Beyond the focus on food and agriculture, there is also a wealth of eye-catching architecture at the Milan Expo as well. Here is a collection of some of our favorite pavilions from this year's rendition. And be sure to check out our coverage of the Expo here.
a handful of designs...stand out as attempts to rethink the way we build and how it relates to modern agriculture and sustainable food production for the next century. Most of the pavilions use sustainable materials and construction methods that utilize national building techniques. Inside, exhibitions—often interactive—showcase biodiversity, culture, and food traditions of each nation.
Posts tagged with "Brazil":
Milano Expo 2015 is rolling along, with 145 countries and a host of international organizations, civil society organizations, and corporations displaying their food-centric traditions and the latest sustainable agriculture and food production techniques. AN reported on the Expo when it opened:
Leave it to a pair of Brazilian architects to use reinforced concrete to reinvent small-scale urbanism. While North American designers turn to plywood and recycled palettes to create curbside seating, architects Fernando Falcón and Rodrigo Cerviño of the São Paulo–based practice TACOA Arquitetos shopped for rebar. Entitled Jardineira, Falcón and Cerviño’s installation is a cantilevered concrete planter and bench located on the busy Insurgentes Avenue in Mexico City. The work sits outside the architecture gallery LIGA, Space for Architecture on one of the city’s major thoroughfares. Founded in 2011, the gallery focuses on primarily on Latin American practices and Jardineira is the first time that an exhibition has left the 172-square-foot venue and directly addressed the street condition. The concrete installation mimics the existing street furniture, but with one exception: it tilts, seemingly dislodging itself from the sidewalk. “I knew it would be good when they wanted to bring in a structural engineer,” said architect Wonne Ickx, co-founder of LIGA and the architecture firm Productora. An emerging firm, TACOA believes that any work of architecture should serve as a pretext for interacting directly with the city. As their installation illustrates, they do this without abandoning disciplinary rigor or a formal language. The pair ground their work in the teachings of the Paulista School, the mid-century group of Brazilian architects that included Pritzker Prize–winner Paulo Mendes da Rocha and João Batista Vilanova Artigas. Designs from both architects are included in the current MoMA exhibition Latin America in Construction: Architecture 1955–1980. While most would associate Brazilian architecture with the swoops of Oscar Niemeyer, the Paulista School embraced the grittier side of architecture with chunky, exposed concrete buildings. Similarly, Falcón and Cerviño find inspiration in the frictions and imperfections of urban life. Jardineira is on view at LIGA through August.
Tribeca's R & Company gallery at 82 Franklin Street is highlighting two Brazilian greats: Lina Bo Bardi (1914–1992) and Roberto Burle Marx (1909–1994). But act fast! Furniture by Bo Bardi and tapestries by Burle Marx are on display through the end of this week—the exhibit closes April 30. Lina Bo Bardi is best known for her monumental architecture, such as the sturdy São Paulo Museum of Art or the rugged SESC Pompéia in São Paulo. But her work in this exhibit, Lina Bo Bardi + Roberto Burle Marx, represents a much smaller scale. Furniture designed from the 1950s through the 1980s and executed in wood, metal, and leather show how her Brazilian modern thinking translated to the size of a chair. Designs dually showcase strong geometry and classic Brazilian curves that are a hallmark of her larger built work. In fact, a dining set on view in the exhibit was designed with Marcelo Ferraz and Marcelo Suzuki for the SESC Pompéia. Complementing Bo Bardi's furniture are textiles and totems by Roberto Burle Marx, generally regarded as the father of Brazilian landscape architecture. Playful patterns and geometric shapes are present in a variety of Burle Marx's larger projects such as the iconic Copacabana boardwalk, a modern interpretation of historic Portuguese paving designs; collaborations with Oscar Niemeyer in Brasilia; and private estates throughout the country. Zoom out on these landscape designs and you can see a clear connection between the large-format works and his smaller textiles and tapestries. In addition to landscape architecture, Burle Marx was a trained artist and sculptor with a keen interest in Brazilian folk art, themes that appear in his colorful wooden totems on display in this exhibit. Check out these works for yourself at R & Company in Tribeca through April 30.
