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Amnesias Topograficas II

Casa VdR_maquete

Amnesias Topograficas_maquete

casa no cerrado

ruichang

arqueologia estrutural

jardim morto I

montevideu fachada

sub-arrudas fotomontagem

jardim Morto II_fachada

amnésias topográficas II_paisagismo

sub-arrudas cena

casa vila del rey 02

móveis – mesa tora

enxertos arquitetônicos painel

aalborg

<div><img loading="lazy" class="alignleft size-full wp-image-19728" src="https://admin.vazio.com.br/wp-content/uploads/2021/11/3-lowres-scaled.jpg" alt="" width="2560" height="1707" /><img loading="lazy" class="alignleft size-full wp-image-19733" src="https://admin.vazio.com.br/wp-content/uploads/2021/11/12-lowres-scaled.jpg" alt="" width="2560" height="1707" /><img loading="lazy" class="alignleft size-full wp-image-19732" src="https://admin.vazio.com.br/wp-content/uploads/2021/11/11-lowres-scaled.jpg" alt="" width="2560" height="1707" /></div>
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Other Habitabilities (Outras Habitabilidades) is an exhibition at Casa Kubitschek Museum in Belo Horizonte and will remain on display until July 2022. The exhibition was curated by Marconi Drummond and Carlos M Teixeira (Vazio S/A); exhibition design is signed by <a href="https://micropolis.com.br/" target="_blank" rel="noopener noreferrer">Micrópolis</a>. The show features works by artists and architects such as Nino Cais, Nydia Negromonte, Vik Muniz, Lina Bo Bardi, Lucio Costa, Detanico &amp; Lain, Pedro Motta, Roberto Burle-Marx and Grupo Poro, among many others. According to the two curators,
&#8220;The exhibition Other Habitabilities intends to activate the rooms of Casa Kubitschek through the insertion of new objects that produce congruences and inconsistencies in its residential architecture – these objects being an inclusive approach to the different ways of dwelling in Brazil. The central idea of ??the exhibition is to integrate the furniture collection of the Casa Kubitschek Museum with new objects of indigenous art and design, and with sculptures and works by contemporary artists commissioned for the site.
&#8220;Other Habitabilities is the Casa Kubitschek with its displaced furniture, maintaining the representation of its original functions (sleeping, eating, cooking, receiving), but seeking to reconfigure the modernist legacy, generating dialogues and estrangement from that tradition. Taking as a starting point the original furniture by Mrs. Juracy, former resident of the house, it was up to us to recontextualize them through the insertion of ‘infiltrated works’ of other natures: the mid-twentieth century way of living together with objects that make up a collection of many other ways of living, expanding the possibilities of dwelling through essentially Brazilian and non-modernist works.
&#8220;The Casa Kubitschek Museum is an example of modernism with historical continuity that marked the movement in Brazil. A modernism of tradition and rupture that started from a reading of colonial architecture, incorporating contradictions that simultaneously express the past and the promises of the future. Other Habitabilities seeks other contradictions by showing, in a non-hierarchical way, the modern and the popular, the erudite and the spontaneous, the designed and the contingent.&#8221;
MCK 
Av. Otacílio Negrão de Lima 4188, Pampulha, Belo Horizonte MG, 03165-450, Brazil 
Wed-Sun, 11am-6pm
Photos: Leonardo Finotti
<img loading="lazy" class="alignleft size-full wp-image-19731" src="https://admin.vazio.com.br/wp-content/uploads/2021/11/10-lowres-scaled.jpg" alt="" width="2560" height="1707" /><img loading="lazy" class="alignleft size-full wp-image-19729" src="https://admin.vazio.com.br/wp-content/uploads/2021/11/7-lowres-scaled.jpg" alt="" width="2560" height="1707" />
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Other Habitabilities – the exhibition

