Portfolio fernanda carlovich

fernanda carlovich 5 PROJECTS AND 5 THOUGHTS

THOUGHT Nº 1 - ENDLESS CITY

I was born in a city with no borders, no geographical limits nor visual barriers. Sao Paulo is an endless entanglement of avenues and viaducts with disordered constructions claiming for individual attention.

I was born in a city with no borders, no geographical limits nor visual barriers. Sao Paulo is an endless entanglement of avenues and viaducts with disordered constructions claiming for individual attention. Since I was little, not to understand the totality of the space where I lived in was a precept. With time, I began to gain awareness of my own map that is as imprecise and unique as the city it tries to comprehend. This map with dissolved borders and cloudy areas develops itself daily like a great puzzle without a final goal. It is a mental reaction to the contact between my body and my city.

This day-to-day contact took on new density when this city became not only home but also an object of research.

Studying architecture in a complex and unequal city leads us to understand the subject as a politically active response to both the problems and virtues of reality. Our biggest challenge is to discover a way in which it is possible to design for such an exhausted environment and make it absorb an effective change.

In his essay on the exhausted, Deleuze affirms that: “Of an event, in general terms, it’s enough to say that it is possible, since it does not happen without intermingling with nothing

and abolishing the real to which it lays claim. There is only possible existence. It is night, it is not night, it is raining, it is not raining.” (4) With that in mind, if one looks back to Sao Paulo with the same aspect, this chaotic immensity could only be propagated. Whereas, if one looks at the city without being tied in the limitations of reality, it is possible to find a way.

In my first year in architecture school, uneasy with this idea of utopia to solve real-world problems, I researched and wrote an essay about utopia in nineteenth and twentieth century urbanism, to which there was a common prerequisite: the need for a neutral context. For example, our capital Brasília, which was set in a vast, plain, easy environment became one of the great utopian projects actually carried out in the world.

I realized that my discomfort would not be solved by the modern theories of urbanism. São Paulo is here. The city is the background to any propositional thinking. Despite that, I believe that breaking away from the limitations of reality and designing for a possible future is a healthy and lucid way of rethinking the existent and its possibilities. For instance, the FAUUSP building by Vilanova Artigas is a utopian doorless

milieu that lays as a temple in our city context. This project was only possible by daring to challenge the real.

I have learned to admire the imprecisions of my city and to interpret them in a poetic approach. I see the movement of the big avenues as rivers that flow with different densities throughout the day. I imagine the abandoned building in the city center as a plain terrain for new architecture and I face the self-constructed neighborhoods as a lesson of wisdom and simplicity. I decided to love Sao Paulo and imagine it as a fertile environment for concretizing new images. And by the possibility to see this different image, the city is no longer exhausted.

DELEUZE, Gilles; UHLMANN, Anthony.

“The Exhausted” SubStance, Vol. 24, No. 3, Issue 78 (1995), pp. 3-28, http://ghostprof. org/wp-content/uploads/2015/09/GillesDeleuze-The-Exhausted.pdf Accessed 29 Dec. 2017.

PROJECT Nº 1 - CINE CORAL

Cine coral is a social housing project with a street cinema on the ground floor.

The project consists on the selection of an empty site in downtown Sao Paulo and its reintegration into the daily life of the city. The chosen location has a certain magic to it, having been home to a prominent movie theatre in Sao Paulo’s golden times of street cinema. The possibility of crossing the block through a permeable building is also a potentiality of the space (1). The site’s history, combined with current debates about the territory of the city center, resulted in a program that consists of two low-cost dwelling towers (2) and a ground floor gallery that provides access to the underground theatre (3). The project aims to bring both an increase in dwelling density and a requalification of the city’s center cultural life (4).

Sao Paulo, 2013. cine coral was developed in collaboration with Tina Niessner and oriented by Angelo Bucci.

