color by color a new concept on vila madalena
Maria Alice Lima To start with story, I need to stay in present a little and tell you how I end up as and architecture student. Well, this was not the profession I wanted, first of all, I have always been a girl that deal with problems and numbers. Well, guess what ? I wanted a totally different course for me, so whenever someone asks how old I was when I decided to study Architecture, I answer : “ I didn’t choose this profession, it chose me”. I was eleven years old and decided to be and engineer, and planned on how to get in a college for engineering ever since. When I turned 16 and finished school, I started trying scholarship applications, took me two hole years to get in, I applied for like twelve different college schools and didn’t get in.by pressure of my family I did try another coursehere at Belas Artes, and out of all those applications I only got into Belas Artes, an important detail : I tried to fail on purpose. This why this profession chose me, and now coming to my present again, it was the best thing it could ever happen to me, I’m happy with it even though sometimes I really want to cry, I think that’s a feeling every college student must feel though. I hope honestly take the best of this learning experience, with honesty and simplicity my parents have thought me.
“O tempo, entre o sopro e o apagar da vela.” - Paulo Leminski
Carina Chavasco Dequech
Only daughter of two administration graduates, who work as interior designers. My parents’ names are Anuar Dequech Jr. and Maria Elisa Chavasco. I studied in three private schools, that changed my life with teachings and friendships. I started studying at age 4, in São Paulo, where I stayed until third grade. In 2008, I joined Nossa Senhora do Rosário. It was in that school I started learning a bit more about drawing, and developed feelings for interior design and architecture. I started an Interior design course, in the Panamericana institution of arts and design, a course that would last only three years. However, I had to leave the course, though, I didn’t give up on following this career. With the arrival of Senior Year, I started feeling the pressure about joining university. I started to do some research on that matter, when I was finally sure I wanted to study in Centro Universitário Belas Artes. As time went on, this dream became more and more real, until the time came. The course is amazing, and I honestly don’t see myself doing anything else, but I must admit it, it’s very time consuming.
“The emotion of the Science translated in technique by men is the same used by art. Balance, structure, strength, a world mankind does not know, that art suggest, and which man is nostalgic about.” Lina Bo Bardi
Nathalia Lima de Araújo Graduted in Interior Design by ETEC Carlos de Campos in 2015, and currently studying Architecture in Centro Univesitário Belas Artes. In love with design, I chose architecture because of the vast opportunities that it can give me, and also because of family influences. Beides from that, I also love animals, photography and arts in general, like dancing and music. I’m on my way for graduating Classical Ballet, being my childhood dream. I’m Inspired by many architects, like Marcio Kogan, Renzo Piano, Paulo Mendes da Rocha and Santiago Calatrava. I hope, just like them, I can honor architecture and show what it can offer to society. São Paulo-SP-Brazil 29.03.1998
“Architecture is the art that defines the identity of our time, and improves people´s lives.” - Santiago Calatrava
Rafaela Maria Rodrigues de Sousa
Daughter of Maria Geralda and José Antônio de Sousa, I was born in Turmalina, Minas Gerais on the 9th of September, 1997. I lived in a small town up north, until I was 8 years old. The city where I was born lacked job opportunities, therefore my family and I always had to move. For this reason, I met multiple historical cities in Minas Gerais, like Conceição do Mato Dentro, Diamantina, and many other cities that were part of Circuito Real, making me love history since I was kid. When I turned 8 years old, we left Minas Gerais and came to live in São Paulo. When I arrived and saw all the gigantic buildings through the bus window, I fell in love. That’s when my love for architecture begun. I’ve always loved arts in general, like music and cinema, and I also love to travel. “There’s a taste of victory and enchantment in the condition of simplicity. It doesn’t take much to be much” Lina Bo Bardi Turmalina-MG, Brazil 09.09.1997
There’s a taste of victory and enchantment in the condition of simplicity. It doesn’t take much to be much” -Lina Bo Bardi
Vitória Calloni Dauar
