The Brasil Arquitetura workplace, shaped in 1972, is an architect’s affiliation led through Francisco Fanucci and Marcelo Ferraz, having carried out emblematic tasks such because the Yellow Quarter in Berlin, Germany, the Rodin Museum in Salvador, Bahia and the Praça das Artes in São Paulo, amongst many others. Each have been very just about Lina Bo Bardi at essential moments in her skilled existence, together with the development of Sesc Pompéia. In different tasks, they confronted the problem of rehabilitating previous structures, such because the Museu do Pão, Praça das Artes, Rodin Museum and Sesc Pompéia itself. We spoke with the workplace to understand extra about this sort of intervention.
ArchDaily: A number of of your tasks are rehabilitation of previous, normally commercial, structures. What do you in finding attention-grabbing in this sort of problem?
Brasil Arquitetura: In operating with the rehabilitation of structures for different makes use of than originals, as when it comes to previous industries, we began a dialectical sport. We will have to take from the construction itself, or house, the answers to evolve to new makes use of. This is, we by no means get started from scratch. The difficulties and boundaries are what information us and point out the undertaking answers, as in a sport of chess by which, with each and every transfer, we alter the truth, having to redo the calculations and to search for the exits, or answers once more. When designing in present, previous structures or now not, we should search the “vocation” of each and every house at the program to be applied. And that is very pleasant.
ArchDaily: What reports with Lina Bo Bardi and Sesc Pompeia do you continue to use as reference lately?
Brasil Arquitetura: The 9 years throughout the Sesc development web page have been greater than a laboratory, a deep coaching in design apply. We designed a cafe, theater, swimming pool, courts, health club rooms, library, exhibition areas, administrative areas, technical and fortify spaces, and many others. Sesc Pompeia isn’t a unmarried undertaking. There are lots of inside a conceptual unit. Each and every one with its traits and specificities relative to makes use of and purposes. On this length, we additionally participated in more than a few exhibitions, collaborating in all levels, from curatorial definitions to handbook meeting paintings, via thematic analysis, expography, manufacturing, and many others. An actual college.
ArchDaily: Are you able to give an explanation for a little bit in regards to the technique when opting for what’s preserved or now not within the present construction?
Brasil Arquitetura: A deep research of the thing for use is prime – its historical past, its tectonics, details and myths. The whole thing issues and will lend a hand. However crucial factor is to do all this reputation studying with the projective eye, this is, from the point of view of what one desires to implant and set up on this construction or set of built areas; as the longer term existence there will have to be. A two-way, point of view and projective adventure on the identical time. This is, after we prospect or search, we’re already projecting as a result of we search with a objective – or dream, already outlined. And as used to be mentioned, the findings right through this seek additionally exchange the objective. That is the dialectical sport.
ArchDaily: What’s it like operating in Brazil with this sort of undertaking?
Brasil Arquitetura: Excellent and nonetheless peculiar, or reasonably little practiced or followed as a box of labor for this large mass of architects we now have, but additionally as a conceivable strategy to positive issues in our greater than 5 thousand towns. When structures turn into out of date for the needs for which they have been designed, we should adapt them to new purposes, attempt to incorporate them into fresh existence with new makes use of. It isn’t all the time conceivable and lots of disappear, because it occurs within the historical past of town, for a number of causes. However it’s price considering and looking for out if they’re carriers of a minimum of some power that may as soon as once more deliver them again into city existence. In the end, they’re end result of the wealth produced through human hard work. However we can’t maintain the whole lot, nor will have to we wish it. Towns live, mutant organisms.
ArchDaily: What sort of use do you would like paintings on rehabilitation tasks?
Brasil Arquitetura: Any use is legitimate if it is sensible. Making sense approach assembly the true calls for of society, or of communities, teams of other people, and now not growing drills, one thing quite common at the present time. Our towns are stuffed with it. I believe we’re nonetheless very considering designing within the rehabilitation facilities of tradition and equivalent. The perfect can be to make bigger this program, design housing, inns, hospitals, colleges, and many others. in those deserted or underutilized areas and structures. They’re commercial, railway, empty backyards within the central spaces of the city (The Praça das Artes is an instance), intriguing areas, superb to dream…