Architecture Portfolio

P ORTFOLIO

RO C Í O C RO SE T T O BR I Z Z I O Architect Master of Science in Advanced Archietctural Design (AAD) Graduate School of Architecture, Planning and Preservation Columbia University, US, 2022 School of Architecture, Urbanism and Design, National University of Córdoba, Argentina, 2016.

“People are usually afraid of change because they fear the unknown. But the single greatest constant of history is that everything changes” Yuval Hoah Harari

Today, architects’ commitment with the future of our cities, environments and livelihoods should be stronger than ever. Architecture is a tool to rethink and reconstruct the logics and processes involved at all the scales of the built environment. Every topic that is questioned on the daily news and every issue that mobilizes people into the streets must be in the eye and mind of contemporary architects. If we do not attend these matters, we are pulling ourselves out of the equation. To make architecture relevant as a subject capable of producing critical discussions and sustainable changes in our world we must get engaged with what is happening around us. In other words, we, architects should raise our voice and recover the social and political power that belongs to us. It is only by getting truly engaged that we will be capable of speaking out and use our skills and critical minds to trigger a better future.

From climate change to geopolitical disputes, from data and technology to mass media interactions, from gender identity to racism, from social injustice to immigration policies, the built environment sits at the heart of every challenge and opportunity facing the planet today.

This portfolio shows a selection of works I have been working on during the past few years. The scale of my projects vary from small architecture devices to large urban interventions. I see my work of architecture as a trans-scalar one, which no matter the scale of the project, I always seek and ask myself about a particular topic that obsesses me. My desire to pursue a master’s degree has a lot to do with these obsessions, as I want to uncover new horizons within the architecture field.

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INDEX Selected Works 2016 - 2021

Rural Restrooms Small Infrastructures for an Infinite Landscape Private Project - SELECTED FOR THE BASC VII Santa Cruz Architecture Biennial (Bolivia)

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Mirror Gate Two Faces of One Door: A Funny Object for a Playing Ground and a Secured Gate for an Ice-Cream Deposit Private Project

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The Brick Home My First Lessons about Building a Home Private Project

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Wooden Shadow A Collective Construction for a Public School by the Colectivo Aqua Alta Collective Project

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Minimal Home An essay on alternative pre-fabricated technologies for affordable social housing in Villa Maria Private Project

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WAVE 2017 - IUAV A Curatorial and Academic Experience in Venice IUAV Instituto Universitario Di Venezia

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Collective Housing for Mendoza Collective Housing and Public Park for Downtown Mendoza National Design Competition - HONORABLE MENTION

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Learning from the Countryside Public Sports and Cultural Park in Patagonia National Design Competition - SECOND PRIZE

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The Permanent Rhythm of Water Urban Design for the Northern Wetlands of Asunción International Design Competition - FIRST PRIZE

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Landscapes of Joy 2023 Argentina International Exposition - Master Plan, Boulevard, Park and Bridge Design International Design Competition - SECOND PRIZE

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Toxic Natures Transfusions for an Inter-species Alliance between Pokeweed and peple living with HIV and Covid-19 Viruses Studio Project - Summer Semester - AAD, GSAPP, Columbia University

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Lina Bo Bardi A graphic essay on her life and work Research Seminary - Fall Semester - AAD, GSAPP, Columbia University

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Typological Corrections Unorthodox Adaptations in NYCHA Housing, East Harlem, NYC. Research Design Project - Fall Semester - AAD, GSAPP, Columbia University

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Assistant Professor - Architecture II Studio School of Architecture, Urbanism and Design National University of Córdoba

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RURAL RESTROOMS Small Infrastructures for an Infinite Landscape

Author: Rocío Crosetto Brizzio Project and construction Private project Status: Built Photos: Juan Murua Palacios Ausonia, Córdoba, Argentina 2019 Selected for the Santa Cruz Architecture Biennial (Bolivia) as part of the exhibition “Architecture from Córdoba”.

Shown at the “Woman in Design” exhibition held at the Architecture Association of Córdoba.

The three galvanized boxes are located in the inner province of Córdoba, just a few kilometers from the small village Ausonia.

They provide restroom services for the working men of a small-scale Argentinian milking yard. The project focuses on the inner relation between location, typology and technology.

The particular landscape of the Pampa is defined by its infinite horizon, which is interrupted by distant productive structures: warehouses, silos, machines, tanks or windmills. They act as follies, spread throughout the territory’s extension. These restrooms are another artefact situated in the landscape, that apart from being part in the follies composition, they absorb and reflect the rural setting on their metal skin. Once they were located in place, the zinc panels reproduce the sky and the grass around, giving to this small intervention a land-scale result.

The typology is solved by the idea of eliminating both doors and windows. In other words, the plan eliminates the door and the section eliminates the windows. No doors or windows. Just a spiral moving into the interior. The plan is the outcome of a spiral-shaped archetype that replaces the door with an entrance. In the same way, the section replaces the windows with just a separation between the metal panels and the concrete floor and ceiling.

Regarding the construction of the restrooms cabins; they have been made entirely with zinc sheets, which have been folded to gain structural resistance. The zinc material was specially selected for this work, as it resists perfectly the outdoors’ conditions, suffers no degradation and needs no maintenance. The zinc sheets have been cut and folded leaving cero waste material behind, as they have been modulated in 4 different types of panels: A, B, C and D.

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Night Photograph. The three galvanized boxes reflecting the night light.

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Photograph from the process . When the metal cabins where set in place.

Front photograph. The cabins where already placed and the the blacksmith was installing the final piece for the roofs. No doors or windows. Just a spiral moving into the interior.

The plan is the outcome of a spiral-shaped archetype that replaces the door with an entrance. In the same way, the section replaces the windows with just a separation between the metal panels and the concrete floor and ceiling.

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Section 1- 1

General Plan

Unfolded plan or pieces

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Photograph of the cabins on the crane right before setting them on place

Plan of the general rural site

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Detail photograph. Rodrigo, the blacksmith installing the roof sections.

Variety of photographs

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MIRROR GATE Two Faces of one Door: A Funny Object for a Playground and a Secured Gate for an Ice-Cream Deposit

Author: Rocío Crosetto Brizzio Project and construction Private Project Status: Built Photos: Guadalupe Fassi Córdoba, Argentina 2020 This project reflects basically how an architecture commission could be positively manipulated to be turned into something “more” –more useful, more reflective, more interesting, from what it was originally expected or asked. The project emphases on the effect of vanishing as a result of reflection.

In this particular case, the client –who owns an ice-cream store- needed a gate to secure a deposit. This was his main concern. After visiting the site, I understood that this storage room had its access just from a small playground which is used by those children that come to the ice-cream shop. In some way, this door had the purpose to hide something from the public (the deposit room), and at the same time, that room could be hidden by enabling a reflection or a reproduction of the “positive space”, the playground. Hence, the final project resulted in a dual gate, once that has two purposes and, as a result, two faces. The back side of the door is made of heavy metal bars, which give to this gate the strength to be a safety door; whereas the front side of the gate is made of thin stainless steel sheets which make the actual door disappear, as its peculiarity has turned the gate into a funny object to approach to and play with.