I was born in 1998, in São Paulo, Brazil. I was a very active child, having swimming and dancing lesson and I’ve always loved to draw, taking drawing lessons twice a week. That, and having an engineer mother, drew me into Architecture. I’ve always had very supportive parents, helping me along the way to decide what my future would look like, and always open to opportunities ahead of me. My favorite hobbies are travelling, reading and drawing, and my favorite subject to study has always been Art History, making me want to study it as my Major. Interior design also attracts my attention, and studying this subjects abroad is a dream of mine. Travelling has improved my knowledge in many ways, having experienced firsthand, especially helpful for my university studies. Even though architecture may not the path I want to take in the future, it will help in my formation as a person, and guide my way to other similar subjects. São Paulo – SP, Brazil 21.10.1998
“Life
could be wonderful if people would leave you alone” – Charlie Chaplin
“Architecture is the willing of an age translated in space� Mies Van Der Rohe
Summary - PROTOTYPE TO PROTOTYPAGE CUSTOMIZATION IN MASS VS. LIKE UTOPIAS OF THE TWENTIETH CENTURY IN ARCHITECTURE AND URBANISM
- Bauhaus Products - 5 Points of Modern Architecture -the Project Offer - History of Vila Madalena -Study of the area and existing structure - Parametric Design - How to reduce the incidence of solar radiation inside the building? -Development of the new Law Office -Contemporary Furniture for the Law Office
PROTOTYPE TO PROTOTYPAGE CUSTOMIZATION IN MASS VS. LIKE UTOPIAS OF THE TWENTIETH CENTURY IN ARCHITECTURE AND URBANISM There were four stages of the Industrial Revolution that influenced the way technology is used to produce: • 1st stage: The First Industrial Revolution of the nineteenth century is characterized, mainly due to the use of water and steam used by the railway.
The twentieth and twenty first century utopias relied on the same point, believing that technological trends influence an aesthetic challenge to reshape production and cities. In the course of the trends the answers are according to the evolution of technology. Before WWII, the entire architectural production and design needed to be reconciled with the art and the industry, creating the compatibility between industry and the product. In this phase, the plans of Haussmann and Cerda are examples of applications of urban utopias.
Bauhaus Products
• 2nd stage:
It occurred at the turn of the 19th century and at the beginning of the 20th century. The use of electricity and division of labor have gained momentum for mass production and larger scale. The architecture responded to this new movement using the industry with the production in mass of houses in modules, giving attention to industrial aesthetics. Such a house was conceived as a utopia, and became increasingly present after the Second World War, assisting in the Europe reconstruction, with the help of precast concrete. In the early decades of the twentieth century cities were planned for new cars mass production.
Ville Radieuse (Radiant City) was a non-built urban plan of Le Corbusier, first presented in 1924 and published in the eponymous book in 1933. Designed to contain efficient means of transport as well as an abundance of green spaces and sunlight.
• 3rd stage: In 1970 the machines began to be programmed with computers and thus change the logic of industries. These machines have thus gained flexibility and ability to create different types of products.
4th stage:
The mark of this stage is the interaction of the Internet with industry and computers,which depends on the storage capacity of data and information transmitted, on both machines between itself as of the operants.Smart City (smart cities), places where technology combines with infrastructure. Example: garbage collection, air pollution levels,ultraviolet radiation. A utopian variant that could be included on the concept of intelligent cities is the FabCity initiative, which is summed up in the creation of spaces for manufacturers,recycling stations and self-sustaining homes. And a space,determined as FabLabs, where citizens can produce their own goods andnew technologies.Unlike Smart City, which depends on high investments to operate, theFabCity needs more of the technology and initiative of the residents. Prototypes of new products became a reality thanks to new technologies that have emerged. As technology evolves, the architecture follows it, changing its way of being planned, designed and constructed. All the advances were, somehow, aimed at new industrial processes.
5 Points of Modern Architecture Le Corbusier created 5 points of a new modern architecture, being used until today in the contemporary architecture. One project that put them all into practice was Villa Savoye in 1928.
