(1997, Evry-Courcouronnes) is an architect and researcher with a degree in architecture from the Ecole Nationale Supérieure d'Architecture de Paris-Belleville (Ensapb) and a master's degree in architecture from the University of Porto (MIARQ/FAUP) with the dissertation "Inhabiting water, the public washhouses of Porto: an experience of women in the modern city". She has been a member of the pedagogical innovation community Porto: territories and networks of invisibility (PTRI/CIP - UP) since 2018. Since 2020, she has been co-founder and co-editor of the journal Lina: Feminist perspectives on architecture and urbanism. In 2021, she collaborated in the editorship of the international journal Sophia Journal, indexed by the AAI group at CEAU/FAUP, and Scopio Editions. She combines the professional practice of architecture and research, particularly with independent projects: Inhabiting water. Documenting women's urban practices, she took part in the project Des/oriente, funded by Plaka-Criatório, in which she co-created the activation/performance Rito das águas : cortejo pelos lavadouros de Campanhã, and took part in the exhibition Vozes da Paisagem at the Faculty of Fine Arts of the University of Porto. On 25 November 2021, she was awarded 1st prize by the public and an honourable mention in the "Pioneers" category in the international photography competition Nuestras Arquitectas, with a photograph of the Miradouro Tower by architect Maria José Marques da Silva.
This article is an overview of the historical and architectural study, as well as the practice of archiving Porto's public washhouses using sensitive cartography. The historical context of the study is presented, as well as the justification for studying the washhouses from the point of view of aesthetics, typologies and cultural heritage. In Porto, these fragments of women's work in various urban environments are abandoned and in ruins, despite the fact that they are still present in the memories of the inhabitants.
This archive work is gradually being transformed into an artistic, self-ethnographic work of interpretation, mixing the personal and the public, but also serving as a basis for research into architecture and urban planning: how can we preserve the memory of washhouses? This work is part of the feminist historiography of recent years, which aims to recover the presence of working-class women and their history in the public space.
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