The Teatro Oficina Uzyna Uzona, popularly know as Teatro Oficina, located on Jaceguai Street, in the Bela Vista neighborhood, in São Paulo, was founded in the 1960s, more specifically in 1958 by José Celso Martinez Correa, acting as a manifest theater, marked by great spectacles between theatrical expressions, musical presentations, dance and performances.
Over time, the theater sought to revolutionize the performances that they put on. To this end, the architecture was designed to "collaborate" with the events, allowing the drama of the spectacle to engage more profoundly with audiences. T he architect Edson Elito, who would later instigate this reform, said [trans.]:
Architect Diébedo Francis Kéré was named Prince Claus Laureate for 2017, highlighting the cultural value and importance of beautiful, sustainable and empowering architecture.
Kéré received the award for his “design and construction of buildings of great beauty that meet people’s needs; …for honoring people’s pride in their cultural traditions and techniques, …for inventively combining relevant factors from two different knowledge systems to achieve practical solutions of global relevance and creating an exchange of ideas between Africa and Europe; …and for his ethical commitment to creating inspiring architecture that improves living conditions and uplifts communities...”
In this episode of GSAPP Conversations, ahead of the opening of the 2017 Chicago Architecture Biennial, co-curator Mark Lee (of Johnston Marklee) and Dean Amale Andraos discuss the theme of the show—"Make New History"—and it's relevance to the field today.
http://www.archdaily.com/879401/ahead-of-the-2017-chicago-architecture-biennale-mark-lee-discusses-its-contemporary-relevanceAD Editorial Team
Located a few meters from the terminal of Naoshima, the Japanese island better known as the "Art Island", Sou Fujimoto's Pavilion appears as a translucent and lightweight diamond perched on the coastal edge of Kagawa, visible from SANAA's ferry terminal welcoming the visitors to the island.
The Naoshima Pavilion was part of the 2016 Setouchi Triennial. Fujimoto has created its structure with a white painted stainless steel framework, acting as a mesh that gives the polyhedron it's irregular shape and light appearance as if it was levitating from the ground.
The exhibition Social Construction: Modern Architecture in British Mandate Palestine, tracing the influence of international Modernism on the architectural vernacular that developed in Palestine during 1917–48, is on display at the Yale Architecture Gallery from August 31to November 18, 2017. Originally organized by the Israel Museum, in Jerusalem, the show draws inspiration from the extensive research of architects Ada Karmi-Melamede and Dan Price, whose accompanying book, Architecture in Palestine during the British Mandate, 1917–1948, explores not only the functional aspects of this new architecture but also the social values that shaped the defining language of this new architectural style. The original exhibition was curated and designed by Oren Sagiv, chief of exhibition design at the Israel Museum, with Eyal Rozen.
This modular design developed by the students of the Department of Architecture Sciences at Ryerson University proposes a public space to sit and relax that works as an extension of the walkway, appropriating and giving a new meaning to the parking spaces in the streets of Toronto.
The project, with a natural wave form, is built by a series of Accoya wood modules, which allow easy storage, reuse, and reconfiguration.
For the animal lovers among our audience, this week we have put together a special roundup of images of architecture alongside some marvelous critters. While not exactly a mainstay of architectural photography, proponents of the form like BoysPlayNice, Jesus Granada and Rafael Gamo have dared to include animal inhabitants in their architectural compositions. Read on to see a selection of 20 creative images where you will find horses, sheep, cows, goats, dogs, cats, and even elephants.
Like most architecture students, I heard the debate about whether it was better to work at a large or small design firm numerous times during my collegiate career. There are undoubtedly benefits offered by firms of each size, and you’ll find tons of people eager to discuss how the resources of a large firm can compare to the creative flexibility of a small firm and similar such discussions during your student journey. Truthfully, there’s no one best option or preferred path, but, with thousands of students set to head back to architecture or design school this fall, I wanted to share my perspective.
It was just a few years ago that I was in my final year of school and faced with a decision: what size firms should I pursue for my first job? There were numerous aspects of small firms that spoke to me, but ultimately, I chose the large-firm experience. Big offices, big projects, job security, the latest tech, modeling and 3D printed resources—this all sounded great to me. Two years in, I’ve found most of those benefits to ring true, but I’ve also uncovered several benefits I didn’t know I should have been looking for in the first place. These unplanned discoveries have made a significant difference in my day-to-day experience and in helping to kickstart my career. I thought it might be helpful to share them so other students can consider them when making their decision in 2018 and beyond.
The launch of a building in downtown São Paulo - Brazil was the talk of the town due to its surprising apartment sizes of only 10 square meters. This raised the debate about the market trend to produce ever smaller properties and the ability of these properties to meet the needs of its residents.
There is no doubt that, this type of real estate is related to newest trends of family compositions. It is increasingly common for residences to be occupied by only one person, or at most two. According to data from the SEADE Foundation for 2010, in the State of São Paulo, almost 40% of households have these characteristic, 13% of which is made up of a single resident.