INSA, as the undercover street artist is cryptically known, is the net generation’s equivalent of the legendary graffiti artist Banksy. While INSA’s doodles also dapple the walls of buildings in London as well as around the world, the artist creates GIFs—or “GIF-ITIs” as he calls them—based on photographs of his own graffiti paintings. He shoots these over and over with slight alterations in each frame in a technique not unlike stop motion animation until he can make a loop of images—essentially what a GIF, or Graphic Interchange Format, is. In a cyber wasteland of GIFs composed of cat pictures and film snippets, INSA’s artistic “GIF-ITIs” have made waves online. Recently, Scotch whiskey brand Ballantine's commissioned INSA to create the world’s largest GIF in Rio de Janeiro, Brazil, inspired by INSA’s trademark "Looking For Love" motif. Four days of work, a 20-person team of painters and over 619,000 square feet worth of paint went into creating a mural of repeating yellow and pink hearts. The mural was then photographed over two days with a camera-equipped satellite orbiting 430 miles above the earth. Given the massive wherewithal that went into the project, the result is a little underwhelming—to say nothing of the fact that it’s only viewable online. The end result is an animation of moving hearts with the before-and-after shots of boats pulling in and out of the harbor and the receding sunlight reflected on the water. INSA’s GIF-ITIs have even inspired an iPhone app, which enables the user to point the iPad at a GIF-ITI and watch it animate on-screen. Take a look at some of INSA's other work below.
Zaha Hadid will lend her futuristic style to the strip along the Copacabana Beach in Rio de Janeiro, with an 11-story luxury condo building, dubbed Casa Atlântica—the first project in Brazil for the London-based architect. Newly released renderings show a soaring, spine-shaped facade reaching up to roughly 136 feet, abutting two other high-rises. The building will consist of 30 apartment units, each including 6-star hotel services, in addition to a spa, cinema, and rooftop pool with views of the beach and of the iconic Burle Max–designed promenade. The project, commissioned by Brazilian businessman Omar Peres, is only steps away from other high profile projects, such as Diller Scofidio + Renfro's Museum of Image and Sound. Construction is slated for the spring of 2015.
Al Jazeera has launched Rebel Architecture, a six-part documentary that profiles lesser-known architects who are using their design skills “as a form of activism resistance to tackle the world's urban, environmental and social crises." These designers aren’t building glass towers for the global elite, but schools, cultural spaces, and homes for everyone else. And they're often doing it in legal gray area. In the first piece of the documentary, Al Jazeera follows Spanish architect Santiago Cirugeda, "the Guerilla Architect,” as he attempts to transform a defunct cement plant into a cultural hub. The rest of the series will be set in Pakistan, Israel and the West Bank, Brazil, Vietnam, and Nigeria.
While Americans trampled over each-other for the latest consumer electronics, flames tore through the late Oscar Neimeyer’s landmark Latin America Memorial complex (1987) in São Paulo, Brazil on Friday. Inaugurated in 1989, the complex was built to promote the social, cultural, political and economic integration of Latin America. Eighty-eight firefighters were reportedly dispatched to contain the blaze that consumed portions of the 909,000 square foot complex for up to five hours. According to a spokesperson for the memorial, the blaze originated from a short circuit in the 1,600-seat Simon Bolivar auditorium, which is said to house Neimeyer’s original plans for the building. None of the building’s employees were injured, though 25 firefighters were hospitalized for smoke inhalation, two of which remained in critical condition on Saturday. While local media reported that up to 90 percent of the building’s interior was destroyed as the fire consumed chairs, melted metal, cracked walls, and shattered glass panes, it is unclear to what extent the complex’s cultural collections were harmed. According to João Batista de Anrdade, CEO of the Latin American Memorial Foundation, an extensive cleanup of the complex was performed a few months ago, in which much of the foundations cultural and historical collection was removed. Foundation employees have been waiting for the structure to be confirmed safe before returning to assess the damage to the historic building and its collections. Whatever the damage may be, state officials have confirmed that demolition is not an option. “We will ensure the most prompt restoration of the auditorium,” Secretary of State for Culture, Marcelo Mattos Araujo told Brazilian media.