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The large uncovered terrain housed a famous street cinema. The so-called Cine Coral has declined over the years culminating in a fire that destroyed it in the 1990s. The proposal seeks to bring it back in a building of mixed use that promotes downtown affordable housing and culture. cross section

cinema

access plan

apartments

an utopian unfolding

The project’s green roof has the potential to unfold and grow into the neighboring buildings, which are all level, creating a network of greenery or park that floats on top of the cityscape.

THOUGHT Nº 2 - HOUSE - UNIVERSE

I have had the privilege of learning architecture while inhabiting a building that is itself a teacher. Its designer, Vilanova Artigas, who was also one of the founders of our school, eternalized his principles of architecture in its walls.

“In this dynamic rivalry between house and universe, we are far removed from any reference to simple geometrical forms. A house that has been experienced is not an inert box. Inhabited space transcends geometrical space.” (Bachelard, 67) I had the good fortune of learning architecture while inhabiting a building that is itself a teacher. Its designer, Vilanova Artigas, who was also one of the founders of our school, eternalized his principles of architecture in its walls: the school is open to the city by the neutrality of the external volume that invites the passer-by to enter it in order to understand its monumentality and allows the visitor to understand the building in its entirety once they access the spacious central courtyard.

The circulation of the building emulates the slopes of the city once the amplitude of the ramp circulations promotes meetings like the ones that take place on streets. The sun invades the building by the zenithal lighting that modifies the internal ambiance according to the colors of the day. This illumination hovers over the different activities of the building like a flat sky that aligns the heights of the half levels by the top and creates the identity of each space as belonging to the whole, which, in a metaphorical way, could repre-

sent all the elements of architecture education combined in order to create a school. Above all, the absence of doors is the bold argument that Artigas uses to question the production of our city.

really inhabited space bears the essence of the notion of home” (27). Thus, every place that stores memories and is identifiable as a corner of the world can be considered a dwelling space.

Sao Paulo is an unequal urban context where fear governs architecture. Private environments thrive behind the gates seeking a false sense of security while the public realm is marginalized and deteriorated. To create a building with no doors in such context is to transcend the pattern of overprotection and fear by a generous and open gesture.

Among the many lessons I’ve learned in those years, what intrigues me the most about the architecture of FAUUSP is the way in which/through which the building explores the latent tension between the inside and the outside, the public and the private, that is, Artiga’s ability to create a dwelling environment in a public building.

As Bachelard said in his book ‘The Poetics of Space’: “(...) we shall see the imagination build ‘walls’ of impalpable shadows, comfort itself with the illusion of protection - or just, the contrary, tremble behind thick walls, mistrust the staunchest ramparts.” (27). When a polarization of the public and private is created, by contrast, the collective environment starts to represent the danger, the different, the “other”. This concept starts on the collective imagination but it can be powerful enough to change the production of the city.

As an architectural challenge, I am interested in question the established polarization between private and public realms by proposing public spaces that have within the notion of home, following the example of our college building that is for its users an extension of the house. To bring into the public sphere elements of habitability that free the house from excess is to question the limits of the private environment and to defy the essential borderline between house and universe.

In the same book, Bachelard discuss the meaning of the house as our “corner of the world” (26), our first universe. He states that “all

BACHELARD, Gaston. Poetics of Space.

Penguin Classics, 2014.

PROJECT Nº 2 - LIMIARES

Limiares is a proposal for a subtle extension for the FAU-USP school building.

To design an extension to the FAUUSP building is, necessarily, to observe it from a new perspective. The submission suggests a new storage space to the school’s collection of student work, located, at the same time, (1) underground to the building and level to Luciano Gualberto avenue, creating a new entrance with minimum interference in FAU’s iconic landscape (2).

The gallery’s exhibition space presents FAU’s innards in two ways: first, (3) it exposes the internal circulation of the building by allowing its contact with the street. Moreover, it displays the internal works of its alumni, which is but the product of its intellectual guts, exposed to the occupants of the building.

Sao Paulo, 2015 LIMIARES was an entry for a competition made collaborativelt between me and Felipe Barradas.