1- The Free Plan: It means the total separation of the structure and the internal dividing walls, making the environments large and flexible, which now allows us to arrange these partitions freely. Previously, with the walls depending on and determining the internal environments, the possibilities of arrangement were smaller. The free plant allowed to make small environments, giving a sense of amplitude and better lighting. There is also a possibility of changing the function and size of the surroundings, without damaging the building’s structure.
Contemporary application: It continues to be a crucial aspect in the construction of contemporary buildings, due to the flexibility and increase possibilities of space change. If, by chance, a building changes its function, the free plan and gives the possibility of change, reusing the structure.
2 - Free Facade:Unlinking the walls of the structure, the architect consequently has more freedom in working the facade in the way he or she understands, without damaging the structure. For example, in Villa Savoye, we have another essential point in this architecture, which are the windows in ribbon, that would not have the same effect having the structure connected to the facade. Contemporary application:Like the free plan, there is no longer a restriction on the structure and use of the building. The free facade allows an increase in the aesthetic and functional possibilities of the facades, giving greater plastic possibilities to the architect.
3 - Ribbon window: As previously mentioned, with the facades completely independent of the structure in the building, there are the appearance of windows in ribbon, or "in band", being unusual shapes back at the time. In Villa Savoye's project, the architect's justification was to frame the view of the surroundings, "framing" the local landscape. It also aimed for greater natural light input, allowing better linghting than conventional windows.The architect also defended that the windows in ribbon spared an decoration in the facade, characteristic of the modernism.
Contemporary application:In contemporary architecture, they began to be used, not only to frame the view, but also to improve factors such as sunlight, visuals, and so on.
4 - Rooftop Garden:The architect's justification regarding this space is that there is a waste in the lack of use of the roof. He wanted to turn this space into a useful and lounge area, creating rooftop gardens. As the Villa Savoye's house is in Paris, Le Corbusier has implemented walls in parts of this environment to protect the residents from the cold and the wind, common in the region. Contemporary application:In this new architecture, there was the evolution and improvement of the garden terrace of Le Corbusier. The construction techniques allowed a better functioning of the building, emphasizing both aesthetics, functionality and safety.It is ideal to be used in urban centers, generally with little afforestation, creating a pleasant atmosphere of decompression to the users.Also implanted in public equipment that have been abandoned or are being misused, such as the High Line Park in New York.
5 - Pilotis: For Le Corbusier, the construction of a static building, the walls implemented in the ground blocked both the view and the passage of pedestrians.
The use of Pilotis - columns that replace structural walls made it possible for people to walk freely, taking a broader view of the space they are in, giving the feeling of permeability. Although the space in which the famous Le Corbusier building is located has a reduced pedestrian flow, the pilotis allow a wide visual penetration of the surroundings. Contemporary application: created to "give back" the use of the ground floor to pedestrians, pilotis, even more than ever are being used in the making of contemporary architecture. The free ground floor, the wide view of the pedestrian and the possibility of free movement on the part of the people, attract the public to these places, giving a feeling of comfort, increasing the size of the sidewalks, creating seating and welcoming areas for pedestrians.
Contemporary Architectural Reference: Free Facade Name of the project: Loft Bauhaus - Ana Paula Barros Author: Ana Barros Year: 2011
Contemporary
Reference: Garden
Rooftop
Burle Marx Educational Center Architects: Associated Architects Location: New York, United States Authors: Alexandre Brasil, Paula Zasnicoff Area: 1705.0 m2 Project Year: 2009 Construction: Felipe Salim, Frederico Grimaldi
Contemporary Reference: Ribbon Window Secret Garden House • Architects: Wallflower Architecture + Design (Robin Tan, Cecil Chee, Sean Zheng, Shirley Tan & Eileen Kok)• Location: Singapore• Project year: 2015
Contemporary Reference: Free Plan Rebouรงas Module Architects: Dal Pian Architects
Contemporary Reference: Pilotis BotĂn Center Architects: Renzo Piano Building Workshop Location: Santander, Cantabria, Spain Contributors: Luis Vidal + Architects Area: 6823.0 m2 Project year 2017 Photos: Enrico Cano, StĂŠphane Aboudaram
the Project Offer To begin, the proposal this semester for students in architecture of the Belas Arts Universtiry, will be a building focused on Advocacy. After a needs program study was done on employee areas, equipment and workstations, we took into consideration that, a mass study needed to be applied within the framework of the existing structure. The metal structure is arranged in the ground, it can not be removed, but the development, or “design� of the project, can overcome the retreat of the street Purpurina as best for the student and, if there is preference, to take advantage or not, of the mass of trees that is located at the end of the boundary of the Area. Another point taken I nto consideration by some of the projects is the gable of the residential building next to the terrain, which in addition to impairing the view could be a problem in ventilation. With this, some of the projects were developed in the mass plan, open spaces merged, for better lighting and natural ventilation.
