathing, the dryness of goods and of clothes, for gardening, thermal and other technical installations. Since the introduction of the elevator, an invention that made the high-up homes far more appealing, dwellers use sky-high rooftop spaces as prime locations for living quarters. These are usually built to give the owners/occupants more room and above all privacy because rooftop spaces provide a safer retreat than regular ground plots, not only with the benefit of privileged and unbroken views over surroundings.
Given this panorama, this type of settlements on the roofs of high-buildings are often rent out as luxury penthouses, historically the most prized properties of a building. However other type of settlements, particularly in rooftops of massively overpopulated and modern metropolis, are recognized as effective mechanism for adding other type of spaces within urban areas.
Playful and irreverent installations, aimed at promoting neighbourhood, political or open access platforms, together with self- and custom-built pods, buildings and entire villages or “shanty towns” ran now on top of tower blocks, apartment structures and skyscrapers, both for temporary and permanent, permissible and clandestine purposes. From Cairo, Caracas and Hong Kong to New York and Sao Paulo, these provide a space for a William Gibson’s style of “interstitial” communities to evolve out of the needs of a city’s people and create a complex outer surface in the free spaces of the city building’s rooftops. We may say that, as much as rooftops offer privileged views above the city and safe refuge within it, they also drive an interest to escape from the eyes and laws of the city. The fact is that to speak of a rooftop is to speak of its usage. The history of the occupation of the roof is linked to its capacity to become a space to be lived in and utilized, not only by man but his activities, whatever their (socio-political) obligations. Public Domain ́s The Rooftop issue attempts to uncover the reasons behind the blossoming of rooftops as a space beyond the video surveillance cameras enforcing the eyes of the city officials - monitoring the conduct and videotaping individuals on public spaces - and splitting the contemporary city horizontally and enabling a sort of “dark” zones, - whilst also as a space offering a more afford- able route to construct and propel identities in/from the city.
Public Domain’s The Rooftop issue is interested in rooftops that have taken on a new and more varied role, rooftops that emerge not as heaven of the privileged and bohemian cultures but as the privileged space to claim against different forms of dominion at play in our and urban environments. It looks at constructs, programs and networks being established in the upper levels of the cities we visit and inhabit. Those that help create an outer margin capable of becoming a productive subversive and deceptive surface-land within cities, and this way celebrate the misappropriation of public and private space.