The intention of using this material –the stainless steel sheets- has been in my mind for some time. After the experience with the Rural Restrooms I discovered how galvanized metal can produce some reflections of the country’s landscape and I have been interested in experiencing this material as a way to engage people differently with the architecture object. This is also strongly connected with some other images from common things I got obsessed with. My main obsession at that time was with coffee carts which are always made (because of a hygiene food act) of this stainless steel metal –which is actually quite cheap-. I collected a series of pictures of these small carts and while producing the project I also got in contact with other architecture works that are related with this idea of hiding things by reflecting others.

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General photographs. The gate closed and opened. The first picture shows a reflection of the playground in the distance. The sencond image, shows that when the door is opened reveals what is hidden behind: the never telled story, the back side of the store: the uniformas hanging in the sun.

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Detail photograph. We placed in the front side of the door what is usually in the back. We uncovered which was previously hidden. The secret is revealed.

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Variety of detail photograps

Back Elevation. Front Elevation. General Plan.

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THE BRICK HOME My First Lessons about Building a Home

Author: Rocío Crosetto Brizzio Project and construction Private project Status: Built Córdoba, Argentina 2019 Each project I work on has a particular interest to me and is conceived as a way to create questions and answers around a certain topic. In this case, this home was a result of my personal desire to “learn how to build”. As simple as that. This house was the first project I was commissioned and the first time I was in charge of a construction on my own. Hence, this home meant since the very first day a challenge in what regards the specific techniques and abilities needed for a construction. By the time this project was commissioned I was working in Asunción at the architecture office of Javier Corvalán and in close relation with a certain group of colleagues whose work is clearly marked by the use of bricks and concrete. These materials have strongly influenced this home. The main elements that organize the composition and the spaces of the house are the 45 cm brick walls and the concrete 280 m2 roof.

This house has a clear and simple organization in the shape of an L, which articulates a strong relationship between all the rooms with the main yard. The entrance is organized by a particular element, which is also a technique of experimentation with brick walls. This piece is the “muro cribado” or “muro convocó” which is a brick wall that is not fully blind but it leaves small holes to see through. This wall has the intention to both give extra privacy to the house as well as to create a green atrium covered with plants through which you enter the house.

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Front photograph. The main elements that organize the composition and the spaces of the house are the 45 cm brick walls and the concrete 280 m2 roof.

Muro Cribado Photograph. This piece is the “muro cribado” or “muro convocó” which is a brick wall that is not fully blind but it leaves small holes to see through. This wall has the intention to both give extra privacy to the house as well as to create a green atrium covered with plants through which you enter the house.

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General Plan

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Photograph of the front garden and the Muro Cribado. Little Camila is planting plants with a friend.

Photograph of the gallery during the construction of the house. Concrete roof and metal pillars at the front and brick walls from the bedrooms at the back.

Genaral Axonometric

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WOODEN SHADOW A Collective Construction for a School by th Colectivo Aqua Alta

Authors: Project led by Aqua Alta Collective Studio. Members of Aqua Alta that parcipated in the project: Rocío Crosetto Brizzio, Joaquín Corvalán, Marlene Ortiz, Viviana Pozzoli, Agostina Vacca Arreseygor and Horacio Chervniasky. In collaboration with TaMaCo and architecture students from Córdoba, Asunción, Resistencia and Buenos Aires.

Project and construction Collective project Status: Built Córdoba, Argentina 2018 Aqua Alta is a colectivo, an architecture collaborative office based in Asunción, Paraguay. I got involved with Aqua Alta from the very first day I arrived in Asunción, specifically leading and organizing architecture workshops together with other colleagues. Wooden Shadow is the result of an architecture construction workshop whose objective was to experiment with a particular material and to provide spaces of comfort, reunion and shadow to a small elementary school located in San Patricio, Buenos Aires.

The project and the construction was done in one week and it was the result of a strong collaborative work between architects and architecture students from Córdoba, Buenos Aires, Resistencia and Asunción. The material was donated and was limited. The structures could not be fixed to the ground as they were going to be moved later to be used in different spaces of the school. Consequently, we designed a project that was conceptually and technically divided in 3 main parts that were constructed separately and later assembled together. First, the basement which was made of big metal trash cans that worked as loads to stabilize the weight of the whole structure. Second, the columns that were made of wooden sticks and were attached to the basement. Third, the top or crown which was built with wooden thin layers joined together creating a reciprocal structure that in spite of being made of small section elements can successfully support its weight due to how each piece is fixed to each other.

Wooden Shadows is a project conceived through a collective work between professors and students as an experience to both learn through a practical experience and at the same time give a public school a better space in its yard.

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Detail photograph from the crown or top of the shadows. The wooden layers had small cuts in order to assemble them togheter. As a result, the whole crown structure works together and resists its normal deformation.

Photograph from the process of raising the top/crown/roof structure from the ground.

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Detailed Axonometric. The project was built by organizing three teams: one in charge of the foundations and mobile equipment (sitting objects), other in charge of the pillars and a thrid one in charge of the crowns (top structures for the roof)

General Axonometric. The site of the project is a small elementary school yard. The school team required a confortable place that should not be 100% fixed to the ground so that they could move it somewhere else in the future if needed.

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Photograph of the process of construction.

Detail pictures. The first picture shows the element that unified the crowns and the pillars. The second picture shows the element that hold together the pillars with the foundations.

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MINIMAL HOME An essay on alternative pre-fabricated technologies for affordable social housing in Villa Maria

Authors: Rocio Crosetto Brizzio and Juan Manuel Balsa Project and construction Status: Built Villa Maria, Cordoba, Argentina 2021 This house is located in a small in-land village in Argentina. This project inquiries on the design of a minimal affordable house, with the incorporation of pre-fabricated technologies that are not common to domestic architectures, such as walk-in-freezer chambers construction panels, metallic structure and zinc roofs.

An obsessive organization of the plan was developed to arrange in the minimal space the storage areas, bathroom and kitchen, which are working as furniture placed in the center of the plan. The rest of the space is open, with no doors or divisions. The interior and the exterior are connected through a main space which is a hybrid gallery, and whose dimensions are equivalent to half of the inner space. This area is key in the project and is the space through which you access the house and also connects you with the back garden. Moreover, this space is hybrid in the sense that it can be more an indoors or outdoors space according to the users’ needs and the weather conditions, thanks to a moving fabric roof installed on the top.

The structure has been strictly moduled according to the dimension of the metallic beams (12 meters long) producing a repetitive grid that arranges the plan. The roof was constructed using trapezoidal deck zinc sheets which have been filled with concrete. The outside face of the exterior walls are built by the assemblage of walk-in-freeze chamber panels made of a highly insulating material and covered by pre-painted metal sheets. On the inside, the walls are completed with drywall panels. All the pipes for the water, gas and electrical supply are located in between the driwall and the freeze chamber panels. The house includes a system to collect and reuse rainwater, specifically intended to water a vegetable garden located in the backyard.

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Photograph from the gallery. Hybrid-space between the interior and the exterior. Space from which we acces the house. Fabric translucen foldable roof was added after this picture.

