★ WINNER PROJECT 4° Prêmio de Arquitetura Instituto Tomie Ohtake AkzoNobel
It is the continuum, the vast and a thin imaginary line in the background that welcome the journey and the experience of Brazilians living in the central region of the country. The architecture proposed there could not be distinct from such conformation. It is the immeasurable and the beauty of its inhabitants that moves us. However, how to deal with this site, where the current culture is blindly modernized in search of a mass-reproduced dream? How could architecture become relevant to this location marked by rural and indigenous memories, techniques, aesthetics and rhythms? With these inquiries, the project to house 540 children who study at Canuanã boarding-school, aims towards transformation, cultural rescue, encouragement of local constructive techniques, native knowledge and beauty, together with the construction of a notion of self and of belonging, necessary for the children's development.
To better understand the scale of this place inhabited by children whose point of view changes with every grown inch, and to propose a new understanding of the learning space also as a place of residence, the A Gente Transforma methodology was applied. It involved an open and intense collaboration with the local community, teachers, administration, and especially, the children. The process went through stages of research, immersion and collaboration with all those involved through workshops and dynamics in which a common understanding of the problem and its possible solutions, arising from the dialogue between the contemporary technique and the rich local vernacular knowledge, were sought. It became clear that there was a great potential and beauty in the local constructive techniques that used local soil in form of adobe brick walls, both as solid and perforated medium. Hence, this rough earth materiality, which performed extremely well climatically and represented the connection of people and place, was chosen as the proposal’s constructive and aesthetic north.
The process of continuous architectonic enhancement and interchange with teachers and students led to a solution imagined as a first step on the broader organization of the site. The new configuration foresees two larger (also in number of residents) and airier villages, one for male students and one for female students, following the required pre-existing genre divided setting. Each one is placed at a strategic point no longer set inside the central axis, which is to be filled solely with programs directly related to the act of learning, but rather closer to the edges to guide the growth of the farm complex organizing the territory and thus enabling for a better spatial and functional reading of the school as a whole. In this new moment, the residences will no longer be conformed by large dormitory spaces, but rather by 45 units for six students each, comprised of bunk beds, more storage space and private washing areas. The units are then set together in groups of five, organized around three large patios filled with local savannah and tropical species. These courtyards serve as gathering spaces and also as means of reducing heat and controlling air humidity. A water mirror with small fish, located inside the central yard, collects the rain that spills from the roof and, in days with enough fall, returns the overflown water to the Javaés River. Adjacent and on top of the sleeping blocks are different interacting areas such as TV rooms, reading spaces, balconies, resting hammock spaces, playing places, among others. These complementary programs were set and refined together with the students in order to improve their overall quality of life and increase their bond to the school, but also to serve as complementary learning spaces for the population outside of the school year.
A thin, white metallic roof supported by a lightweight wood structure following a regular grid of 5,90m by 5,90m embraces the villages and common spaces. Beyond protection from sun and rain, the roof and grid set composes an intermediary space between the outside and inside, behaving as a great veranda that marks the vast horizon and frames views of the exterior and interior vegetation. The choice for glued laminated eucalyptus wood in the structural elements came from its versatility, pre-fabrication and sustainable characteristics, in response to the necessity of accelerating construction speed and minimizing hassle to the school’s functioning. Likewise, stabilized earth blocks composed of local soil were chosen as the means of construction for its elimination of long distance transportation and optimal thermic properties. The material was used as enclosure in form of apparent brick walls as well as brick latticework to provide ventilation and protection to the washing areas. The brick performed technically but also aesthetically, much in the way the locals have been doing for a long time. Ultimately, the design for the new villages aims to increase the children's self-esteem, individuality, sense of belonging, responsibility for the environment and overall academic performance, through the dialogue with local knowledge and constructive potential. Thus, a dialogue is created between vernacular techniques and a positive model for sustainable housing.
Location – Formoso do Araguaia - Tocantins – Brasil / Area - 23.344,17 m2 / Project Year – 2014-2016 / Status – Built / Client – Bradesco Foundation / Canuanã School / Architecture – Rosenbaum + Aleph Zero / Wood structure design, fabrication and construction – Ita Construtora / Landscape Design – Raul Pereira Arquitetos Associados / Lighting Design – Lux Projetos Luminotécnicos / Structural foundation – Meirelles Carvalho / Acoustics and Thermal insulation Consulting – Ambiental Consultoria / Mechanical and Electrical Engineering – Lutie / Concrete Slabs– Trima / Construction – Inova TS / Construction Management – Metroll / Interiors and furniture design – Rosenbaum and Fetiche Design / Record and communication Material
– Fabiana Zanin / Documentation (Pictures and Movies) – Leonardo Finotti, Diego Cognato e Galeria Experiência.