There is an unexplored world in Porto: the so-called secret gardens inside its blocks. Obscure mark of the city, such urban voids are even more surprising given the location of several of them in the central area, mainly in the neighborhoods of Santo Ildefonso and Cedofeita. In other words, Porto has hidden and ignored spaces right in the heart of the historic center and in blocks that have cultural and environmental values that are totally unknown to Porto residents. And such values must also be part of the artistic and immaterial memory of the city through an infiltrating pedestrian network.
It is necessary to register this known ephemeral condition: with the requalification of the Center taking place at a galloping pace in the last decade, sooner or later these voids will be the object of a utilitarian vision (possibly) that disrespects the memory of these block interiors. In partnership with <a href="http://www.anarchlab.pt/" target="_blank" rel="noopener noreferrer">Anarchlab</a> architects, Vazio S/A proposed two approaches to these gardens that reflect the firm&#8217;s previous work and research:
Abandonment Landscaping: an approach that explores the entropic condition of court interiors. Instead of trying to sew together the diverse interests of each of the owners of the properties in use, an inverse strategy: mapping the lots without any activity. As a way of recording this abandonment, the lots will have their plant species cataloged and organized. This approach is complemented by the realization of an ephemeral landscaping that uses not the ornamental species from the secret gardens, but the same weeds present in abandoned gardens, or a ruderal landscaping.
Unknown Occupations. These voids may actually be inhabited: by weeds, grasses, insects and mammals, and who knows by horticulturists, homeless people and other uncharted agents of the city. And in fact they are: we had the opportunity to meet a man who planted a kind of “informal network of vegetable gardens” in several lots within a block on Rua do Almada. António Silva (name changed, for protection) is the Pirata Rural (real nickname, for pride). For many years he has occupied parts of different empty lots inside the block of the Academic School, which is accessed by passing through the perimeter and then through open spaces between ruined walls, with agricultural activities that he irrigates with well water from one of the lots. António builds his network from batch to batch, as the city was built. The relevance of its secret gardens and vegetable gardens is such that, when one of these spaces was recently discovered on a plot undergoing rehabilitation by Anarchlab, the Pirata Rural was asked by the new owner, an Australian ex-hippie, to stay on as a landscape architect.
Secret gardens like this one are just one of the events likely to be discovered throughout the work and prove that there is certainly a real universe of stories and fascinating spaces in those places. The registration of uses and counter-uses, gardens and weeds, events and stories is the subject of this research.
Proposal presented by Vazio S/A and Anarchlab for the Criatório 2018 Arts Support Program, sponsored by Porto City Hall.
<img loading="lazy" class="alignleft size-full wp-image-19717" src="https://admin.vazio.com.br/wp-content/uploads/2021/11/VazioSA_Jardins-Secretos_Void-Possibilities_lowres.jpg" alt="" width="2086" height="1875" srcset="https://admin.vazio.com.br/wp-content/uploads/2021/11/VazioSA_Jardins-Secretos_Void-Possibilities_lowres.jpg 2086w, https://admin.vazio.com.br/wp-content/uploads/2021/11/VazioSA_Jardins-Secretos_Void-Possibilities_lowres-640x575.jpg 640w, https://admin.vazio.com.br/wp-content/uploads/2021/11/VazioSA_Jardins-Secretos_Void-Possibilities_lowres-768x690.jpg 768w, https://admin.vazio.com.br/wp-content/uploads/2021/11/VazioSA_Jardins-Secretos_Void-Possibilities_lowres-1536x1381.jpg 1536w, https://admin.vazio.com.br/wp-content/uploads/2021/11/VazioSA_Jardins-Secretos_Void-Possibilities_lowres-2048x1841.jpg 2048w, https://admin.vazio.com.br/wp-content/uploads/2021/11/VazioSA_Jardins-Secretos_Void-Possibilities_lowres-900x809.jpg 900w" sizes="(max-width: 2086px) 100vw, 2086px" />

Void possibilities: Porto’s secret gardens (II)