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General Plan

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Photograph from the street. Gallery area on the right and inner-space on the left.

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Details Photograph. Facade from the street, freeze-chamber pre-painted metal panels, translucent foldable roof at the gallery area, and interior steel-deck zinc roof.

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General Axonometric

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WAVE 2017 - IUAV A Curatorial and Academic Experience in Venice

Authors: In collaboration with architects Solano Benitez and Gloria Cabral Role: Curatorial Practice + Assistant Professor Project and construction Status: Built IUAV, Venice, Italy 2017 The WAVE Workshop was to me both a main experience as an Assistant Professor and an opportunity to create an innovative curatorial project to exhibit the projects developed by the students.

The WAVE 2017 was titled “Syria: The Making of the Future” and it was centered in the reconstruction of Syria’s cities, both in a physical and conceptual way. I was invited by Solano Benitez and Gloria Cabral to assist them with the lectures and studio classes. During the three-week workshop I guided, coordinated and assisted the students in their way to produce architecture projects that could reconstruct Syria’s identity and infrastructures.

By the end of the workshop I led the curatorial project for the exhibition of the students’ work. We obtained the 2ndPrize for the Exhibition Design by the IUAV Jury. The concept developed for the exhibition was to “uncover Syria”. For this, we transformed the existing tables at the classroom into transparent plastic tubes.

We took off the wooden top of the tables and we left only the metal structure. Then we built square wooden frames from which the visitors of the exposition could look through, and approach every project in an act of privacy. This gesture interested us, as we wanted that everybody could “get closer to Syria” in a quiet and personal way.

This experience is to me one of my main training as a professor, as I had the opportunity to work along distinguished architects from all over the globe, and my first step into curatorial practices.

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General Photograph. We took off the wooden top of each of the tables of the classroom and we covered them with a transparent plastic to exhibit the work of the students.

General Photographs. The fisrt shows the interior of the plastic tube, where a student’s project is displayed. The second and the third show people interacting at the exposition.

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COLLECTIVE HOUSING FOR MENDOZA Public Sustainable Park and Social Housing for Downtown Mendoza

Authors: Rocío Crosetto Brizzio, Juan Manuel Balsa, Leandro Castro, Mariana Delfino and Franco Gilardi Role: Leader of the project. General Design Strategy and Technical Drawing National Design Competition - HONORABLE MENTION Status: Project Mendoza, Argentina 2020 This project was developed for a National Architecture Competition which aimed to provide collective sustainable housing for downtown Mendoza. It was awarded with an Honorable Mention from the jury.

Our project was organized in four towers which reach the highest level permitted in the area. As a result, we were able to free space at the ground level to create two public open plazas for the city. The plaza located in the southern area is surrounded by three towers and it has a commercial character, as the ground level of each building is occupied by coffees, restaurants and stores. The smaller plaza located in the northern part of the terrain has a cultural and communal character. There we proposed a lower and smaller building which is a big indoor space that will be used by a civic or cultural organization where classes and workshops will be taught.

The plant of the towers was conceived as a ring scheme. In the center we have the vertical circulation system.

The first ring is the common circulation with the entrances to the apartments. The second ring contains the services of each apartment: bathrooms and kitchens. The third ring is occupied by the main living areas: dining rooms and bedrooms. Finally, the last ring is made of large terraces which are in direct contact with the main spaces of the apartments. In addition, the plant is rigorously modulated in order to have three types of floors, all responding to this ring scheme of spaces. From floor 1 to 4 the apartments have 40 m2, from 5 to 13 they have 50 m2 and from 14-15 they have 70 m2. All main rooms of each apartment expand to a large terrace, thus activities can expand from an indoor space to a large outdoor space.

The general strategy of the project was to make the largest space available at the ground level in order to give as much open space as possible for public use. In what regards the towers, our objective was to design a clear structure that could hold different types of apartments to assure diversity of uses and owners, and that in every apartment, no matter its size, the main rooms could always be directly related with the façade and its fourth ring, the large terrace.

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General View of the project from the main street. The boulevard is contained in the inner space of a white geometric metal structure which is the central path of the Expo.

Contained by this rectangular-shaped path is the main boulevard with its temporary pavilions and plazas. Outside the boulevard there is a lake, a park and the main buildings of the Expo.

General Longitudinal Section

General Perpendicular Section

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General Planimetry References 1, 2, 3, 4 - Towers 5 - Civic - communitary building 6 - Underground Parking Access 7 - Bicycles Parking Space 8 - Bicycle Lane 9 - Absorbent soil 10 - Commercial and Gastronomic Plaza

11 - Public Sportive Area 12 - Public Relax Area 13 - Public Playground Area 14 - Public Parking Area 15 - Public Vegetable Gardens 16 - Irrigation Canals 17 - Walking Path 18 - General services for the park 19 - Cultural and Civic Plaza

Natural System 1 - Irrigation Canals 2 - Public Vegetable Gardens 3 - New Trees projected

Circulation System 1 - Walking Path 2 - Bicycle Lane

Functional System 1 - Comercial Plaza 2 - Civic and Cultural Plaza 3 - Public Relax Area 4 - Public Playground Area 5 - Public Sports Area 6 - Public Vegetable Gardens 7 - Underground Parking

General System 1 - Tower 1 2 - Tower 2 3 - Tower 3 4 - Tower 4 5 - Civic - communitary building 6 - Commercial and Gastronomic Plaza 7 - Cultural and Civic Plaza 8 - Underground Parking 1 9 - Underground Parking 2

8 - Public Parking

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Lateral View of Tower 4, from the inner walking path. The Commercial and Gastronimic Plaza is seen at the back.

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View of the Andes Mountains from one of the terraces of Tower 4. On the first scene it is seen one of the two plazas of the project.

Ground Level Plan. Southern Area. This plan shows the access to the towers through the Plaza and the activities happening at the ground level such as restaurants, bars and stores. In the center there is a big area for trees and local vegetation.

Summer

Winter

Section of the tower. The terraces are wide enough to host different outdoor actities.

Sustainable Axonometric. Vegetation is incorporated in the terraces and upper roof to protect the indoor spaces from the sun.

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Vegetation as a sustainable and natural protection.

Typology 40 m2

40 m2 homes Levels 1 to 4

Typology 40 m2 - Corner

Typology 50 m2

50 m2 homes Levels 5 to 13

Typology 50 m2 - Corner

120 m2 homes Levels 14 to 15

Typology 70 m2 - Corner

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LEARNING FROM THE COUNTRYSIDE Public Sports and Cultural Park in Patagonia

Author: Rocío Crosetto Brizzio, Juan Manuel Balsa, Adolfo Mondejar, Pablo Mondejar, Rosario Mondejar and Marcos Alonso Role: Leader of the project. General Design Strategy and Technical Drawing National Design Competition - SECOND PRIZE Status: Project San Patricio del Chañar, Neuquén, Argentina 2020 This project was designed for a National Architecture Competition in which it was awarded with the 2ndPrize.

The project develops a Sports and Cultural Park for the small village of San Patricio del Chañar, in Neuquén, Patagonia.

