top of page



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 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 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 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.


strategies and functioning

In terms of flows, the columns (or "paws") that support the "box" also house vertical circulations, creating independent accesses to the various sectors of the program. The circulation between the sectors is solved through a peripheral ring, which is repeated on all floors. The second floor contains the permanent exhibition while the last one contains the administration and the restaurant.


“Architecture must question the events that occur in the spaces as the spaces themselves ... The notion of form and function established by architectural discourse should be replaced by the appreciation of the actions and events that take place within spaces - such as the movement of bodies, activities, aspirations and, finally, by the proper political and social dimension of architecture...”

Bernard Tshcumi | Event-Cities

Ouctober | 2018

Dubai - EAU

BARRA Arquitetos + Carol Vasques + Cecília Leonardelli + Jefferson Scapineli + MAPA Arquitetos + Pedro Dal Molin

Carol Vasques

bottom of page