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FAUUSP Building exhibition

air-conditioned archive

research and study area

technical processing conservation and restoration entrance

Luciano Gualberto Avenue

PROJECT Nº 3 - ENDOGENOUS

Endogenous is a response to the urban refurbishment of London’s Kings Cross.

London, 2014 ENDOGENOUS was developed at Central Saint Martins with Raquel Leite and Aline Furtado. It was oriented by Tom Raymond and Gregory Ross.

It is a building that grows from the inside out, both in its form and in its use, acting in the opposite direction to the external forces that pressure the area’s development (2). It is a statement of resistance for local communities and businesses, embodied in Fish & Coal (1), one of the witnesses of the territory’s rich history.

The concept grew from the study of the territory, direct observation of the human body, natural phenomena and experimental study models. (3) The program is divided into two main spaces: a square with pop-up restaurants promoting local chefs and a public art center that exposes the adjacent Central Saint Martin school’s production to the broader population.

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open the existing arches

create a piazza on the canal level

situation plan

definition of a central circulation

cross section

individual workspaces

granary sq level

common areas are projected to the outside

the building is covered with a metallic mesh (skin)

section model

regent’s canal level

en¡dog¡e¡nous adj.

(1) proceeding from within; derived internally.

(2) growing or developing from within; originating within.

(3) resulting from conditions within the organism rather than externally caused.

When I die I want to stay, Don’t tell my enemies Buried in my city, Homesick.

Bury my feet on Aurora Street, Leave my sex at Paissandu Square, My head on Lopes Chaves Forget In the courtyard of the grammar school Sink deep my São Paulo heart: A living heart and a dead man Close by Hide my right ear in the Post Office, The left at the telegraph, I want to snoop in others’ lives, Siren.

Keep my nose close to the rose My tongue on Ipiranga’s heights To sing of liberty, Longing…

My eyes take down to Jaraguá They can watch what’s yet to come, Leave my knee at the University, Longing…

Throw my hands just anywhere, Let them die as they have lived, Toss my entrails to the devil, My soul will belong to God. Farewell.

DE ANDRADE, Mario. Translated by TOMLINS, Jack E., SUAREZ, José I., Mário de Andrade: The Creatve Works P. 162.

THOUGHT Nº 3 - AN EXPLODED BUILDING

In search for Mario de Andrade’s traces in the city, a route is defined. It Begins on Aurora St, goes across the Paissandu Square and ends in Sao Paulo central courtyard. With an extension of 2.5 kilometers, the route is the site for the project.

Mario de Andrade, a notorious Brazilian poet, published a “last will” poem a year before his death describing how he would like his body to be dismembered around the city of Sao Paulo after his death, according to his experiences in life and his affection for some venues of the city. Streets and buildings gain humanity from the association with the poet’s body: his feet become Aurora Street, his heart turns into Sao Paulo’s central courtyard.

the public space. The city then becomes a fundamental part of the building experience, binding all of it’s different functions. If the city is the only element connecting these different constructions, how is it possible to sustain the idea that they are pieces of one single entity?

In search for Andrade’s traces in the city, a route is defined. It begins on Aurora St, crosses the Paissandu Square and ends in Sao Paulo’s central courtyard. With 2.5 kilometers, the route is the project’s site. The body’s partition inspires the partition of the building, ‘exploded’ over seven vacant lots evenly distributed along the course. These exploded pieces are connected bya series of 5-minute walks that aim to merge the building’s internal circulation with Sao Paulo’s streets. Thus, building and street interweave in order to create the city.

There are two ways to approach this question. The first one is found in the analysis of the function. The building consists of extensions of dwelling that create tension between public and private spaces. These single-function buildings come to life through everyday use: classrooms, rehearsal rooms, squares, workshops, studios, a cafeteria and a library. The spaces are connected by the influx of users who experience a personal and unique version of this ensemble, taking a break from the city’s fast-paced rhythm and venturing in the small vacant and residual spots. This net of narratives goes beyond the original route stimulating the urban life that connects them.

