Vazio S/A

A free reference we’ve used to structure our “The grid: landscape of colonizing voids” (see post below), “Along the river…” is a scroll painting made by Chinese artist Zhang Zeduan in the 12th century during the Song dinasty. In its length there are 814 humans, 28 boats, 60 animals, 30 buildings, 20 vehicles, 8 sedan chairs and 170 trees.

No comments | categoria[s]: Essays

In a revealing essay about the future of the car, journalist Henry Grabar states that ”Large numbers of streets could be decommissioned and reused as promenades, parks, and sites for housing. Most downtown parking could also become obsolete. The average car is parked 95 percent of the time, and parking spots are required, at great cost, in housing, retail, and office construction.”

“(…) The Rocky Mountain Institute, a sustainability think tank in Boulder, Colorado, argues that Automated Vehicles will quickly challenge the private ownership model. In a report released in September, RMI calculates that self-driving cars will make automated taxi service in cities as cheap, per mile, as personal vehicle ownership. Jon Walker, a manager at RMI and co-author of the report, anticipates that autonomous vehicles’ superior use of road space—optimal acceleration and spacing, for example—will unleash a wave of urban transformation. Even if the number of cars on the road doubled, he argues, traffic would still move faster.”

in How will self-driving cars change cities?, Slate Daily Magazine, 25/10/2016

Continuing these arguments, the private parking will change, too. Maybe less people will own a car in the near future and therefore parking lots will have to be flexible spaces able to adapt to the future needs of driverless-car buildings and cities.

In our just finished project, the BsAs Building, we designed a parking level which is permeable, open and totally transparent vis-à-vis the sidewalk. The garage becomes a garden, a plinth, an urban eye.

Anyway, irrespective of any futurology exercise, a green garage is certainly better than a gray garage.


Misunderstandings – exhibition of which we are participating at Le Frac Centre, Orleans, France – is, according to its organizers, “a procedure for defining areas of non-knowledge in the collection, and thus proceeding to its re-definition, re-reading and re-writing.”

“Putting a collection together involves a permanent practice of translating absences. First of all, there are the absences intrinsic to the very act of collecting. Putting a collection together is a matter of sorting and choosing, and as such it is an act of externalization. An endless de-territorialization. Then a collection is also fragments. We retain “scraps” of things from moments of history. The collection hides more than it shows.

“The symposium will present and question the project undertaken by CAMPO to read and react to the collection of the Frac Centre Val de Loire through the following reading grid: Fear/Structure, Hope/System, Nostalgia/Form, and Surprise/Limit. For this construct, the vocabulary of architecture is as if transported elsewhere, as if impaired by human emotions.”

Misunderstandings Symposium:
The event will be in English and will take place on
March 3, 2017
At the Frac Centre Val de Loire

More info at

CA-50 Chair

Chair CA-50 = 4 rebars (feet) and 3 stirrups that snake around them.

Herbs, vegetables, strange flowers and rogue weeds pioneer tiny cracks in the urban landscape.”

CMG Landscape Architecture

The Crack Garden, made by the Californian office CMG Landscape Architecture, was one of the works awarded in the ASLA 2009 Professional Awards, the present award of the American Society of Landscape Artists. The idea is interesting and contrasts with the other awarded proposals; most of them being conventional and/or sumptuous. Flowers, weeds and grass usually grow between the cracks of the ground in backyards and sidewalks, but here the cracks were intentionally made, reproducing at home traces of uncontrolled landscapes.

The cities’ dense areas are full of unnoticed urban voids: one example is the many core of blocks that unfortunately go without any use. This block (pictured) in downtown BH is an example of how easy it would be to convert emptiness into a square. In it they planted some trees that seek to survive, but with little additional investment this terrace will become an unprecedented leisure area that would balance the aridity and lack of public spaces of the Center.

Protected by twenty-story buildings, it is not difficult to imagine here a living area or a terrace bar surrounded by an urban setting that, if it seems melancholy and decadent, is also very promising.

Photos: Rua Goitacazes 103, Belo Horizonte

Had it been the view that effectvly shaped and changed urban rivers all over the world, we would be living in cities of linear parks and not in cities of covered rivers:

Map of the ancient courses of the Mississipi river meander belt by Harold Fisk, 1944. The drawing was made when another view of the river was being coined, one that “the river needs more room which should be given to it laterally rather than vertically”.
In Arunadha Mathur and Dilip da Cunha, “Mississipi Floods”, Yale Press, 2001.

In a world where water use is increasingly discussed, it is surprising to know that the stepwells of Rajasthan and Gujarat are structures as fabulous as they are unknown.

Architectonic Abyss
Carlos M Teixeira

“My first impression upon seeing the Indian stepwells was this: they look like a reverie of inverted steps and levels, a descent into the depths of the desert every bit as disconcerting as a plunge into the abyss. Rendered all the starker by the play of light and shade, these flights of steps form an architectonic mantra of stunning visual effect, endowing the stairways with a vertiginous rhythm, repeating a pattern that boggles for its scale and multiplication, as if reproduced ad infinitum in a hall of mirrors.

“How do these endless stairways serve a function at once so practical and poetic? How can such sublime constructions be so unknown, even in India? Why is it the ingenuity that blended use and fantasy this seamlessly is hardly ever seen in our modern-day constructions? Imagine how wonderful it would be if, as in this example from a time and space so remote, our techniques for the use and storage of water were to be reinvented in such a way as restored our rapport with water and the city’s rivers. (more…)

We live in a time when the transformation of the existing is more important than new constructions; in which we urgently need to turn our eyes to the problems of our cities which have been ignored by past generations.