The park is structured by placing the required buildings on the borders of the park and as a result leaving the inner space of the terrain free for outdoor activities. It was our intention to design an architecture coherent with this rural area, taking advantage of the local techniques. Thus, the buildings designed have a resemblance with productive storehouses and a strong sensibility about the local landscape. The cultural, commercial, gastronomic and administrative program required was organized in five pavilions distributed in the right side of the terrain. This pavilions could be built in successive moments, getting adjusted to the city’s budget for this project. This was actually a requirement for the competition, and we understood that by developing five identical pavilions that could host the indoor activities we were simplifying and enabling an easier later construction of the project. The main building is the one that hosts the sportive activities. It is basically a sports center for this village and other close rural settlements.

The park design is based in the geometrical landscape scheme of the rural environment which uses trees to protect the land and the crops from wild winds. In other words, we understood the important meaning of trees in this desert area of Patagonia and we decided to extend the rural landscape to make it enter the village and the park itself. Hence, the final design has no further pretensions than providing a comfortable natural area for the citizens.

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Google Earth View of the Village. In this picture we can clearly observe the strenght of the surrounding landscape. It has a geometrical design made from the trees. In our project we extended this geometric landscape inside the city and the park.

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References 1 - Existing Soccer Field 2 - Climbing Wall 3 - Stands, public services and park mainteinance room 4 - Athletics Track 5 - Commercial Pavilion (stores) 6 - Commercial and Gastronomic Pavilion 7 - Oper area for gastronomic activities 8 - General parking 9 - Bicycles and motorcycles parking 10 - Existing Restrooms 11 - Existing Soccer Field 12 - Mainteinance Area 13 - Bochas Field 14 - Tennis Courts 15 - Playground Area 16 - Administrative Pavilion 17 - Multisports Courts 18 - Memory Monument 19 - Exhibition Area 20 - Irrigation Canals 21 - Playground Area 22 - Cultural Pavilion 1 23 - Sports Center Building 24 - Fruit Tress Garden 25 - Public Theatre 26 - Walking and bike path 27 - Relax Area 28 - Food Track Area

General Planimetry. The sports center is located in the main building. On the right side, we placed the five pavilions which host the cultural, commercial, gastronomic and administrative activities.

General Sky View of the Park. On the left side is the sports center building and on the right side the five pavilions.

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Front View of one of the Pavilions. We can walk through them to enter the park.

Front View of the Pavilions. In the back is seen the sports center building.

General Plans of the Pavilions. We adopted the same strategy for each of the pavilions as a way to simplify the project and the later construction. Every pavilion has the same logic and modulation and it adapts easily to its particular function.

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THE PERMANENT RHYTHM OF WATER Urban Design for the Northern Wetlands of Asunción

Authors: In colaboration with architects Javier Corvalán, Lukas Fuster, Sebastián Blanco and urbanist Salvador Rueda Role: General Design Strategy, Technical Drawing, 3D Modelling, Presentation International Design Competition - FIRST PRIZE Status: Project Asunción, Paraguay 2017 The Urban Design for the Northern Wetlands of Asunción was an International Architecture Competition in which we were awarded with the 1st Prize. I developed this project while working at the Architecture Studio of Javier Corvalán.

This urban project was designed with a specific interest in the natural conditions of the area. This site suffers constantly from dramatic floods caused by the rise of the level of the Paraguay River, and the families that live here have to rebuild their homes almost every year after the water returns to a lower level. As a result of this strong condition, the project was understood since the beginning as a possibility to enable a different type of city, one that could use those critical circumstances in a positive and sustainable way.

Our project develops four strategies in what regards environmental issues. First, we designed three main parks that work as containers of the raising water when the flooding season arrives. Apart from providing a sustainable environment rich in animals and local species, this strategy solves the main issue of the site. On the borders of each of the three parks we placed public vegetable gardens for the local communities. Second, we renovated the Paraguay River coast, making it possible for the community to have public and direct access to it as well as providing public infrastructure such as docks and public facilities. Third, we proposed to recover the terribly contaminated Mburicao stream (small river) and designed a public park on its borders.

Last, we designed a linear park on Florencio Villamayor Avenue which is connected with the neighborhoods on both sides of this urban intervention, allowing this area to be strongly connected with the rest of the city.

Furthermore, these four parks are connected with the local Botanic Garden on one side and with a Natural Reserve on the other, consolidating as a whole a strong biological path for species to move freely in the area.

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Northern Wetlands of Asunción 1

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3

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Structural Natural Interventions

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Floodable Parks

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Paraguay River Border

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Mburicao Natural Stream

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Florencio Villamayor Linear Park

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+56 m

Floodable Parks +56 above sea level season. When the flooding season is over, these parks remain as natural wet and grass covered areas for multiple activities.

+61 m

Floodable Parks +61 above sea level season. Most of the year these parks are half covered with water.

+ 63 m

Floodable Parks +63 above sea level season. During the flooding season the water level of the Paraguay River covers the parks completely.

above sea level

above sea level

above sea level

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LANDSCAPES OF JOY 2023 Argentina International Exposition Master Plan, Boulevard, Park and Bridge Design

Authors: In colaboration with architects Adolfo Mondejar, Pablo Mondejar and Juan Manuel Balsa Role: General Design Strategy, Technical Drawing, 3D Modelling, Presentation International Design Competition - SECOND PRIZE Status: Project Tecnópolis, Buenos Aires, Argentina 2019 This project was designed for an International Architecture Competition and involved the definition of a Master Plan for the Expo 2023 as well as the design of the main boulevard, a bridge that crossed over the Av. General Paz, and the landscape design of the general green areas of the park.

The main strategy of this project was to produce an architectural piece with an urban scale. The project is located in the terrain of Tecnópolis, which is an area owned by the national government that is frequently used for exhibitions, concerts, festivals, etc. We decided to consolidate the main boulevard and its buildings by creating a white metal roof in the form of a loop that provides to the thousands of visitors that arrive per day a protected space to walk around the boulevard and visit the different national and international pavilions of the Expo 2023. This roof marks clearly the main boulevard of the Expo where the permanent and temporary pavilions are located. In addition, after the Expo’s event the roof is conserved as a legacy for the Tecnópolis terrain and it still frames and organizes the territory for future events or festivals. As the competition required to design a bridge that could cross over the Av. General Paz and connect the a nearby park, we integrated this giant pedestrian bridge with the boulevard making a bridge-gate that welcomes everybody to the Expo 2023.

Near the boulevard there was a lake, which we recovered and consolidated as a place for events and expositions by installing a floating round scenario in the middle of the water. The rest or the terrain was reserved as a park, favoring natural green spaces and introducing only a red walking path that is at the same time a point of view towards the magnificence of the Expo.

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Google Earth View of the area. The project is about a main rectagular-shaped metal structure that contains in it inner space the main boulevard of the Expo 2023. The structure crosses over the General Paz Avenue in the form of a pedestrial bridge-park.

General Planimetry. Inside the rectangular-shaped structure we organized the required program in the existing buildings and we proposed some temporary pavilions which will host the events for the Expo 2023.