The circulation between the exploded building’s different fragments cannot be done through walkways or bridges. Their physical separation determines that there is no different circulation but

Another evidence of the building’s unity can be found in its form and materiality. All the vacant lots follow the same morphology and share a similar scale: they are narrow canyons between high

buildings, no wider than 10 meters. The structural principle is simple, based on structural concrete walls on the borders of the site and uniform concrete slabs. Besides that, the different functions are permeated by a single metallic structure that serves as free circulation.

These circulations can be used to access books in the library shelves, to connect two cores of one construction or even to watch work in progress in the workshops and studios. The consistency of scale allows the user to recall the different contexts in which they were assigned. This uniform materiality builds intimacy between constructions, transforming the experience of a single space into the experience of the building in its totality.

I wish I could visit the city that Andrade describes in his poem.

How would be an Aurora st for someone to let their feet there, and in what Sao Paulo courtyard would someone let their heart?

Could one find reminiscences of Sao Paulo from the poem in the streets today? In fact, there is no longer gossip about others’ lives in the Telegraph nor roses on Ipiranga’s heights. But there is something of ours in Mario de Andrade’s time: Sao Paulo’s heart is still beating in the central courtyard, and maybe that is enough.

PROJECT Nº 4 - AN EXPLODED BUILDING

In this exploded building, the circulation and street interweave in order to create te city.

With an extension of 2.5 kilometers, a route is the site for the project. (1) The building is ‘exploded’ over seven vacant lots evenly distributed along the course. For that, the street becomes an essential part of the experience. (2) These pieces are connected by 5-minute walks across the city center distributed as pauses. (3) The building offers spaces of habitual uses, daily life functions that enable it to vibrate between the public and private. (4) Every chosen site is an urban canyon, set between two empty walls, separated by up to 10m with the same structural response. (5) The repeated use of materials helps the cognitive association of the different spaces into a single experience

Sao Paulo, 2015 EXPLODED BUILDING was developed at FAU USP as my final graduation project. It was oriented by Angelo Bucci.

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01 CLASSROOMS

03 VERTICAL GARDEN

02 REHEARSAL STUDIOS

05 WORKSHOPS 04 COLLECTIVE ATELIER

06 CANTEEN

07 LIBRARY

250m

project: Tussen-ruimte office: Jarrik Ouburg www.jarrikouburg.com

1/7 872, AURORA STREET

classrooms dimensions: 8,5m x 50m constructed area: 403m2 hight: G+9 level: 747

9th floor +774 1

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10

1. circulation 2. classrooms 3. terrace

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10

1. circulation 2. classrooms 3. terrace

10

1. entrance 2. ramp/auditorium 3. bicycle rack

6th floor +765 1

ground floor +747 1

5

longitudinal section 1

The route though the exploded building begins with a classroom space, which houses an ample selection of free courses in literature, cinema, photography... and can also serve as meeting rooms for selforganizing study groups.

The minute classrooms face the inside of the building, where a central hollow gives way for natural lighting and the collective experience of the building. The variations in height and width of the classrooms give each one a unique character while at the same time create visual relationships between them. The pathway alongside the opposite wall allows for passersby to peek into ongoing classes and the ever-changing contents of their blackboards.

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10

image’s point of view

2/7 148, REPUBLICA SQUARE

rehearsal studios dimensions: 8m x 20m + 8m x 18m constructed area: 301m2 hight: G+11 level: 748

typical floor 1

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10

1. circulation 2. researsal room 3. mezzanine

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1. changing room 2. researsal room 3. warehouse

underground 1

5

ground floor 1

5

1. entrance 2. bike racks 10

longitudinal section 1

In the next space, in Republic’s Square, the two sides of a small canyon are connected by angled floors that mimic the essence of spectacle arenas. A refuge for artist’s rehearsals.

A pre-stage space where actors and dancers practice, repeat and learn. A public pathway follows the building’s stories upwards, uncommitted, transforming the rehearsals into spectacle, and passers-by find joy in their imperfections.