What drives us in the process of designing this two houses is the possibility to distort and compose with a notion of nature, at the same time wild and artificial.
A thin layer of soil floats a few meters above the ground level, as if carved from it. Underneath, a world wrapped in natural, though domesticated, elements is revealed - water, vegetation, animals. Above, two metallic volumes appear on a lawn space - from where it is possible to observe the landscape - as if they were cottages on a garden, in a rather usual spatial relationship, except for the fact it takes place at the upper deck quota.
There is thus a certain distortion in the perception of what would be the "natural" ground floor and the artificial elevated "ground floor".
Programmatically, the building contains, on the ground level, a workshop, a residence of approximately 100.00 m2 and recreational areas such as swimming pool and living spaces. On the level above, there are two guest bedrooms and another residence with approximately 90,00 m2. Each programmatic function contained in the building can operate autonomously, with separate entrances, providing diverse use combinations.
A constant grid of 5 meters by 5 meters, in steel and wood structure, hosts the functions that reside in contact with the ground, and supports the higher volumes, as well as the second quota of vegetation, which at times is closed by plants and in other it is open, permitting partial passage of light.
Julia Carvalho Dell`acqua,
Raul Pereira Arquitetos Associados
Mechanical and Electrical Engineering
Site: Amparo – São Paulo - Brasil
Construction area: 613,80 m2
Site area: 879,75 m2
★ Finalist on the 4th architectural prize Instituto Tomie Ohtake AkzoNobel
★ 1st Place in the National Competition fot the Vão Central do Mercado Público de Florianópolis
There is, in the context where the project operates, a multiplicity of concurrent times, conducted in the last 160 years by the influx of users to Florianopolis Public Market, whose history includes demolitions, changes of location, several renovations, and the active participation of generations of consumers, sales people and different administrations. The new roof for the central span, then, appears as another element in this narrative, and as such should respect and add to the existing, without becoming irrelevant or being characterized as mere closure. A new scale is created, protected from the elements, in order to adequately support new additional stories: temporary exhibitions, cultural performances, festivals, screenings, parades, etc.
“It is necessary to be as light as the bird not as the plume” VALÉRY,Paul (1930) apud CALVINO, Ítalo (1990) p. 28
Bearing in mind, that the architectural design consists essentially of a surface that rests above the existing context almost without touching it, the premise of lightness understood as precision and determination (CALVINO, I.), is critical. Lightness, thus perceived, is not linked merely to an absence of weight of the constructive system, but rather to a certain tension between the force of gravity and the suspended “V” shaped steel parts that hover steadily, slightly above the level of the existing roofs in order to create a void through where the air can freely circulate. To perform this composition, a system was sought that allows for the implementation of large spans with a minimum of components and whose arrangement is the result of a simple thought: the location of the two support points, 36 meters distant from each other, should take place over the central axis aligned with the existing pillars, so as to maintain the configuration of the previous space, and to prevent the new foundations from generating harmful interference to the basement of the historic building. Over the aforementioned pillars lays a main beam in rectangular profile to which intermediate “ribs” are connected, distanced from each other in spans of 11,4m and sloping towards the central gutter.
The uppermost layer consists of a lightweight and high strength membrane that could be retracted through an automated system in which beams slide within rails through the traction of motorized chains, which cause the fabric to roll wrapping over the roller positioned at the extremities. Such system should allow for the full retraction of the upper protective layer providing an unobstructed view of the sky and the existing building.
Thus, a proposal is conformed in a way that seeks to deal respectfully with the multiplicity of the history of Florianopolis Public Market, remarking, that such action carried through accurately, can enhance the space as a democratic place for meeting and public coexistence.
VALÉRY,Paul. Choses tues. Cahier d'impressions et d'idées. Paris, Éditions Lapina, 1930 Apud CALVINO, Ítalo. Seis propostas para o próximo milênio. São Paulo, Companhia das Letras, 1990)
Competition: 1st prize
Area: 1.020,00 m2
Authors: Gustavo Utrabo, Pedro Duschenes
Project Team: Bárbara Zandavali, Ana Julia Filipe, Maguelonne Gorioux, Felipe Gomes, Agatha Linck
Collaborators: Eng. Sandro Norio Oyama
Structural eng.: Andrade Rezende
Location: Florianópolis – Brasil
Photos: Felipe Russo
Beyond a vast clearing, I’m able spot an immense green mass that stands out on the horizon. It, strangely, magnetizes me like a mirage, attracts me with a strange and extraordinary force to its inside as if there was something there to be felt. Unconsciously, I walk slowly toward it, cross the clearing and gradually the undergrowth approaches my waist. I run my hand gently over it, as it grows and welcomes my body, as if to hold me gently.