Boundaries of The Area Where the new proct will be applied
Research To initiate the project, we developed a thorough field research on the history of the Neighbouhood,local customs, environment, population, existing public equipment and means of transportation in the area, among other research. The objective is to know the best possible about the surroundings of the area so that the developed a project that integrates with the surroundings in every possible way.
History of Vila Madalena The neighbourhood Vila Madalena, in the sixteenth century, was inhabited by native americans who had left the central region of São Paulo - a historical triangle - due to the Jesuits’ arrival, and their installation in the schoolyard in 1554. Then, the region that was known as Sítio do Rio Verde, due to the fact that it was located on the west side of the Rio Verde river, which ended in the Pinheiros River, had as its first owners of the area Portuguese immigrants, giving a start to the history of the neighborhood, starting with Sítio do Buraco, owned by a farmer with his three daughters. Each girl received a region of this site, in the future turning villages of the city of São Paulo, which were baptized with their respective names: Breatriz, Ida and Magdalena. The settlement of the neighborhood only occurred in 1910, by farmers. It was initially known as Vila de Farrapos, inhabited by low-income families, mainly because of the low value of real estate. Being a place still not urbanized in relation to the accesses and transportation, it was only possible to access the neighborhood on foot or on horseback. Even so, these factors would not prevent the emergence of pubs and butecos, gathering a greater amount of people in the area. It was only from the 1920s and 1930s, with the expansion of the historical triangle, and the dispersion of the population outside the city center, that there was a need to improve public transportation and construction of new lines and tramway stations. The electric power arrived in 1928, with the installation of a large number of Portuguese immigrants in the neighborhood. Most of these families worked in the Light company, which was responsible for the city’s trains. With that, there was the subdivision of Vila Madalena, opening space for different types of people to live in the region
Its true development only occurred in 1940, with the arrival of the train line in the area. The neighborhood has changed to meet the needs of the students who lived there, such as the emergence of bars and shops.
n the 70’s, after the closing of the Crusp, due to the Military Dictatorship, students and professors of the University of São Paulo moved to the region, because of the cheap rents and the proximity to the university.
It was these factors that shaped the neighborhood as it is today.
Study of the area and existing structure
Calculation of the using areas
Map of the area where the building will be developed
project reference for the law building
João Moura Building Architecture: Nitsche Architects Location: São Paulo, Brazil Architects: Pedro Nitsche and Lua Nitsche Project Team: João Nitsche; Rafael Baravelli; Suzana Barboza Area: 2539.0 m2
Parametric Design
The recent availability of automated design and production techniques is changing the development of building details. With parametric and algorithmic design methods and the use of digital fabrication, new abilities are required from architects for the design of details, at the same time as new players are beginning to take part in their development.
Although not always given the necessary attention, architectural details are of extreme importance for many aspects of a building. They can define its theoretical expression and technical character, and impact its production process, its assembly method and even its ecological footprint. Contemporary architecture shows a new interest in detailing, which should not be confused with a return to the appreciation of artisanal work.
Parametic References The Parametic study will be used as a reference for the facades and roof in this project. It will allow all the students to explore the use of new types of material and forms on the building, also take advantage on ventilation and sunlight.