The differently sized rooms bring character and stimuli for each day of practice. The open ground floor invites the public in, and from the rooftop the square itself becomes the spectacle to be watched by visitors and artists alike.

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10

image’s point of view

3/7 472, SAO JOAO AVENUE

vertical garden dimensions: 9,3m x 50m constructed area: 496m2 hight: G+10 level: 742-744

second garden 1

5

10

1. external circulation 2. garden 3. rest space

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1. external circulation 2. garden 3. rest space

10

1. entrance 2. bike racks 3. pilotis

third garden 1

5

ground floor 1

5

longitudinal section 1

The third building, the backyard, seeks to recover a place from the depths of memory: that of playing with the garden hose in a sunny day while listening to songbirds attracted by the smell of plants and fruits. The building is geographical; its floors freely span topographies that invade the neighbors’ spaces offering greenery and leisure in exchange.

The thick columns uphold plants, trees, earth, and water. The sun shines through floors’ openings and planned offsets. Vegetation follows the building’s structure: trees align with columns while lower gardens cover the cantilevers. Visitors can circulate in two ways: a slower climb through the treetops, or a quicker way through the regular stairway.

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image’s point of view

4/7 175, C. CRISPINIANO STREET

collective atelier dimensions: 10m x 24m constructed area: 173m2 hight: G+11 level: 744

atelier type one 1

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10

atelier type two 1

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10

1. wall-museum 2. atelier 3. observatory

10

1. public access 2. private access 3. bike racks

ground floor 1

5

longitudinal section 1

The corner of Sao Paulo’s Municipal Theatre holds our forth canyon. Its tall neighboring walls, which form a right angle, highlight the site as a negative, vertical extrusion of the street corner. With its privileged placement in the very heart of the city, one can only wonder at the future the views from the top of the building-to-be.

It will be a two-part building: on one side, artists fill the tower of stacked, see-through ateliers; on the other, a gallery-wall displays their work for visitors and explorers. Technical areas and the building’s circulation mix themselves with the surroundings, highlighting the open floors of the artists’ ateliers and their works, both always on view.

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1. wall-museum 2. atelier 3. observatory

image’s point of view

5/7 348, LIBERO BADARO STREET

mezanine

workshops dimensions: 11m x 30m constructed area: 343m2 hight: G+11 level: 744

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5

1. circulation 2. individual workspace 10

atelier 1

1. circulation 2. collective workspace 5

10

ground floor 1

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10

longitudinal section 1

The fifth space houses woodwork, ceramics, engraving, photography and sewing workshops, which are free for professionals to use in exchange for their passing knowledge to the younger, local community.

The peculiarity of this canyon, when compared to others, is the beauty of the neighbor’s bare wall. To keep the wall visible, the building adopts a different structural strategy: an offset row of columns leave it intact and always on display, while is counteracted by a structural wall on the opposite side. Thus the previously unused surface becomes a wall for the new building.

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1. entrance 2. chaging room 3. bike racks

image’s point of view

6/7 36, MISERICORDIA SQUARE

second floor

canteen dimensions: 6,6m x 30m constructed area: 240m2 hight: G+14 level: 748 - 749

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5

1. circulation 2. self cooking space 10

first floor 1

1. circulation 2. changing rooms 5

10

ground floor 1

5

1. entrance 2. canteen 10

longitudinal section 1

The kitchen space attaches itself like a benign parasite on top of a tiny building squeezed between two giants. Just like a household kitchen that acts as the heart of the home, it is a space for communal cooking, dining, and exchange in the core of the city. There are cooking classes, events with local chefs, and daily use by the communities that work in the region.

Visitors ride elevators from the original building’s patio up to the kitchen. Tables are placed in a mix of enclosed dining rooms, covered and open-air terraces that offer shelter from or enjoyment of the weather.

Communal, long dining tables connect workers from companies on opposite sides of the streets. They finally have a chance to meet and talk after only knowing each other through their office windows.