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AREA 1: PARK

General Sky View of the EXPO 2023. Park Area. This picture shows at the front the park that was recovered as a natural and wild area for the visitors of the Expo. We only proposed an elevated red path as a looking point of view to the main street of the Expo.

General Plan of the Park Area

Boulevard / Park / Bridge

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AREA 2: LAKE

General Sky View of the EXPO 2023. Lake Area. This picture shows the lake with its floating scenario in the middle and its stairs on the right side. This place is the main space to host the Expo 2023 performances and shows.

General Plan of the Lake Area

Lake / Boulevard

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“TOXIC” NATURES Transfusions for an Inter-species Alliance between Pokeweed and poeple living with HIV and Covid-19 Viruses

Authors: Rocío Crosetto Brizzio and Ana Paola Hernandez Role: General Design Strategy, Technical Drawing, 3D Modelling, Presentation Studio Tutor: Prof. Nerea Calvillo Summer Semester - MS AAD, GSAPP, Columbia University Status: Academic Project Central Park, New York City, US 2021 What is not toxic today?

In an era in which air, soil, food, water is polluted, aren’t we all toxic?

Isn’t toxicity encompassed within each of us?

Among the environments in which we live and within our own bodies?

The Declaration of Independence of “The Toxic” - Transfusions for an interspecies alliance between pokeweed and people living with HIV and Covid-19 viruses is a pokeweed acclimatizer, which brings together two species - Pokeweeds and Humans - to collaborate and help each other through transfusions of their chemical body fluids. Pokeweeds help humans to fight HIV and Covid viruses; and humans help the weed to write its own Declaration of Interdependence in Central Park. To do so, two pokeweed fluids are mobilized: the PAP Pokeweed Antiviral Protein - contained in the leaves of the plant which will be collected to produce antivirals for HIV and Covid; and the pokeweed’s magenta liquid contained in the berries which will be squeezed to write the plant’s Declaration of Interdependence. “Toxicity” and the injustice of its displacement will be collectively acknowledged and celebrated in its multiple forms.

48

Aereal view of the intervention. The project is infiltrating Central Park through a series of DIY architectures that are conceived as meshes. They are attached to the existing trees and allow Pokeweeds to reproduce. During summer times, the Pokeweeds’ fruit appears and it is sweezed by humans in a physical map over the territory of Central Park in a performatic inter-species action.

49

Areal X-Ray View of glowing PAP, Pokeweed Antiviral Protein. The PAP is a component present on the leaves of the plant and that it has a potencial medical use as an antiviral for Covid-19 and HIV.

Areal X-Ray View of purple poke berries juice. During summer time, hundreds of berries grow on the Pokeweeds. They contain a juice that could be use as a dye or ink. It has a strong power to tint surfaces with a bright purple/pink color.

50

“Soaking The Leaves”, video frames. This images are part of a video which shows the encounter between the human body and the poke’s leaves.

51

“Encountering the Pokeweed”, video frames. This images are part of a video that shows the site whereour companion species was located, and our summer encounter, when the plant was starting to produce its berries.

52

Diagram of the mesh-like architecture for the Pokeweeds. This is a generic diagram of a posible artifact that will mark the area occupied by the species in Central Park.

“Squeezing the Berries”, video frame. This images are from an experimental video that intended to reproduce the action of squeezing berries.

53

LINA BO BARDI A graphic essay on her life and work

Author: Rocío Crosetto Brizzio Role: Research and Graphic Design Studio Tutor: Prof. Juan Herreros Fall Semester - MS AAD, GSAPP, Columbia University Status: Academic Project 2021 ‘La dea stanca’ The Tired Goddess “The centenary of Lina Bo Bardi has rekindled the fervor for her figure. The critic Rowan Moore considers the Italian-Brazilian “the most underrated architect of the twentieth century”; however, she who Martin Filler describes as “the Anna Magnani of architecture” is now enjoying an extraordinary wave of acclaim through publications and exhibitions. Her death in 1992 gave rise to a monograph and exhibition, organized the following year by the Institute dedicated to her memory; but until the PhD thesis of Olivia de Oliveira in 2006 there is a parenthesis of silence that has been broken by the approach of her centenary, with the show in the Venice Biennale of 2010 curated by Kazuyo Sejima, the publication of her writings by the AA in 2012, the monograph by Zeuler R. Lima in 2013, and the Munich exhibition organized by Andres Lepik in 2014-2015, with a catalog featuring essays by prominent experts – all these initiatives throw light on the rich personality of a mythical figure”.

Luis Fernandez-Galiano, AV Monographs 150, 2015.

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OF PIR illi LINA’S WORK ory” ASosta M, -6 N, Lu POSMODERN “DELIRIOUS CimHa Ph ES 5 Me cio C +N P 1957 LATIN AME ARCH” NEW YORK” sOL n os RIC ie a D AN CHARLES d SO ta, 19 ANALOGIREM me ARC“AN es eRirA HITE Built works CTURE SIN 57 yer, CAL ARCHITECKOOLHAAS da LA CJENCKS CE 194 “UNIVERSAL TURE” HA Bra Ro 5, MoMA, 195 R STRUCTURE” cha ALDO ROSSI silia ME DE 5-56 0 Projects AL 8 ARCHIGRAM BO , 19 CIA +d RADA 3P -C UN 658-6 PALACE eG MX OW “Pro 97 HA AM paed , Oscar H“SEVEN VALE 0 ER Theoretical work I, T en LD ,1 RIA P. Nieme eutic na CIAG O SS he Eye M X, Yugosla ST ia “THE IMAGE OF AMERICAN ro H r, N CI R C il Q YM Brasilia, via, 1956 RELL ontrib ,S eth UA E?” s efu THE CITY” UTOPIAS” OU NA 1956-58 Editorial work ao erla HOUS RE ra ution “MICROEVENT / S KEVIN LYNCH DOLORES r “THE RISE OF B S M b IL P E ,C nds MACROEVENT” E to th IUM au ish HAYDEN AS osta POSMODERN a, , 1SUPERSTUDIO e Te lo, me ,M 959 ARCHITECTURE” achi Furniture design +N 19 P en Lim ng of nt CHARLES 58 iem de s SO -6 BRA “POST A JENCKS “THE POETICS a “THEORY AND e s rc 1 yer, ir hitect SILIA da OF SPACE” LA DESIGN IN THE “ARCHITECure T FUNCTIONABra ue Ro GASTON 1ST MACHINE LISM” PILOT R TURE AND g cha silia heor PETER BACHELARD PLADNE AGE” PRAXIS UTOPIA” Fil y” “SILENCE AND , 19 C + , R. BANHAM EISENMAN o Lu MANFREDO U 19 IA C de TAFURI M LIGHT” 58-6 H 57 NHcio Cos oa “THE ARCH. Ge LOUIS KAHN XI, 0 AN ta, 19 AO OF THE CITY” ,J nn The Modern Architecture 57 aro DI ALDO ROSSI CH “THE IMAGE OF EK Ne Re ,S G THE CITY” the AM fur AR ao CH rlan KEVIN LYNCH Brutalist Architecture Ebis Pa “DEATH AND H TS d 3 I s ulo PO , 19 CH LIFE OF THE hm B PA ,1 WE 59 GREAT AM en Postmodern + Others 95 LA KU RS AMERICAN 8-6 t EH GY CE SQ “THEORY AND CITIES” AL 1 O T U M “LEARNING DESIGN IN THE I AR , L J. JACOBS US NA “COMPLEXITY FROM LAS 1ST MACHINE E, C SIU e SP M “THE FRACTAL E AND CONTRAVEGAS” AGE” Co AS osta GEOMETRY “THE DICTION” M, THEORY SCOTT-BROWN “NON-PLAN” R. BANHAM CH OF NATURE” MEGASTRUCr Me VENTURI +N P b VENTURI CEDRIC PRICE “TEAM 10 us nd BENOIT TURE” iem AN SO es PRIMER” ie MENDELBROT FUMIHIKO eye Books & Theories da DI LA r, ALLISON AND MAKI r, B 19 Ro G PETER R ras AR cha 51 DE SMITHSON ilia, “THE LANG. OF LINA’S WORK “DEATH AND -6 CIA +d H 195 Arch Venice Biennials POSMODERN UN LIFE OF THE 5 e M P 8 ARCH” -60 Ge AL HA XI, GREAT CHARLES “AN ANALOGInn The AMERICAN A O Built works JENCKS a CAL ARCHITECCE MoMA Exhibitions “THE IMAGE OF ro, CITIES” Ne Re “UNIVERSAL TURE” THE CITY” the Sa , L J. JACOBS fur STRUCTURE” ALDO ROSSI rl oP KEVIN LYNCH Projects e bis ARCHIGRAM au “THE ands, CIAMS Co hm lo, 1 959 MEGASTRUCrb 19 en Theoretical work “TEAM 10 us 58 TURE” “SEVEN t PRIMER” ie “THEORY AND FUMIHIKO-61 AMERICAN r, ALLISON AND DESIGN IN THE MAKI ****The width of the line indicates UTOPIAS” 1 Editorial work PETER 1ST MACHINE “MICROEVENT / 95 DOLORES “THE RISE OF SMITHSON the relevance of each project.