London-based Weston Williamson won first prize in an international competition to design the Brasilia Athletics Stadium, an innovative skeletal structure inspired by the wings of a bird in flight. The huge, feather-like formations that create the structure's undulating roof canopy will be constructed from lightweight concrete and steel connections. This feather-like roof will be in a constant state of flux, as the individual sections respond to environmental fluctuations, such as wind and sunlight. "The exterior form of the new athletics stadium reflects the utopian spirit of the Brasilia plan by incorporating a geometry that is ever-changing," the studio said in a statement. "The stadium, therefore, has no fixed identity, but alters in relation to the condition of its surroundings." The circular stadium sits on a wood-clad plinth surrounded by pools of water and dense vegetation which allows for cooling and ventilation of the structure. Should Weston Williamson’s 70,000-seat design vision be realized, the Brasilia Stadium would be home to the Rio 2016 Olympic Games. The architects at Weston Williamson will be awarded a $12,000 prize for conceiving the winning entry.
Noted Brazilian architect Lina Bo Bardi now has a travel fellowship in her name. Jane Hall, founding member of Assemble, a Stratford, UK–based architecture and design collective, has been selected as the inaugural winner of the British Council’s Lina Bo Bardi Fellowship that will allow her to travel to Brazil this year to study Bo Bardi's work for six weeks this fall. Hall, an architectural assistant at Studio Weave, will investigate how society, culture, and the idea of "Brazilianess" influence the country’s contemporary architectural practices. The fellowship is part of the British Council’s Transform series—a sequence of arts programs between the United Kingdom and Brazil leading up to the 2016 Rio Olympic Games.
Thanks to the Italcementi Group, International Women’s Day just became that much more special. This year the group found a unique way to celebrate the holiday by instituting the very first competition its arcVision—Women in Architecture prize, an award that valorizes the increasingly important role women have and continue to play in architecture. The jury selected 19 finalists from 15 different countries including but not limited to Egypt, Switzerland, Singapore, Italy, and Thailand. The architects were judged according to their creative approach in designing an unconventional structure as well as their ability to design a building that responds to the context of its site. The prize was bestowed to Brazilian architect Carla Juaçaba at a press conference at the group’s i.lab Research Center (designed by Richard Meier) in Bergamo on March 7th, and was publicly announced the following day for International Women’s Day. Juaçaba, who collaborated with artist Bia Lassi, won for her design of the Pavilion Humanidade 2012 project developed specifically for the United Nations' conference on sustainable development, Rio +20. The architect innovatively designed a translucent waterfront scaffold building made entirely of previously-used, recyclable materials. The temporary structure was used to house private spaces as well as the two-week private exhibition on sustainability. By designing a structure that is exposed to all weather conditions Juaçaba designed a pavillion that was seamlessly integrated into it’s natural surroundings. The architect, who says her design was inspired by the work of Paulo Mendes, explained “sustainability and geography are closely related in architecture. It might make sense to build on Africa or in some places in Brazil using clay, or to create green roofs in Buenos Aires, but not in this specific site in the fortress of Copacabana. It’s as if every specific geographical point has to find it’s own equilibrium.” Juaçaba further commented on winning the award by saying, “I think it is really special to have thought of a Prize only for women. I was never “invited” to all the work I’ve done so far. I have always had to struggle to prove that I was capable. I’m not saying this just because I am a woman, but I think that for us it is a little more complicated. So it is really great to have such a prize to highlight this effort, because all work requires hard work. I am really very excited.” Additionally, honorable mentions were awarded to three other female architects: Izaskun Chinchilla from Spain, Anupama Kundoo from India, and Siiri Valner from Estonia. This year marks the establishment of a new tradition: from this year forward the Italcementi Group aims to continue recognizing the accomplishments of female architects all over the world through the arcVision Prize.