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image’s point of view

7/7 LUIS TEIXEIRA VALLEY

typical floor 1

library dimensions: 6m x 60m constructed area: 294m2 hight: G+13 level: 729 - 735

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5

10

typical floor 2 1

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1. entrance 2. bookshelves 10

ground floor 1

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1. entrance 2. staircase 10

longitudinal section 1

A public shelf attaches itself to the long, tall surface of the bare walls that follow the alley.

It is filled with donated and returned books, magazines, current and aged newspapers. Its narrow profile expands and contracts along the pathway, offering study niches, resting spaces, and lookout points for the park on the horizon.

With the help of the shelf, its elevators and stairway (which also acts as a grandstand), the sloping alley earns back its role as an accessible connector of the city’s two levels.

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1. circulation 2. bookshelves 3. reading area

image’s point of view

THOUGHT Nº4 - POETICS AND EXACTITUDE

There is nothing as poetic as the image of the absolute geometric rigor of a square laying over the complexity of the city’s geography that hovers over the nature of Ibirapuera Park at the same time as observes the flow of one of the busiest avenues of the city.

I have always been obsessed with precision. At school, my favorite subject was descriptive geometry, for somehow those precise forms solving equations came naturally in my head. At the same time, being the daughter of a plastic artist passionate about Brazilian music and poetry, I grew up in a scenario were poetry, creativity, improvisation, and chance were the foundations of my education.

During my final project critique, I was told by Marta Bogéa, who is one of my biggest inspirations as a female architect and professor, that someday in my life I would have to face my obsession with exactitude without abandoning a personal poetic sensibility. She told me that I would only understand my role in architecture when I gained the control to merge those two characteristics of my personality. On the same day, she recommended me to read Italo Calvino’s “Six memos for the next millennium” as the next step in that pursue.

expression that has its own grammar and argument. The following description of exactitude by the author became a personal goal of my architectural rationale: “First I shall try to define my subject. To my mind, exactitude means three things above all: (1) a well-defined and well-calculated plan for the work in question; (2) an evocation of clear, incisive, memorable visual images [...]; (3) a language as precise as possible both in choice of words and in expression of the subtleties of thoughts and imagination.” (55) Despite having read the text many times, I still do not have one conclusion on how to reconcile poetics on one side and exactitude on the other, and I feel a strong calling to dive in and research this topic in order to understand and explore this relation. However, I believe that the following example is the next step of a reasoning on the topic.

the image of the absolute geometric rigor of a square laying over the complexity of the city’s geography that hovers over the nature of Ibirapuera Park at the same time as observes the flow of one of the busiest avenues of the city.

The building questions the limits of the scale of architecture and urban design, proposing a museum that cannot be understood in a single glance. The simplicity of the concept teaches the user to mentally grasp the completeness of the building and experience it entirely. Maybe the beauty of this project lays on the contrast of the building’s precise geometry and the imprecision of its canvas, the city itself. As Calvino says: “Poetry is the great enemy of chance, in spite of also being a daughter of chance and knowing that, in the last resort, chance will win the battle.” (70) CALVINO, Italo. Six memos for ne next milennium. Penguin, 2009.

Calvino’s text is a series of lectures on concepts to literature students. The lessons described at the book may seem focused on literature at first but it is possible to portray those as architecture lessons once architecture is a language itself, a way of

Angelo Bucci’s proposal for the new MAM is a museum formed by four identical prisms each measuring 750 meters by 10 meters by 10 meters distributed perpendicular to each other to form a perfect square in plan. There is nothing as poetic as

images: http://www.spbr.arq.br/portfolio-items/um-novo-mam-para-sao-paulo-eo-parque-do-ibirapuera-no-v-centenario/ Accessed 29 Dec. 2017.

PROJECT Nº 5 - UNIVERSITY OF POETICS AND EXACTITUDE

Is it possible to overcome the emptiness of Poveglia with one single movement?