AGE” MACROEVENT” 1HAYDEN LINA’S WORK POSMODERN R. BANHAM SUPERSTUDIO 65 CH ARCHITECTURE” Furniture design CHARLES AN JENCKS “POST Built works DI FUNCTIONA“ARCHITECG “UNIVERSAL LISM” TURE AND AR STRUCTURE” Seminar: Unorthodox Architectures _ Professor: Juan Herreros _ Student: Rocio Crosetto Brizzio _ AAD Fall 2021 _ GSAPP LINA BO BARDI /// ARCHITECTURAL CONTEXT Projects PETER PRAXIS UTOPIA” “DEATH AND ARCHIGRAM “SILENCE AND H EISENMAN MANFREDO LIFELIGHT” OF THE PA TAFURI “THE ARCH. GREAT LOUIS KAHN LA Theoretical work OF THE CITY” AMERICAN Modern Architecture CE ALDO ROSSI CITIES” , L J. JACOBS Editorial work “MICROEVENT / Brutalist Architecture e MACROEVENT” Co “THE SUPERSTUDIO MEGASTRUCrb Furniture design Postmodern + Others “TEAM 10 us TURE” PRIMER” ie FUMIHIKO r, ALLISON AND MAKI “LEARNING “ARCHITEC19 “COMPLEXITY PETER FROM LAS TURE AND 51 AND CONTRASMITHSON VEGAS” LINA’S WORK PRAXIS UTOPIA” DICTION” “SILENCE ANDSCOTT-BROWN THEORY “NON-PLAN”-6 MANFREDO VENTURI LIGHT” VENTURI CEDRIC PRICE 5 TAFURI “THE ARCH. LOUIS KAHN OF THE CITY” Modern Architecture Built works Books & Theories ALDO ROSSI lo

Modern Architecture

MoMA Exhibitions

THEORY

CIAMS

Books & Theories

****The width of the line indicates the relevance of each project.

Arch Venice Biennials MoMA Exhibitions

Seminar: Unorthodox Architectures _ Professor: Juan Herreros _ Student: Rocio Crosetto Brizzio _ AAD Fall 2021 _ GSAPP Brutalist Architecture Postmodern + Others

“COMPLEXITY AND CONTRADICTION” VENTURI

Arch Venice Biennials

THEORY

CIAMS

****The width of the line indicates the relevance of each project.

ithson,

Books & Theories

Seminar: Unorthodox Architectures _ Professor: Juan Herreros _ Student: Rocio Crosetto Brizzio _ AAD Fall 2021 _ GSAPP Arch Venice Biennials

Londo

MoMA Exhibitions

n, 1966

CIAMS

-72

****The width of the line indicates the relevance of each project.

Lina’s Context Diagram. This analythical drawing reflects the work that was happening at the time of Lina Bo Bardi, both in Brazil and in Europe; both in terms of buildings and Seminar: Unorthodox Architectures _ Professor: Juan Herrerosand _ Student: Rocio Crosetto Brizzio _ AAD Fallbuilt 2021 _ GSAPP in terms of written architectural ideas theories.

Regarding architecture, the diagram traces specifically the most representative works in Rational Modern and Brutalist Architecture.

55

SAO PAULO

SALVADOR DE BAHIA

56 WWII, 1939 - 1945

MILAN

LINA BO BARDI /// LIFE & WORK PLACES 1972

1971

1970

1969

1968

1965-1975 10 YEARS OF NO ARCHITECTURAL

15,500 ITAMAMBUCA COMPLEX

8,200 CHAME - CHAME HOUSE

6,100 VALERIA P. CIRELL HOUSE 8,500 CRONICAS, Sunday page - Editor

MOVES TO BAHIA

PIETRO MARIA BARDI - Curator

ASSIS CHAUTEBRIAND - Comissioner + art collector

Influenced Lina’s phylosophy

BRUNO ZEVI, long-life friend

Lina travels to ITALY, to seek refuge at her sister’s place - feeling threatened by the Military Government in Brazil

Inaugural Exhibition at the MASP in 1969 expanding the previous Bahia and Nordeste exhibitions, displaying popular artifacts of Brazil

Italian Marxist & phylosopher,1891-1937

ANTONIO GRAMSCI

136,000 MASP

93,400 SOLAR DE UNHAO Refurbishment

Trip to BARCELONA - GAUDI WORKS

“CIRCO PIOLIN”

“CANDIDO PORTINARI’S WORK” Scenic Architecture, MASP, 1970

“A MAO DO POVO BRASILEIRO” MASP, Sao Paulo, 1969

“NORDESTE” Museu de Arte Popular, Salvador de Bahia, 1963

“BAHIA” Ibirapuera Park, Sao Paulo, 1959

“MASP COLLECTION TOUR” Europe, 1956-57

UNIVERSIDADE DA BAHIA Architectural Theory course, 1958

FAU USP “Decorative composition” Interior Design course, 1955-56

MASP Industrial Design course, 1951

“5TH INTERNATIONAL CONGRESS OF PHYCODRAMA” Scenic Architecture, MASP, 1970

“IN THE JUNGLE OF CITIES” Scenic Architecture for the theatre play, director Jose Celso Martinez Correa, Sao Paulo, 1968