In wandering, as if hypnotized, I try to get to its inside, and while I approach it becomes denser, always gradually, in imperceptible transitions I become small towards the size that it takes with every new step I take. I Feel no abrupt interruption, everything flows, it is always a constant in passing, a continuum, a feeling that binds to the next, even if, at times, my eyes are set on small details that compose it, I’m not trapped in them and keep on going.
It’s not only me who is moving, it moves in response to me and to multitude of other elements over which I have no control. We move together to the point of not knowing if it is interfering with me or if I interfere with it. Gradually, as a discovery, I spot a distinct point of light; I am attracted to it; I walk towards it. The closer I get the stronger it becomes. In the beginning it was only one point, now it’s a strong beam of light that blends to the sense of enfolding that it has with my body. At every step the light gets more intense until the moment I'm about to touch it, but for this I now need to break a barrier, a portal. I do not hesitate and enter. As in an epiphany, I step in the clearing where, once again, the light abounds and disrupts the smooth transition that I had experienced. Now, everything is clear and even more vertical, the scale is another and I think how would it be like if others were here enjoying this same place.
Between coming and going, between access and exit, between the different hierarchies, how does my body behave? What if no further door was opened? What would happen if the simple displacement enabled us not only to access, but also provided a wide range of sensations indicative of the experience of the present and not of a new state to which one dreams to access? What if the dialectics conformed through a sensorial rupture, such as those routinely established between public and private, between inside and outside, between the past and the future were dissociated?
Since there is no way to experience a metaphysical knowledge about an upcoming state - be inside or outside, for example - you can only experience it from the moment you find yourself in this other state. I.e. we only understand what it really means to "be inside" once we live this new moment.
We aim to lengthen the breach that occurs between two distinct states, to dissolve a rigid line in a gradient of points that expand and, thereby, to conform a space that reminds us, now and continuously, of a present being in between, or through.
Area: 105,00 m2
Authors: Gustavo Utrabo, Pedro Duschenes
Project Team:Ana Júlia Filipe, Bárbara Zandavali, Maguelonne Gorioux, Felipe Gomes, Severine Bogers.
Location: Museu Oscar Niemeyer - Curitiba - Brasil
Authors: Gustavo Utrabo, Pedro Duschenes
Project Team: Ana Julia Filipe, Marina Oba, Thaylini Luz, Daniela Moro, Gabriel Tomich, Nicolie Duarte
Estructural: Eng. Ricardo Dias
Eletric: Eng. Eduardo Ribeiro
Location: Matinhos - Pr – Brasil
Photos: Pedro Kok e Humberto Utrabo
House in Curitiba
Authors: Gustavo Utrabo, Pedro Duschenes
Project Team: Marina Oba, Ana Julia
Construction: Aud Construtora
Location: Curitiba - Pr – Brasil
Fotos: Pedro Kok
Reflection is a perverted repetition. It twists, inverts and multiplies the surrounding space distorting references of location. A space composed by reflective elements is therefore a space of blurred boundaries: in, out, far, near, front, back, unique, multiple, real, reflected. At the university campus, whose configuration searches optimization and readability by means of repeated answers and pre-established signs, arose the possibility for a singular place where this same repetition could be multiplied exponentially so as to materialize itself in a object that at the same time influences and is influenced by this specific location. There is, however, an element even more important to consider, one that activates and gives meaning to the objects: the user / observer. Unlike a mere passive spectator, it is the observer who composes the work through his/her position and motion in space. Such movement is then 'reflected' by objects that "dance" with the movement of passers and accuses them of being themselves also actors in a multiple reality, dynamic and interconnected.
The tectonics of the built elements should be very simple, for the execution was to be held by a two-person local welding company. In this sense the parametrized and carefully calculated project had to be translated to a low tech reality through the use of 1:1 print outs on sheets of paper, and a very close monitoring of the fabrication and building process. Constructively, the installation is composed of approximately 90 frames made of 3 cm square section profiles welded to a laser cut metal base. These frames are then enclosed with very thin reflective stainless steel plates. In the section where the parts leave the contact with the ground, a tridimensional curved truss structure was designed as an “arch” built with mechanically bent tubes and welded profiles, counterweighted by concrete blocks on its two support points. Near the center of the installation there are 10 “technologically filled” frames. With the use of windshield motors, belts, electric plates and proximity sensors it is possible to automatically rotate these metal prisms accompanying the passage of nearby observers through the space.