This movement can be represented by an axis (2). We will assume this axis as a mean of transposition once it is essential to the Venetian Lagoon culture. An axis defines a direction that makes possible an “ideal” grid (4). There is, indeed, another grid, a “real” grid stablished by the preexistances (3). From the intersection of both, the real and the ideal, new spatial possibilities became visible (5). In Venice, science and poetry are in communion. Its ancient constructions have already gently lost their original alignment, their tortuous paths distract our minds from the immense technology behind their subsistence.

The university of poetry and exactitude, inspired by its location, seeks to discuss this tension in depth.

Sao Paulo, 2016.

UNIVERSITY OF POETICS AND EXACTITUDE was an entry for a competition made collaboratively between me and Felipe Barradas.

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introspective reclusive contemplative

pier

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housing

canteen

main building

swimming pool

open studios

library

administration

auditorium

social active expansive

(1) typical section; (2) station section; (3) split section.

A suspended walkway, 8m above the ground, glide us above the ruins, allowing nature to remain untouched. To promote coexistance of times, a transportation device, 12m high, crosses the island in less than 10 minutes.

The new transposition links the ruins to new architecture creating a coherent system, which can called the campus.

PRODUCED BY AN AUTODESK ED

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT A precise recession in the octogon’s geometry creates an inclined square that invites to enter the auditorium and to access the suspended walkway through a rst station.

The main existing buildings becames the central library, split in two rooms: collection and study room. The collection room, three oor high, is organized by a core that functions both as a bookshelf and vertical circulation structure.

Hanging mezzanines accesses the books and the open terrace above the study room

The central building is designed as an envelope the contains its own atmosphere, even though it is visually connected to the exterior. The nature enters this envelope from the ground floor and blends both exterior and interior.

There are three main types of spaces: laboratories, modular classrooms and open studios, articulated by a void that connects to the campus' main circulation system.

One university for the future should have a wide diversity of students. The accomodations halls were designed in order to receive different people with unique lifestyles, diverse ages and preferences . (1) A small ensuite bedroom with shared kitchen. (2) An apartment with inside kitchen. (3) A home for people with special needs drawn with universal mobility. (4) An small complete apartment. (5) An apartment with two bedrooms that can house a small family, a home office or an atelier.

(5) new constructions

(4) north aligned grid

(3) old constructions

(2) existing grid

(1) Poveglia Island

THOUGHT Nº5 - THE BIRTH OF A PLACE

Now it pulses on the rhythm of the steps.

It vibrates with the sounds of visitors, staff and coffee machines. It fills itself completely with the music on Sundays. It is not under our control anymore and we would never be able to predict such a rich ambiance as an occupied public venue. It is alive.

It is fascinating to witness the birth of a place. In my case, the construction of the Moreira Salles Institute converged with my own birth as an architect. I was at my second year in architecture school when the competition was issued and caught the attention of all architecture community: a museum on Paulista Avenue, the dream project for any office in Sao Paulo. I remember when the results were out and the whole school stopped to evaluate the different proposals. Andrade Morettin was the winner team.

Three years later, through a mixture of chance and competence, I joined Andrade Morettin team as an intern the same month as the construction of IMS’s first slab. I visited the site several times during this period and was fascinated by the levels markings on the walls and the concrete forming. I would spend hours observing the pieces of evidence of the volume and trying to imagine the sensations of that future geometry.

There is something sublime about a construction site. It is a combination of scenarios of construction, deconstruction, novelty, and precariousness. At one point, there was a metallic structure projected out onto the avenue in a movement that

seemed to question gravity. At another stage, without its own façade, the building seemed like a large inverted window, limited by the neighboring façades that placed us in level to observe the residents and workers.

After one year of construction, a barbecue happened at the slab of the fifth floor. Two long dining tables formed the space, filled with lively workers competing for the number of skewers conquered. It was interesting to notice that the final use of the building would have no relation to those two giant tables but it was impossible to think of a better dining room at that moment.