“A COMPADECIDA” Scenic Architecture for the film, Brejo Seco, Pernambuco, 1968

TEACHING

1967

1966

1965

1964

1963

1962

1961

10.000

1960

1959

1958

1957

RINO LEVI + VILANOVA ARTIGAS invite her

Theoretical production in the discipline

GETS REJECTED at a Teaching Position at the Sao Paulo Univeristy, 1957

Architecture projects that were not constructed

Exhibition TOUR of the MASP collection in Europe and New York City, 1956

Visiting Professor at the FAUUSP - Interior Design Course “Decorative Composition”

73,300 HABITAT - Founded and Directed

ASSIS CHAUTEBRIAND MUSEUM ON THE SEA SHORE 160,000 GLASS HOUSE 110,000 41,500 BOLW CHAIR 27,800 BOLA ARMCHAIR 19,400 ZIG ZAG CHAIR 19,200 AFFORDABLE HOUSING

Architecture projects that were constructed

13,700 THEORETICAL TEXT

BRUNO ZEVI NATURALIZES BRASILIAN - gets the Brazilian Citizenship - 1951

Furniture designs

“Propaedeutic Contribution to the Teaching of Architecture Theory” - 1957

20,500 TRIPOD CHAIR

19,100 ROCKING CHAIR

Illustrations, drawings & magazines related

1956

1955

1954

1953

1952

1951

1950

1949

1948

SAUL STEINGBERG GETS MARRIED - art dealer, gallery director, and critic PIETRO MARIA BARDI - MOVES TO BRAZIL to escape the pressures of the postwar government

GIO PONTI

WW2 BOMB DESTROYS BO & PAGANI OFFICE

CARLO PAGANI

STUDIO BO E PAGANI

ANTONIO GRAMSI

250.000

1947

21,500 DOMUS - Editor Deputy

43,400 A: ATTUALITA, ARCHITECTTURA, ABITAZIONE, ARTE

88,500 LO STILE – nella casa e nell’arredamento

Joins the COMMUNIST PARTY in Italy and the Resistance againt the Fascisim

THESIS PROJECT “Núcleo asistencial de maternidad e infancia”

ARCH SCHOOL - LA SAPIENZA UNIVERSITY

Google Searches

1946

1945

50.000

1944

1943

1942

1941

1940

1939

1938

1937

1936

150.000

1935

1934

1933

200.000

DICTATORSHIP IN BRAZIL, 1964 - 1985

MUSSOLINI IN POWER Italy, 1925 - 1945

Born: December 5th, 1914, Rome

100.000

1932

1931

TIME

1930

SCENIC ARCHITECTURE / SCENOGRAPHY DESIGN IN THEATRE AN FILMS

CURATOR IN EXHIBITIONS

POPULARITY

OTHER PLACES IN BRAZIL

NEW YORK

VENICE

TOKYO

THE NETHERLANDS

LOS ANGELES

MADRID

CHICAGO

LISBON

BARCELONA

MUNICH

OSLO

MEXICO CITY

Lina’s Biographic Diagram. This analythical drawing reflects the life of Lina Bo, since she was born till h The relevance of the work is measured on Google entrances, and it is coloured according to the type of w

Unorthodox Architectures _ Professor: Juan Herreros _ Student: Rocio Crosetto Brizzio _ AAD Fall 2021 _ GSAPP her death. It also includes theSeminar: “re-birth” of Lina, through the most relevant publications and exhibitions of her work. work (project, built work, text, furniture, illustration and editorial, etc).

57

SECOND OIL SHOCK

OIL EMBARGO

“RE-BRITH”

DEATH

OIL CRISIS, 1973 - 1979

2020

2019

2018

2017

2016

2015

2014

2013

2012

2011

2010

2009

2008

2007

2006

2005

2004

2003

2002

2001

2000

1999

1998

1997

1996

1995

1994

1993

1992

1991

1990

1989

1988

1987

1986

1985

1984

1983

1982

1981

1980

1979

1978

1977

1976

1975

1974

1973

TROPICALIA MOVEMENT

“LINA BO BARDI: HABITAT” Museo Jumex, Mexico City

“THE VALUE OF GOOD DESIGN” MoMA, New York

“DESIGNING MODERN WOMEN 1890-1990,” MoMA, New York

“ART ON DISPLAY: Frams de expor 49-69,” Calouste Gulbenkian Museum, Lisbon

Scenic Architecture MASP, Civic Plaza, 1972

FIRST & ONLY EXHIBITION OF LINA’S WORK BEFORE HER DEATH

“LINA BO BARDI EXHIBITION” FAU USP, Sao Paulo, 1989

“AFRICA NEGRA” MASP, 1988

“ENTRE-ATO PARA CRIANCAS” Children & animals SESC POMPEI, 1985

“CAIPIRAS, CAPIAUS: PAU-A-PIQUE” Rural architecture and peasant culture SESC POMPEI, 1984

“PINOCCHIO: HISTORIA DE UN BONECO ITALIANO” SESC POMPEI, 1983

“DESIGN NO BRASIL: HISTORIA E REALIDADE” “O ‘BELO’ E O DIREITO AO FEIO” “MIL BRINQUEDOS PARA A CRIANZA BRASILEIRA” SESC POMPEI, 1982

“REPASSOS” with Edmar Jose de Almeida, MASP, 1974

“EROS MARTIM GONCALVEZ LIFE” with set designer Helio Eichbauer, MASP, Civic Plaza, 1973

“PHYSICAL & PATAPHYSICAL FOLLIES” Scenic Architecture and costume design, theatre play, director Carlos Rosset, Sao Paulo, 1985

“GRACIAS, SEÑOR” Scenic Architecture, theatre play, director Jose Celso Martinez Correa, Sao Paulo, 1972

“PRATA PALOMARES” Scenic Architecture for the film, director Andre Faria Junior, Sao Paulo, 1970

“LINA BO BARDI DRAWING” Fundació Joan Miró, Barcelona

“LINA BO BARDI: HABITAT”, MASP, Sao Paulo

“CASA DE VIDRIO, The Norwegian Glasshouse,” A Oslo, Norway

“LINA BO BARDI: 100. Brazil’s Alternative Path to Modernism,” Pinakothek der Moderne, Munich, Germany

“KALEIDOSCOPE: abstraction in architecture,”

“CENTENARIO LINA BO BARDI (1914-2014),” Museu de Arte Moderno, Bahia, Brazil “BRAZIL MODERN”

“ALBERT FREY AND LINA BO BARDI: A Search for Living Architecture,” Palm Springs Art Museum

“LINA BO BARDI: TOGETHER” Graham Foundation, Chicago

“MODERNO: Design for Living in Brazil, Mexico, and Venezuela 1940-78”

“LINA BO BARDI: TUPI OR NOT TUPI. Brazil, 1946-1992,” Fundación Juan March, Madrid, Spain