Location: Curitiba - Brazil
Architect(s): Aleph Zero (Gustavo Utrabo, Pedro Duschenes), Juliano Monteiro Studio
Project team: Ernesto Bueno, Lucas Issey, Hugo Loss, Mathilde Poupart, Lucille Daunay, Sabine Meister,
Collaborator(s): Gisele Pinna, Adriano Dorigo, Alexandre Ruiz,. Haraldo Freudenberg
Bruna Fabre, Eduardo Witt, Gabriela Casagrande, Marcelo Loro and Marcela Furtado
Structural engineer: Ricardo Dias
Electrical engineer: Fernando Marins
Client: Positivo University
Use: architectural installation
Site area: 395 m2
Bldg. area: 100 m2
Gross floor area: 100 m2
Photos: Rodrigo Jorge, Juliano Monteiro
Topography, stone and vegetation are the conformers for the specific site of the Quarry Park (Parque das Pedreiras). The former quarry, maintained as a preserved place only a few minutes from the city center, today goes through adjustments to maintain its operation as a space for concerts and cultural events. The new Roof proposal for the stage consists of a reticular tray conformed to endure heavy loads due to the equipment it shall hold and rests on supports that blend with the landscape and function as support for technical devices.
Area: 1.186,00 m2
Authors: Gustavo Utrabo, Pedro Duschenes
Project Team: Lucas Issey Kodama, Felipe Gomes,
Collaborators: Bernardo Bento, eng. Ricardo Henrique Dias
Location: Curitiba – Brasil
Status: On going
Authors: Gustavo Utrabo, Pedro Duschenes
Co-author: Ana Julia Filipe
Location: Alentejo – Portugal
The Installation is the final product of “Entre Escalas” Workshop, which engaged subjects of parametric design, digital fabrication and the issue of scale on the creation of urban furniture to be implemented at the Spanish Square (Praça da Espanha) in the neighborhood of Batel, in Curitiba – Brazil. The name “Entre Escalas (In Between Scales)” was suggestive as the furniture had to serve the children as a playground, at the same time as bleachers for jazz shows happening in the square.
To get from concept to fabrication and assembly in a very short span of time using parametric tools and relating that to specific architectonic needs were the themes intended to be grasped by the students . There were series of lectures related to the subject, as well as specialized computational classes, followed by an intense design competition. The architects and tutors present were Gustavo Utrabo, Juliano Monteiro, Pedro Duschenes, Ernesto Bueno, Lucas Issey, Thiago Mundim and the structural engineer Ricardo Dias.
After the workshop, the students develop a synthesis of the previously proposed designs inside the office. In this phase problems of structure, materials ,fabrication, assembly logic and health and safety were addressed.
The final design derives from a labyrinth, and aims to awake in the children feelings of estrangement and the curiosity of not knowing what comes next. Externally, the 4m x 4m x 1.5m box form, made with the cheapest construction plywood available, contrasts with the fluid internal paths. The inner radial geometry generates a degree of visual transparency that allows the parents to follow their children through the tunnels that lead to the sphere shaped central space. It also enables fascinating multi-framed views to the surrounding environment.
In August 2011 the installation was exposed at the Spanish Square (Praça da Espanha), so that all could observe the reaction, from both adults and children faced with something unusual built in a common public place. The children, under close supervision from their parents, could explore a new spatial experience, as well as establish a singular form of playing, yet related to regular activities such as climbing, crawling and hiding, through the contact with the “parametric playground”.
“Entre Escalas” Workshop was a partnership between Gustavo Utrabo, Pedro Duschenes, Juliano Monteiro, Ernesto Bueno, Lucas Issey , Thiago Mundim (www.thiagomundim.net) and CenEGAU with support from the Architecture and Urbanism Course at the Pontifícia Universidade Católica do Paraná (PUC-PR) and coordination by João Victor Monteiro.
Special Thanks to:
Bruna Hobi, Maria Eduarda Camilotti, Mariana Bittencourt,Renate Louise Pierotto, João Victor Monteiro.
And all the students that participated in the Workshop “Entre Escalas”
Competition - Honor Mention