Famed Brazilian architect Oscar Niemeyer died on Wednesday at the age of 104, just days before his 105th birthday. He had recently been hospitalized in Rio de Janeiro, fighting pneumonia and kidney failure. After nine decades designing, the architect couldn't put aside his work and continued on projects during his hospitalization. Niemeyer's illustrious career has spanned continents and centuries, and included many of the world's best known buildings from the capital of Brazil at Brasilia and the United Nations Secretariat in New York to the Edifício Copan in São Paulo and the Niterói Contemporary Art Museum in Rio. His signature style of flowing curves, modern lines, and futuristic forms are instantly recognizable and have helped to shape the course of Modernism over the course of the 20th century. Many of his winding and seemingly gravity-defying buildings were executed in concrete, bringing a new softness to the material. He was awarded the Pritzker Price in 1988 for his soaring and light-filled design of the Brasilia Cathedral. "He was an inspiration to me – and to a generation of architects," Lord Norman Foster remembered, lamenting the loss of an architectural legend. "For architects schooled in the mainstream Modern Movement, he stood accepted wisdom on its head. Inverting the familiar dictum that ‘form follows function’, Niemeyer demonstrated instead that, ‘When a form creates beauty it becomes functional and therefore fundamental in architecture’." Norman Foster's full tribute to Oscar Niemeyer: I was deeply saddened to learn of the death of Oscar Niemeyer. He was an inspiration to me – and to a generation of architects. Few people get to meet their heroes and I am grateful to have had the chance to spend time with him in Rio last year. For architects schooled in the mainstream Modern Movement, he stood accepted wisdom on its head. Inverting the familiar dictum that ‘form follows function’, Niemeyer demonstrated instead that, ‘When a form creates beauty it becomes functional and therefore fundamental in architecture’. It is said that when the pioneering Russian cosmonaut, Yuri Gagarin visited Brasilia he likened the experience to landing on a different planet. Many people seeing Niemeyer’s city for the first time must have felt the same way. It was daring, sculptural, colourful and free - and like nothing else that had gone before. Few architects in recent history have been able to summon such a vibrant vocabulary and structure it into such a brilliantly communicative and seductive tectonic language. One cannot contemplate Brasilia’s crown-like cathedral, for example, without being thrilled both by its formal dynamism and its structural economy, which combine to engender a sense almost of weightlessness from within, as the enclosure appears to dissolve entirely into glass. And what architect can resist trying to work out how the tapering, bone-like concrete columns of the Alvorada Palace are able to touch the ground so lightly. Brasilia is not simply designed, it is choreographed; each of its fluidly-composed pieces seems to stand, like a dancer, on its points frozen in a moment of absolute balance. But what I most enjoy in his work is that even the individual building is very much about the public promenade, the public dimension. As a student in the early 1960s, I looked to Niemeyer’s work for stimulation; poring over the drawings of each new project. Fifty years later his work still has the power to startle us. His contemporary Art Museum at Niteroi is exemplary in this regard. Standing on its rocky promontory like some exotic plant form, it shatters convention by juxtaposing art with a panoramic view of Rio harbour. It is as if - in his mind - he had dashed the conventional gallery box on the rocks below, and challenged us to view art and nature as equals. I have walked the Museum’s ramps. They are almost like a dance in space, inviting you to see the building from many different viewpoints before you actually enter. I found it absolutely magic.
Bright colors are not typically associated with inconspicuous spaces but when it comes to The Gourmet Tea storefront, the shop manages to bring the two together.Through the use of clever ingenuity and compact design Brazilian architect Alan Chu successfully plants a secret tea shop inside a public shopping center in São Paulo, Brazil. While closed, The Gourmet Tea appears to be a multi-colored block mural, but in a matter of moments a swift transformation takes place as a purple hatch reveals a sliding counter, shelves wheel out from one end, and cupboards from another. At the very top of the unfolding display is The Gourmet Tea sign, neatly covered by its own small colored door. Chu credits the colorful display to the tea company’s vibrant packaging for its vast selection of organic tea blends. His intention was to tie in the vivid colors of the packaging with the store's design to create a joyous space that accurately reflects the brand. [Via PopUpCity.]