How to reduce the incidence build
of solar radiation inside the ding?
Solar radiation is one of the main contributors to building buildings. Solar radiation can be divided into 5 major parts: direct solar radiation, diffuse solar radiation, solar radiation reflected by the soil and the surrounding area, thermal radiation from the heated ground and sky, and the central source of radiation from the building. The shortwave solar radiation that enters through an opening in the building is incident on the bodies, which form and emit the radiation of a long wave. The glass, being practically opaque to the long wave radiation, does not allow the heat to remain by hand to the outside, overheating the internal environment. This is the largest greenhouse effect and the largest transformer of solar radiation into non-interior heat of a building.
In order to obtain the degree of solar radiation it is necessary to leave the examples like those that occur in the vernacular architecture. Relative figure.
Solar protection Mask tracing tool used in the project of solar protections. Brise soleil Adaptation to the hot climate of Le Corbusier’s ideas, which exalted the opening of the buildings to the outside, giving them the penetration of air, light and nature. • They are useful mainly in winter, when the sun is low in the horizon, penetrating deep in the dependencies. In summer the sun passes in the zenith, becoming uncomfortable only in the late afternoon. • The fixed brise-soleil does not require special care, it can be an integral part of the structure and therefore is more economical. • It is totally expendable on the SUL side, partially dispensable on the EAST side and indispensable on the NORTH during the winter and in the WEST in any season.
Brise horizontal
It prevents the entrance of solar rays through the opening from the angle of solar altitude. Indicated for north face, with the sun close to vertical (high sun).
Vertical Brise Prevents the entrance of solar rays through the aperture from the angle of solar azimuth. Indicated for west facades.
Cobogรณ Cobogรณ
is a hollow element created in Brazil in the 1920s and widely explored in the Brazilian modernist movement in architecture. Indicated for North facade. Light shelves: It is advisable mainly for the north orientation as it allows to completely shade the opening while favoring the entrance of light into the interior.
Development of the new Law Office
The group began a project each with a unique purpose. One of them, chosen by group had a purpose of connecting the building with the surrounding and bring a green space open to the public.
Cooling research During this semester, our class studied ways to cool down the building through the facade, without losing natural light. The objective was to build a 3D model of every facade design and calculate with a program called Rhino how much sunlight could enter in the building and keep it cool and comfortable for the users.
This image shows how this facade works, where the blue marks is where the facade is protecting the building.
A
785
2. Ar Condicionado: 6m²
1. Vestiários: 7.85m²
Áreas: Subsolo
Subsolo Esc 1:100
+786.0
+785.0 +787
788 2.
+787.5
B B
1.
791
A
N
Vitória Calloni Dauar - BM5AU
Planta Subsolo Layout E - 1:100
Rua Purpurina 792
787
786
Edifício Comercial de Advocacia
793
790
789
Vila Madalena:
794
1/11
The Project step by step Rua Jericó
Vila Madalena:
Edifício C
+786.0
B
788
787
786
785
+785.0
8.
6.
9.
Planta Layout - Térreo Esc 1:100
ÁREA DO PAVIMENTO: 460M²
Áreas: Térreo 3. 4. 5. 6. 7.
ÁREA TOTAL: 820M²
Área de Serviço: 5,5m² Copa: 5,5m² Banheiros: 6m² x 2 = 12m² Sala de Reunião 10 pessoas: 28m² Sala de Reunião 6 pessoas: 13,5m² 8. Sala de Reunião 4 pessoas: 13,5m² 9. Biblioteca: 65m² 10. Recepção: 45m² 11. Lounge: 105m²
3.
B
A
Comercial de Advocacia N
793
792
791
790
789
Rua Purpurina
+790.65
7. 10.
11.
Rua Jericó
794
+790.65
A
4. 5.
Atendimento Apoio do Atendimento
Planta Térreo Layout E - 1:100 Vitória Calloni Dauar - BM5AU
2/11
+786.0
B
Edifício
788
787
786
785
Vila Madalena:
15.