It is from this perspective that Over-Arrudas (pictured) fits: a project that celebrates this river in Belo Horizonte, transforming it into an event capable of changing the way we see the natural resources to which we turned our backs.

A temporary square open to festivals, discussions and dissent, Over-Arrudas was presented, without success, to the municipality of Belo Horizonte. That is why we are now working on the feasibility of a similar project proposed for another city: the Over-Aricanduva project in the East Zone of São Paulo (see next post).

+info: Projects Under-Arrudas and Over-Aricanduva in Vazio S/A website

The exhibition “Misunderstandings”, held jointly by Campo gallery (Rome) and Le FRAC Center (Orleans, France), was intended as an experiment on what should be a historical collection and how contemporary architectural practice can approach it.

To do so, twelve architects and artists were invited by curators Gianfranco Bombaci, Matteo Costanzo, Luca Galofaro and Davide Sacconi to make a project from a drawing chosen from the Le FRAC collection. Guided only by the conceptual and plastic power of the drawings, the interpretation was open to all “misunderstandings”, such as scientific errors and historical inadequacies, to embody creative and fertile narratives.

One of the twelve works that make up the show is our “The Grid”. We publish here parts of this four-meter long drawing, on show until January 13 in Campo and until April 2 in Le Frac Center. The sequence was made from a diptych provided by the curators in which we made interventions to create a “stiltet” landscape that corrupts the original design and celebrates incompleteness.

The following is an excerpt from the text we presented at the exhibition:

“The better futures of the existent city are in latent fields that simply need to be developed and enlarged. The “concrete palafittes” – a widespread architectural accident in Belo Horizonte and many other hilly cities in Brazil – are a corrupter of a well-known object – the grid – that clash against modernist architecture origins: it demystifies style to create an object that escapes and despises the pure morality and ethical uniformity of its creators. (more…)

A rare typology

In a country of cities explicitly dominated and regulated by the private realm, architecture critic Abílio Guerra makes a sharp note on three of the very few open blocks of São Paulo, where public and private space don’t confront each other, but instead work in symbiosis:

Quadra Aberta: uma tipologia urbana rara em São Paulo
Abílio Guerra

Christian de Portzamparc, em texto já clássico no meio arquitetônico brasileiro, defende a quadra aberta como uma solução contemporânea para os grandes aglomerados urbanos. Segundo o arquiteto francês, seria uma conciliação entre as cidades da primeira e segunda eras, abrindo as portas para a terceira era da cidade. Uma conciliação entre as qualidades da rua-corredor da cidade tradicional e dos edifícios autônomos da cidade moderna. Estamos diante de um urbanismo de síntese, aonde a resultante “quadra aberta permite reinventar a rua: legível e ao mesmo tempo realçada por aberturas visuais e pela luz do sol. Os objetos continuam sempre autônomos, mas ligados entre eles por regras que impõem vazios e alinhamentos parciais. Formas individuais e formas coletivas coexistem. Uma arquitetura moderna, isto é, uma arquitetura relativamente livre de convenção, de volumetria, de modenatura, pode desabrochar sem ser contida por um exercício de fachada imposto entre duas fachadas contíguas” (Portzampark, 1997) (more…)


photo: Carlos M Teixeira

Good news for hard times, the (much appropriated) title of the last issue of V!rus, has just been published.  The magazine is edited by Nomads / USP (University of Sao Paulo); Vazio S/A appears with a text about our project Other Territories, which may happen this year.
Good news!

photo: Carlos Teixeira

Model #3 is continuation of a long research begun with project Topografical Amnesias I and the book History of the Void in BH (Carlos M Teixeira, Cosac Naify, 1999), and that now we intend to recover in 2017 with the festival Other Territories.

Let’s go for it!

photo: Carlos Teixeira; model: HS Maquetes
see also: Topografical Amnesias ITopografical Amnesias II and Misunderstandings

Former ballerina at the Merce Cunningham Dance Company, the choreographer Marilyn Wood was one of the pioneers in the research between dance and architecture. In 1972 she presented a show on the windows of the Seagram Building in New York as part of a series she’s called “Celebrations in City Places”. Forgotten today, the choreography used all the 44 floors of the Seagram’s iconic glazed facade, and had 35 dancers transforming the windows onto stage; the hall, the revolving doors, and the plaza of the building forming an essential part of the scenography. With the exception of the photo above, there is virtually no record of the event on the Internet, but the visual resemblance between it and some of Vazio S/A’s works is incredibly obvious, especially in the case of “Invisible Public Spaces” and “Spiral Booths“.


We were very happy to know that Gambiologia/Kludgeology, an exhibition designed by Vazio S/A, was awarded in the XVIII Prize organized by IAB – the Brazilian Institute of Architects!
+info: IAB webpage

“Misleadingly interlocked, ostensibly cantilevered and sumptuously textured” was how journalist John Bezold, from the prestigious Dutch magazine Mark (pictured) began his beautiful presentation of our Cerrado House. Another nice review of the same house, Eupalinos in the Cerrado, was written by Fernando Lara in AU #263, according to whom “Tudo convida a subir, a casa inteira existe nessa dicotomia entre o abrigo protegido abaixo e o desejo de ascensão ao cume da casa e do morro”.