We&#8217;ve just got the planning permission of our Monte Alegre Bldg. at Porto, Portugal!
<img loading="lazy" class="alignleft size-full wp-image-19693" src="https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_2_lowres.jpg" alt="" width="1127" height="984" srcset="https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_2_lowres.jpg 1127w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_2_lowres-640x559.jpg 640w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_2_lowres-768x671.jpg 768w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_2_lowres-900x786.jpg 900w" sizes="(max-width: 1127px) 100vw, 1127px" /><img loading="lazy" class="alignleft size-full wp-image-19692" src="https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_3_lowres.jpg" alt="" width="984" height="984" srcset="https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_3_lowres.jpg 984w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_3_lowres-500x500.jpg 500w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_3_lowres-640x640.jpg 640w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_3_lowres-415x415.jpg 415w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_3_lowres-768x768.jpg 768w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_3_lowres-150x150.jpg 150w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_3_lowres-900x900.jpg 900w" sizes="(max-width: 984px) 100vw, 984px" /><img loading="lazy" class="alignleft size-full wp-image-19694" src="https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_1_lowres.jpg" alt="" width="1355" height="984" srcset="https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_1_lowres.jpg 1355w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_1_lowres-640x465.jpg 640w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_1_lowres-768x558.jpg 768w, https://admin.vazio.com.br/wp-content/uploads/2021/08/vazio_sa_monte_alegre_1_lowres-900x654.jpg 900w" sizes="(max-width: 1355px) 100vw, 1355px" />

Monte Alegre Bldg.

<img loading="lazy" class="alignleft size-full wp-image-19679" src="https://admin.vazio.com.br/wp-content/uploads/2021/07/Gisela-Erlacher_Concrete-Skies.jpg" alt="" width="1440" height="1440" srcset="https://admin.vazio.com.br/wp-content/uploads/2021/07/Gisela-Erlacher_Concrete-Skies.jpg 1440w, https://admin.vazio.com.br/wp-content/uploads/2021/07/Gisela-Erlacher_Concrete-Skies-500x500.jpg 500w, https://admin.vazio.com.br/wp-content/uploads/2021/07/Gisela-Erlacher_Concrete-Skies-640x640.jpg 640w, https://admin.vazio.com.br/wp-content/uploads/2021/07/Gisela-Erlacher_Concrete-Skies-415x415.jpg 415w, https://admin.vazio.com.br/wp-content/uploads/2021/07/Gisela-Erlacher_Concrete-Skies-768x768.jpg 768w, https://admin.vazio.com.br/wp-content/uploads/2021/07/Gisela-Erlacher_Concrete-Skies-150x150.jpg 150w, https://admin.vazio.com.br/wp-content/uploads/2021/07/Gisela-Erlacher_Concrete-Skies-900x900.jpg 900w" sizes="(max-width: 1440px) 100vw, 1440px" />
Bridges and viaducts are structures that connect. Their design must obey the flow and passage of vehicles, and that is why there are few reports like those of antihero Robert Maitland: the experience of these structures as something beyond a movement, as a place of permanence, as a cosy space, as a home.
But “viaducts as a living area” could be the subtitle of Skies of Concrete (2015), an essay by Austrian photographer Gisela Erlacher. Unlike the rugged urban jungle of The Concrete Island (JG Balard, 1971), Gisela&#8217;s concrete ceilings are surprisingly plastic overpass flats, upbeat and domestic. These are spaces that break usage conventions, often (but not always) appropriated by people who have nowhere to live in the city&#8217;s formal or informal settlements. At first they are non-places: apparently abandoned anonymous spots that offer little in terms of habitability, that convey insecurity precisely because they do not have a clearly designated function.
It would be what the French anthropologist Marc Augé calls non-lieux: transitory spaces that we experience when traveling and that we remember only in generic terms. But actually the ceilings in this essay are not non-lieux. The photos point to a very different phenomenon: that of the growing competition for an increasingly scarce and precious urban space, whether in China, Austria or the United Kingdom, contrasting this lack with an occupation that is often designed and admirably managed.
Some images are so incongruous that they look more like surreal collages or hyperreal digital visualizations. Ceramic-roofed houses are squeezed between colossal pillars with no relation to scale, typology or history while children play, indifferent to that obvious overlapping of incompatible activities. Beneath a complex of concrete boards that dance in a choreography of mismatched semicircles, we see a children&#8217;s pool with its happy pink toys. In the same photo, cars in a row circulate on a board at half height at high speed, their drivers absorbed and uninterested in what happens in the children&#8217;s playground and its green spaces. A hypostyle space, entirely made up of stems camouflaged by vines and topped by concrete capitals, covers a park lined with a landscaping of ages on a terrain of almost organic topography. We are probably on an expressway, but the photographer only shows us the slowed down and contemplative time under the viaducts. Under another complex of three interpolated viaducts, we see a makeshift stable and its many horses with their faces out the door, eager to get out of their cubicles and train on the sand track covered by concrete skies.
It is an urbanism of infrastructures in layers that could cause a short circuit between them, but whose energy does not harm users at various levels – unaware that they are in relation to the other functions of that complex.
This is not a vertical architecture where the floors are programmatically independent: it is a stacking of functions on an urban scale, the potential friction between the programs being mitigated by the colossal scale of the viaducts.

