Architects: JBMC ARCHITECTS
Location: Tijuca, Rio de Janeiro – Rio de Janeiro, Brazil
Jbmc Architects: Beatriz Pimenta Corrêa, Cecilia Pires, Cynthia Melo, Emiliano Homrich, Frederico Freitas, Gabriela Assis, João Batista Martinez Corrêa, Pedro Câmara and Sandra Morikawa
Jbmc : Caio D´Alfonso, Carina Oshita, Diogo Luz, Mariana Nito, Nara Borges and Raffaella Yacar
Area: 13774.0 sqm
Photographs: Nelson Kon
Architects: Andrade Morettin Arquitetos Associados
Location: Vila Madalena, São Paulo, Brasil
Project Architects: Vinicius Andrade, Marcelo Morettin
Coordinators: Marcelo Maia Rosa, Renata Andrulis
Collaborators: Marcio Tanaka, Ricardo Gusmão, Guido Otero, Beatriz Vanzolini
Project Area: 5600.0 m2
Project Year: 2009
Photography: Nelson Kon
Architects: Apiacás Arquitetos
Location: São Paulo, Brasil
Project Architects: Acácia Furuya, Anderson Freitas, Pedro Barros
Collaborators: Accácio Mello, Ana Lúcia Santana, Bárbara Francelin, Cibele Mion, Daniela Santana, Fábio Teruia, Francisco Veloso, Gabriela Campos, Leonor Vaz, Maria Wolf, Marcelo Otsuka, Otávio Filho, Pedro Parede
Project Area: 200.0 m2
Project Year: 2012
Photographs: Pregnolato e Kusuki Estúdio Fotográfico
Brazilian Firm GPA&A was unanimously chosen by a panel of judges to design the new Administrative Center for Belo Horizonte – the capital of Minas Gerais, Brazil. The judging commission selected the firm’s proposal because of its attention to accessibility, sustainability, and the quality of architectural and landscaping features. The transparent building features a bikeway leading to the top floor and is integrated with the metro and bus rapid transit systems. For more information and images, continue after the break.
When Lina Bo Bardi received the commission to build a new museum of art on São Paulo’s Terraço do Trianon, she was given the job under one condition: under no circumstances could the building block the site’s panoramic vistas of the lower-lying parts of the city. This rule, instituted by the local legislature, sought to protect what had become an important urban gathering space along Avenida Paulista, the city’s main financial and cultural artery. Undeterred, Bo Bardi came up with a solution that was simple and powerful. She designed a building with a massive split through its midsection, burying half of it below the terrace and lifting the other half into the sky. As a result, the plaza remained open and unobstructed, and in 1968, the iconic São Paulo Museum of Art (MASP) was born.
“Building a house takes time and money,“ said Marcio, a local resident of Complexo do Alemão, one of Rio de Janeiro’s numerous favelas, as he showed me around his house. This is why a house is often built over several generations: a floor may be laid, columns erected (rebar protruding), and a thin tin roof placed, but this is just to mark where the next builder should finish the job. “Constructing a roof with tiles is not a sign of wealth here — rather, it means that there’s not enough money to continue constructing the house,” explains Manoe Ruhe, a Dutch urban planner who has lived in the favela for the last six months.
An architect who has always been fascinated by the way people live, I had come to do a residency at Barraco # 55, a cultural center in Complexo do Alemão, in order to learn how its citizens went about building their communities. I had many questions: are there rules of construction? What are the common characteristics of each house? Do they follow the same typology? How are the interiors of the homes? What construction techniques and what materials are used?