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EN | PT
BRAZIL EXPO 2020 PAVILLION
A Landscape of Infinite Possibilities
We see the contemporary pavilion as a place of places. It is a non-object, an infrastructure responsible for enabling multiple, simultaneous types of use of interior-exterior character. It assumes the requirement of being an exhibition “black-box” and a public space, understanding both as counterproposals and allies at the same time. There resides the potential of possibility. We must set aside the conception of a pavilion as mere scenography to allow it to be understood as a space of production and exchange.
At the same time, we understand Brazil as vibrant energy, as its people, as an event. Its future and all its potential as a landscape to be exhibited.
Below, a fair, a square, the people, the buzz, the indeterminate, the movable. Above, separated from this world, the exhibition speaks to the country’s complexity, its people, its nature and its future.
Brazil is the product of complex fusions, blends, meetings, and mismatches among the cultural groups by whom it was inhabited. Europeans, Indians, Asians, and Africans shaped and nourished the veins of this living body. The exhibition proposal acknowledges this vision and translates it into space. Soft walls, lighting, and projections mark the visitor’s route in a continuous experience where the thresholds are spaces of reflection and change between one thematic and the other.
4 project strategies
THE OPEN SPAN
the possibilities space
The free span, as an architectural operation, frees the building incorporating other logics than those established by its own design. It democratizes space in its entirety and embodies the unpredictability of diversity.
Space is ruled only by fundamental presences, its essence is not defined, not explicit, not structured. When not defined, it is not determined how to use it. It is the freedom of public space that translates into the pavilion. City and citizens.
THE SUBLIME SCALE
the space of implications
The sublime arises from the urge to express the inexpressible. To translate what transcends the beautiful. It is the aesthetic quality of the extreme. It is the inaccessibility in the face of the immeasurable.
The sublime exists by definition above any capacity for calculation, measurement or imitation. The human feeling towards what surpasses the beautiful, which cannot be described only by its aesthetic implications. The feeling of witnessing a storm, of witnessing what exceeds expectations and becomes extraordinary.
the space of time
The notion of tectonics is a central element of architecture as a phenomenon, it is the autonomous basis of the discipline itself. The tectonics of the object is the ascendant of its ontological qualities, transforming the building into a "being" and not just a "symbol".
It is what allows the existence of something underlying the constructive aspect, a symbolic expressiveness without a representational intention. Structural unity as an irreducible essence. "The form constructed as a presence and not just the representation of an absence." (Frampton, Kenneth. Rappel to L'ordre: The Case for the Tectonic.)
THE EVENT AND THE COLLECTION
the space of concept
One complements the other.
We understand Brazil as vibrant energy, as its people, as an event. Its future and all its landscape power as nature, as a collection. Two complementary hemispheres of the same world. Below, the fair, the square, the people, the buzz, the indeterminate, the furniture. Even the landscape is changeable, as is its humidity, shade, and light. It is playful. Above, separated from this world, the exhibition tells us about the complexity of Brazil, its people, its nature and its future.