The Jayme Augusto Lopes Crematorium, popularly known as Crematorium of Vila Alpina, is located in Jardim Avelino, on the east side of the city of São Paulo. It was designed by architect Ivone Macedo Arantes - at the time an employee of the Cemetery Department of the City of São Paulo - and was inaugurated in 1974. It is considered to be the first crematorium in Brazil and Latin America and one of the largest in the world.
Have you ever been stuck for hours obsessing over a font that matched your work? Before starting a project, do you already think about which font you will use? Do you get annoyed when you read an important message written in Comic Sans? Or do you feel offended when a mundane sentence is written in all caps? Rest assured, you are not alone.
Architects and designers constantly use graphic elements as expressive means in the schematization of their works. Among them, the most common are the drawings, in a constant variety of techniques, styles, and patterns. But among the elements that make up the boards, panels and drawings, techniques and models, there is a particular fragment that helps them in composition and identity: the font.
Today we celebrate the 90th anniversary of Paulo Mendes da Rocha. With a unique integrity in his thinking and design, his career has already been celebrated with the highest awards an architect can receive, from the Pritzker Prize in 2006 to the 2018 Golden Lion from the Venice Biennale and the Praemium Imperiale in 2016. Here, instead of presenting his impressive projects, we have asked architects to share some of their stories, talk about his practice and how his thinking has influenced them.
There's an old, weary tune that people sing to caution against being an architect: the long years of academic training, the studio work that takes away from sleep, and the small job market in which too many people are vying for the same positions. When you finally get going, the work is trying as well. Many spend months or even years working on the computer and doing models before seeing any of the designs become concrete. If you're talking about the grind, architects know this well enough from their training, and this time of ceaseless endeavor in the workplace only adds to that despair.
Which is why more and more architects are branching out. Better hours, more interesting opportunities, and a chance to do more than just build models. Furthermore, the skills you learn as an architect, such as being sensitive to space, and being able to grasp the cultural and societal demands of a place, can be put to use in rather interesting ways. Here, 3 editors at ArchDaily talk about being an architect, why they stopped designing buildings, and what they do in their work now.
Thinking broadly of architecture, the masterpieces of the past inevitably come to mind; buildings constructed to withstand the passage of time, that have found an ally in age, cementing themselves in the history of humanity. Permanence, however, is a hefty weight to bear and architecture that is, due to its program, ephemeral should not be cast aside as "lesser-than."
A mere six months after the torch was snuffed, the Brazilian Olympic sites that once hosted scores of locals, tourists, and athletes in a global celebration of athleticism and camaraderie now lie in ruin. This "ghost town" cost Brazil around $4.6 billion plus an estimated $1.6 billion in budget overages, according to reports by the Financial Times and Quartz.
In stories recently published by The Guardian, Business Insider, Mashable and Bored Panda we can see the heartbreaking reality and aftermath in the disused venues.
- Do you know who I'm presenting the conference with this afternoon?
- Of course I do. Paulo, one of the best architects in Brazil.
- For me, the best worldwide.
I heard by chance this conversation between Eduardo Souto de Moura, 2011 Pritzker Prize, and Joanna Helm, our Content Director from ArchDaily Brazil, in the gardens of Ibirapuera Park, as I waited to enter the auditorium for the activities of X Ibero-American Architecture and Urbanism Biennial (X BIAU). In that same afternoon, a small crowd occupied all the seats to watch and hear Souto de Moura and Paulo Mendes da Rocha sharing the stage.
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Forty-seven years after their first appearance, Lina Bo Bardi's iconic glass easels have returned to the gallery at São Paulo's Museum of Art (MASP), displaying some of the museum's most valuable paintings, spanning from the medieval to the modern, in an exhibition on the second floor of the museum.
Removed from display in 1996, the concrete pillars, wood and glass easels were reviewed by METRO Arquitetos, who became part of MASP's curatorial team -- in charge of exhibition design -- last December. Having carried out various exhibitions this year at the museum - such as Brazilian Art Through the 1900s - METRO Arquitetos decided to end the year by bringing back the easels, in an exhibition similar to the original one conceived by Lina, which almost five decades later, continues to impress with its innovative way of exhibiting art in museums.
We had the opportunity to visit the exhibition montage and speak with architect Martin Corullon about the return of the easels and the process of recovering the space as conceived by Lina for the museum. Read the complete interview below.
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