Vazio S/A

foto: Gabriel Castro

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Sketch: BCMF Arquitetos
+info: http://www.vazio.com.br/projetos/casa-da-moeda/?lang=en

Habitaculo, exhibition at the Cine Theatro Brazil Vallourec, opened last week. Alongside artists Nydia Negromonte, Grivo, Wilson Baptista and collective Micropolis, Vazio S/A / Carlos Teixeira participates with the intervention “Structural Archaeology” (pictured). Habitaculo was curated by Fabiola Moulin and Marconi Drummond, and runs until December 20. Photo: Gabriel Castro

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VDA Bldg. (2)
31/10/2015

Photo: Leonardo Finotti
+ info: http://www.vazio.com.br/site2012/wp-content/uploads/2015/10/43604PR150924-003D.jpg

In order to promote discussion, information and the transformation in public realm and urban scale, the international congress “Public spaces” takes place 19-22 October at PUC RS (Porto Alegre, Brazil) and will include presentations by Claudio Acioly (UN-Habitat), Paulo Bicca (PUC RS), Fernando de Melo Franco (Prefeitura de São Paulo) and Carlos Teixeira (Vazio S/A), among others.


	

“An unexpected reservoir of unbounded possibilities” is the title of our entry for the contest Currencies of Architecture (Chicago Biennial 2015); a statement praising the architectural voids of the concrete “palafittes”:

If modernism was a process of universal ambitions, its side effects are not always the result of a resistance to those ambitions, but often translate their exacerbation in local expression.

The “concrete palafittes” — a commom architectural accident in Belo Horizonte and many other cities in Brazil — can be seen as a corrupter of a well known object, or as an encounter against modernist architecture origins: it demystifies style to create an object that escapes and despises the pure morality and ethical uniformity of its creators.

The palafittes are a monstruous modernist byproduct that, being devoid of intention and language, act as such a grotesque caricature of the modernist grid that it is capable of causing strangeness. Untying a knot that once united structure and program, efficiency and beauty, they are an indeterminate and free space that modern architecture struggled to keep closed — and that here can be seen as an unexpected reservoir of unbounded possibilities.

The marquee of the Ibirapuera Park is a covered, open and active space, which freedom of occupation is due to its “non occupation by architecture”. (…)
We believe that the uncertainty and the uses of the marquee can be enhanced, and with few resources. By means of a modular tubular staircase, its huge terrace would be occupied on specific situations, and then new views of the park, new public spaces and a new perception of the marquee would be made possible. A “latent square” would be discovered.

Tomie Ohtake Award
14/07/2015

The results of the Tomie Ohtake Institute’s Architecture Award will be announced this Wednesday, 22 July. The selection board members are Abilio Guerra, Shundi Iwamizu, Priscyla Gomes and Carlos Teixeira (Vazio S/A).

Vazio S/A: flats in Jiangxi province, China.

“Molewa” was an architectural competition for a new neighborhood in Ruichang, Jiangxi province, China. Our proposal bet on an image both unique and harmonic: a residential building in tune with the idea of a new era of Chinese architecture – one less blatant and more attentive to the local context. The proposal is sustainable, relays and updates traditional elements, avoids free formal gestures, seeks a sensible cost-benefit ratio in its innovations, and presents a careful architecture vis-à-vis the vernacular architecture of southern China.

Ruichang, China II
09/07/2015

Our project for the Helsinki Museum design competition is available in the projects section. Its ramps refer the image of the building to a myriad of architectural references at once discordant and complementary, such as the mesopotamians ziggurats, the terraces of a mastaba, the spirals of a minaret and, specially, Frank Lloyd Wright’s Guggenheim Museum in NY.

Julia Pinto, architecture student at Escola da Cidade (Sao Paulo), held a research using works of Vazio S/A, Louise Ganz and Rubens Mano, seeking to understand how, through critical and artistic / architectural practice, each of these artists contribute to the reflection on their professions. The full paper is available at ISSUU.

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