Void possibilities: Gisela Erlacher’s Skies of Concrete

Exhuming Vazio S/A&#8217;s archives!: an exhibition of our tables and benches at Pace Gallery, July 1998. 
+ info: <a href="https://www.vazio.com.br/projetos/exposicao-na-pace-galeria">Vazio at Pace Gallery</a>
<img loading="lazy" class="alignleft size-full wp-image-19671" src="https://admin.vazio.com.br/wp-content/uploads/2021/07/CT111.jpg" alt="" width="1575" height="2362" srcset="https://admin.vazio.com.br/wp-content/uploads/2021/07/CT111.jpg 1575w, https://admin.vazio.com.br/wp-content/uploads/2021/07/CT111-640x960.jpg 640w, https://admin.vazio.com.br/wp-content/uploads/2021/07/CT111-768x1152.jpg 768w, https://admin.vazio.com.br/wp-content/uploads/2021/07/CT111-1024x1536.jpg 1024w, https://admin.vazio.com.br/wp-content/uploads/2021/07/CT111-1366x2048.jpg 1366w, https://admin.vazio.com.br/wp-content/uploads/2021/07/CT111-900x1350.jpg 900w" sizes="(max-width: 1575px) 100vw, 1575px" />

Exhibition at Pace Gallery

With such a nice nickname, Dutão (big overpass) is possibly the most beloved viaduct in Rio do Janeiro. It is where the Baile Charme takes place in Madureira, a neighborhood in the north zone of Rio. The party has been going on for over 30 years and transformed the Viaduto Mayor Negrão de Lima into a dance floor that, every Saturday night, receives about two thousand people &#8211; proof of the affective relationship that can arise between a hostile road work and the local community.
Music: R&amp;B &#8212; more contemporary than traditional (and hip hop, too). You hardly hear sacred monsters from the 1970s like Temptations, Al Green, Isley Brothers, Funkadelic, Ohio Players or Frankie Beverly. On the other hand, a lot of Snoop Dogg, Rihanna, Beyoncé and Brian McKnight, as well as lesser known names like Ja Rule, Kelis, MC Lyte, Tiara Thomas, Wildchild and Bad Rabbits. There are also several DJs, either residents or guests: Guto DJ, DJ Flash, DJ Espada, DJ Loopy, DJ A, Fabio R&amp;B, in addition to resident DJ Corello, who balances “modern and classic R&amp;B” on his nights.
Prom price list: admission until midnight: free! Then: R$ 10. Beer: 2. Water: 1. Vodka: 1. Coca: 2. Energy drink: 1.
Knowing that Madureira is considered a stronghold of Rio samba, Dutão sometimes welcomes samba musicians, too. In the Google Street View photo, for example, you can see a poster announcing a concert by Diogo Nogueira, son of sambista João Nogueira (by the way, the first album that João released in the late 1960s, was a compact with the title Alô, Madureira).
The floor emerged at the initiative of the carnival block called Pagonete de Madureira, which still uses the space during Carnival. According to DJ Corello, the charm of Baile Charme is a different music if compared to R&amp;B and funk: “Funk songs have a strong beat, while Charme is slower and has a more refined melody. In dance, funk has a more sensual appeal. Charme has its roots in  hustle, the style danced by John Travolta in Saturday Night Fever, but it is more elaborate. ”
Charme comes from a tendency to slow the electrifying cadence of R&amp;B by adopting more elegant choreographic movements inspired by North American synchronized dances, such as the Electric Slide of the 1990s. According to journalist Catherine Osborn, Charme is a hybrid, Brazilian-American choreography which, although similar to Eletric Slide, incorporates the rhythm and inflection of samba and pagode into elaborate routines, then mixing them with steps that are common in the United States (these including a certain shuffle-hops, a knee-swiveling of the Brooklyn, and yet another, the Grapevine).