When I officially transitioned from intern to architect at Andrade Morettin office, I was assigned the mission to coordinate the exhibition projects that would debut at the museum’s inauguration. It was a rich experience that provided me with many learnings. First of all, to deal with the inaccuracies and uncertainties of a project that is out of control because its complexity is so much greater than an individual managing capacity.

Second, the confirmation that drawing is our best tool to create cohesion and defy communication barriers and that its clarity and precision directly affects the final product and experience.

The development of the three exhibitions projects and their assembly took place in parallel with the end of the museum’s construction. Gradually, the workmen were being replaced by the cleaning staff. We started to use elevators instead of stairs.

The construction helmet gave way to shoe protectors. The endless alarm tests stopped. At some point, without noticing, we started to call the place “the museum”, and not “the construction site” anymore.

On September 18th, 2017, at 11 pm, we finished the exhibitions assembly. I went down from the exhibition rooms to the square at the fifth floor and looked at it, empty, for the last time. The square was perfectly tied for the inauguration 24 hours later.

There was a tension on the place, an expecting atmosphere.

On its first month, IMS received over 100,000 visitors. Now it pulses on the rhythm of the steps. It vibrates with the voices and sounds of visitors, staff, coffee machines and school groups. It fills itself completely with the music on Sundays. It is not under our control anymore and we would never be able to predict such a rich ambiance as an occupied public venue. It is alive.

PROFESSIONAL PROJECTS

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(1) 2014 - today POP+ Office Building participation in all design development and construction documents and currently monitoring the construction.

Andrade Morettin Architects. team: Felipe Fuchs, Fernanda Carlovich, Fernanda Mangini

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(2) 2015 IMPA – Competition (first prize) participation in the design concept and development of hand-in material.

Andrade Morettin Architects. team: Carlos Ed. Miller (coord.), Adriane De Luca, Eduardo Miller, Felipe Fuchs, Fernanda Carlovich, Fernanda Mangini, Jaqueline Lessa, Melissa Kawahara, Raphael Souza, Tina Niessner.

(3) 2015 Reinventer Paris – Competition (runner-up) participation in the design concept and development of hand-in material.

Andrade Morettin Architects. team: Felipe Fuchs (coord.), Adriane De Luca, Carlos Eduardo Murgel Miller, Eduardo Saguas Miller, Fernanda Carlovich, Fernanda Mangini, Jaqueline Lessa, Johanna Miklos, Melissa Kawahara, Raphael Souza, Tina Niessner.

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(4) 2017 Sesc Limeira – Competition (first prize) participation in the design concept and development of hand-in material. authors: Alvaro Puntoni, João Sodré, José Paulo Gouvêa e Pedro Mendes da Rocha. team: André Britto, Bruno Satin, Caio Ferraz, Fernanda Carlovich, Kamal Yazbek, Miguel Meister Neto and Paola Ornaghi.

(5) 2016 House for Helena. Fernanda Carlovich and Tina Niessner.

(6) 2016 30 years of the engraving group at MAM-SP curator: Cauê Alves Andrade Morettin Architects. Fernanda Carlovich (coord.) photo: Renato Parada (7) 2017 Corpo a Corpo – contemporary Brazilian photography at IMS-SP curator: Thyago Nogueira Andrade Morettin Architects.

Fernanda Carlovich (coord.)

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FUTURES

teaching assistant

2011

2012

NGO Teto Volunteer work in emergency housing construction.

undergraduate degree FAU-USP Sao Paulo - BR

teaching assistant

exchange program Central Saint Martins London - UK

undergraduate research Mobility at Paulista Avenue advisor: Antonio Gil 2010

graduate degree MIT - SmarchS Massachussets - USA

2013

2014

2015

internship Andrade Morettin Sao Paulo - BR

2016

architect at Andrade Morettin Sao Paulo - BR

2017

2018

2019

2020

teaching assistant

2021

became a professor combined with individual practice Sao Paulo - BR

thank you for your time