14.
13.
12.
B
A
Planta Layout - Primeiro Pavimento Esc 1:100 ÁREA DO PAVIMENTO: 460M² ÁREA TOTAL: 820M²
Áreas: Primeiro Pavimento 12. 13. 14. 15.
Almoxarifado: 7,5m² Arquivo: 50m² Área de Descompressão: 50m² Área Principal: 134m²
Comercial de Advocacia
793
792
791
790
N
789
Rua Purpurina
Rua Jericó
794
+794,54
.
A
Produção Apoio da Produção
Planta Primeiro Pavimento Layout E - 1:100 Vitória Calloni Dauar - BM5AU
3/11
Vila Madalena:
EdifĂcio Co
Rua Purpurina Fachada Sudoeste
+793,0
Rua JericĂł
+790,5
Vista pela Purpurina: Fachada Noro Entrada cota 790.5
omercial de Advocacia
Rua Purpurina Vista pela Jericó: Fachada Nordeste
oeste:
Elevações: Esc 1:200 Vitória Calloni Dauar - BM5AU
4/11
Vila Madalena:
EdifĂcio Co
+794,54
+790.65
+787.5
Corte A-A
+794,54
+790.65
+787.5
Corte B-B
omercial de Advocacia
Rua Jericรณ
Cortes: Esc 1:100 5/11
Vitรณria Calloni Dauar - BM5AU
Vila Madalena:
EdifĂcio C
Primeiro Pavimento Piso Elevado
TĂŠrreo
Subsolo
Pers Fach
detalhamento Escada
Comercial de Advocacia
spectiva hadas Principais
Entrada Principal Recepção
Chapa Metálica Perfurada
Detalhamento Esacada E - 1:50 e Perspectiva Vitória Calloni Dauar - BM5AU
6/11
Images of some of group’s work and projects, showing the lounge area of the bulding.
Contemporary Furniture for the Law Office
L Í N E A
PALHA MADEIRA IMBUIA
ALMOFADA EM COURO NATURAL - CARAMELO
PARAFUSO METÁLICO
A inspiração para o design da cadeira surge com a linearidade. O uso dos elementos naturais, como a madeira, o couro, e a palha no encosto dão uma sensação de conforto, com suas cores quentes, tornando o ambiente mais convidativo. O intuito do grupo, é passar essa sensação de “estar em casa”, não importando o ambiente em que é inserida. Sua estrutura em madeira, e sua forma linear dão uma sensação de leveza ao ambiente. A palha usada no encosto e o couro natural no assento moldam-se ao corpo do usuário, priorizando sempre o conforto.
Cadeira Flex
Polipropileno ( Disponível em 6 cores)
A armação estrutural de aço tubular 5/8” foi escolhida por ser uma linha continua e agregar sensação de leveza a cadeira. O partido do encosto e assento, surgiu através do pensamento que o conforto deveria estar em primeiro lugar. A ideia é que o assento se molde de acordo com as curvaturas do usuário. Portanto, a partir desta problemática, diversos desenhos foram estudados para que pudessem compor a estética e a função para este desafio, de maneira que fosse leve e divertida.
Aço bitola 5/8”
Suporte de borracha
A cadeira é ideal para ambientes de escritório, como salas de reunião, e também para lounges de espera e recepções.
Os materiais para a confecção da cadeira foram selecionados baseados na disponibilidade da FlexForm.
A vasta opção de cores permite ao cliente a escolha daquela que melhor se adapta ao ambiente escolhido por ele.
PANTONE 18-1658 Pompeian Red PANTONE 159-1-7 CP PANTONE 19-4-49 Snorkel Blue PANTONE 18-0107 Kale PANTONE 14-0952 TCX Spicy Mustard
VISTA LATERAL
PANTONE 11-4800 TPX Blanc de Blanc
As cores foram selecionadas de acordo com o padrão FlexForm Empilhamento da cadeira Flex
ESC - 1:10
VISTA FRONTAL
VISTA POSTERIOR