According to a 2011 post on the blog of architect Ana Luiza Nobre, “the space is basically formed by two contiguous enclosures defined by the structure of the viaduct and its access handles. A sheet metal enclosure surrounds the area. The ticket is paid and there are restrooms at the opposite end (no water, but toilet paper at will). There are also tables and chairs made of red plastic, where few people sit, and that&#8217;s it. The DJ stands before three colored pillars (one of them is pink). And the regulars are men and women &#8211; more men than women, and mostly blacks &#8211; who dress neatly to go dancing under the overpass, to the sound of an electronic version of black music from the 70s, in a collective choreography whose steps most know, intuit or at least follow (who? it&#8217;s difficult to know).”
Baile Charme has a very similar black music brother in Belo Horizonte, where MC Duels take place every month under another musical overpass, the Viaduto Santa Tereza, which has become a place of resistance and a meeting point of the city&#8217;s rapper culture. This improbable sponsorship of black music and dance by a violent road infrastructure is certainly a common denominator that brings these dances together. And perhaps it delineates a future network of cultural facilities under collateral spaces that were spontaneously appropriated. Who knows in Recife, a city of a thousand bridges and viaducts (of “rivers, bridges and overdrives, impressive mud sculptures”), there is a board that shelters the incredible duels amid the coco de embolada rappers?
See also the post on the exhibition Other Territories at Viaduto das Artes.
Written from the post Dutão, by Ana Luiza Nobre (blog Posto 12, posto12.blogspot.com), from O Charme de Madureira by João Carvalho (Piauí magazine no. 108), and from the report Hip-hop met Rio de Janeiro and never stepped back, by Catherine Osborn (The World, 11/20/2017). Photos: Catherine Osborn, newspaper O Dia.
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<img loading="lazy" class="size-full wp-image-19643" src="https://admin.vazio.com.br/wp-content/uploads/2021/04/Dutao_c-Catherine-Osborn.jpg" alt="" width="900" height="675" srcset="https://admin.vazio.com.br/wp-content/uploads/2021/04/Dutao_c-Catherine-Osborn.jpg 900w, https://admin.vazio.com.br/wp-content/uploads/2021/04/Dutao_c-Catherine-Osborn-640x480.jpg 640w, https://admin.vazio.com.br/wp-content/uploads/2021/04/Dutao_c-Catherine-Osborn-768x576.jpg 768w" sizes="(max-width: 900px) 100vw, 900px" />
<img loading="lazy" class="alignleft size-full wp-image-19644" src="https://admin.vazio.com.br/wp-content/uploads/2021/04/Dutao-2_O-Dia.jpg" alt="" width="960" height="720" srcset="https://admin.vazio.com.br/wp-content/uploads/2021/04/Dutao-2_O-Dia.jpg 960w, https://admin.vazio.com.br/wp-content/uploads/2021/04/Dutao-2_O-Dia-640x480.jpg 640w, https://admin.vazio.com.br/wp-content/uploads/2021/04/Dutao-2_O-Dia-768x576.jpg 768w, https://admin.vazio.com.br/wp-content/uploads/2021/04/Dutao-2_O-Dia-900x675.jpg 900w" sizes="(max-width: 960px) 100vw, 960px" />

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