“MAKING SPACE: Women Artists and Postwar Abstraction,” MoMA, New York

“ANOTHER REALITY: After Lina Bo Bardi,” Stroom Den Haag, The Hague, Netherlands

“LATIN AMERICA IN CONSTRUCTION: Architecture 1955-1980,” MoMA, New York

“LINA BO BARDI”, by Zeuler R. M. de A. Lima - Foreword by BARRY BERGDOLL - Yale University Press, 2013

12th INTERNATIONAL ARCHITECTURE BIENNIALE, La Biennale di Venezia, Venice, Italy

“WHEN LIVES BECOME FORMS – Contemporary Brazilian Art: 1960-Present,” Museum of Contemporary Art, Tokyo, Japan

“CAN BUILDINGS CURATE” Storefront for Art and Architecture, New York

Death: March 20th, 1992, Sao Paulo - 77 years old

RETURNS TO BAHIA

210,000 TEATRO OFICINA Renovation

Sao Paulo University Retrospective Exhibition and Conference - First conference of Lina in Sao Paulo

46,100 SAO PAULO CITY HALL

MAX BILL

JOSE CELSO MARTINEZ CORREA - Comissioner

CAETANO VELOSO

GLAUBER ROCHA

disciple of

72,400 HISTORIC CENTER OF SALVADOR DE BAHIA 16,400 BARROQUINHA PROJECT

82,500 SESC POMPEIA

EDMAR DE ALMEIDA

TOMAS MALDONADO, “Design, Nature and Revolution: Towards a Critical Ecology”, 1970

Lina travels to MADRID “12th World Congress of the International Architects Union” + visit to Morocco, Barcelona, Paris, Rome and Milan

Lina travels to JAPAN

35,100 BENIN HOUSE CULTURAL CENTER 25,500 FREI EGIDIO CHAIR 5,500 LADEIRA DA MISERICORDIA 16,500 GIRAFFE CHAIR

24,400 LINA’S MORUMBI STUDIO

5,000 POLITHEAMA THEATER Renovation

5,100 ANHANGABAU TOBOGA VALLEY

15,100 STOOL SESC POMPEIA

15,100 ESPIRITU SANTO DO CERRADO CHURCH

12,000 SANTA MARIA DOS ANJOS CHURCH

11,700 COOPERATIVE COMMUNITY CAMURUPIM

PROJECTS

ure as the sym Architect POLITICAL Dre Arthur

ollok son P Jack ham Ban

xler

r Sm Pete

ner Rey

on & Alis

Bo

on iths

a Lin

PEOPLE / CO

rd i

Ba

ARCHITECTUR

tt co yS dle as Ri rtig aA ov

lan Vi l ae ich

M

d or df Ra

Cl in or do

MASP 1957

s Te ta

La ca

to

n

&

Robin Hood SESC Gardens Pompeia 1972 1982

FAUSP 1961

Va ss a

l

ICE

An

ton

Grand Parc 2017 KG DV

io B ern

Palais de Tokyo 2014

S

i

ption Practices: Re-novate, Re-use, R -Consum e-hab al Anti ilitate Critic

“Collaboration” 2017

Granby Four Streets 2013

Rotor DC 2016

Mondongo

Modernism

scalli

Online Platforms

oB

elo

P

ard

Trap 1968

Performance

Typological Corrections

Untittled 1968

Conceptual Art

Climate

Science and Technology Studies

Actor-Ne Theo

Cloud City 2012

i

ole ist

Inter-sp Allian

Arte Povera

Espírito Santo do Cerrado Church 1976

aB Lin

M27 transformation 2019

tto ST

BA

LIN BO BAR

Cyclability

Material Reuse

Venus of the Rags 1967

ue Jaq res And is nell u o K nis Jan

Latin Am Bruta

Objects

Counter Culture

“Deconstruction” Volume #51 2017

“IKEA Disobedients” 2011

Pa

ng

Exhibitions

Anti-Mass Consumption

Sweet Lezzies love to lick 2004

o Bardi

ela ch Mi

TEC DIA / ME

Alternative Material Exchanges

Skull 2004

Teatro Oficina 1984

Pino

H / ART M ARC

Radical Structures

Collective Practices “From up here, it’s a whole other story” 2018

Careno Be.Circular 2016

Lina B

Mat Expre

Social Utopia

Juanito Laguna Va a la ciudad 1961

Yardhouse 2014

Rotor

Nineteen Eigthy Four 1984

La Gran Ilusión 1962

Cineroleum 2010

FILM / TV / PER

/ ME CEPTS CON

Blade Runner 1982

City Villa 2008

mble

PAINTING

1976

Harrow Lowlands 2014

Asse

“Latin American Arch since 1945” MoMA,1955 BOOKS /

“The New Brutalism: Ethic or Aesthetic?”

1966 “Megastructure: Drip Painting Urban Futures of the 1951 Recent Past”

The Bank of London 1959 OF F

EXHIBITION

Arachnophilia 2009 Future Assembly Thirty-Three 2021 Herbs The Hidden Life 1989 Within

M26 réhabilitation et extension 2018

2011

Valeria P. Cirell House 1957

The Weather Project, Tate 2003

“Dow

no i ard

Black Cloud 2011

I’m L in Pa 200

Francois Roche

Amid Cero 9

Lina B o

Gius eppe

Bardi

ne

son fur Elia s Ola

Peno

ac e

Ladeira da Misericordia 1987

Li n aB oB

To ma sS

ar

Lin a

Bo

Ba rd i

Itamambuca Complex 1965

“Facing Gaia” 2017

Ice Watch, Tate 2014

ter-species enga gement s

LINA BO BARDI /// HETERODOX PRACTICE

Lina’s Unorthodoxical Practice Diagram. This analythical drawing shows the unorthodoxical concepts a characters, architectural works, books, films, pieces of art, etc.

58

mbol of a social pr oject

Ba lie cio ora

ick

&H

ubr

rdo va Co Ph Da ilip L .G rio o Ar ge odw in nt o

rm en MUBE 1986 Butanta House 1964

ARTICLES

Co

Gym Paulistano Cementery 1958 Mar del Plata 1963

“Latin America in Construction Arch 1955-1980” MoMA, 2015

Le

N / LECTURE

rb u

Ca

RE / ARTIFACT

Chandigarh 1950

“Brazil Builds: Arch new and old, 1652-1942” MoMA, 1943

G / IMAGES

Al

Tenebrae 1982

Futurism

MOVEME NT

Social Dystopia

Guarani Republic 1981

A negra 1923

Indigenous Arch Drawings

Craftwork Knowledge

Espiral Home 1966 Precarious 1990

More-thanHumans

e Crisis

Antropology

Avatar 2009

wn to Earth” 2018

“When Species Meet” 2008

Lina Bo Bardi

Balkrish Diego

Willi

Lina

Frei Egidio Chair 1987

R .W .B

cilia

run

Yellow Dust 2017

Pi er re

Fr e

na Dosh

i

Rivera

Web er

& Sim

os Ya

nnas

Bo B

ardi

Vic uña

skil

l

y

Sensing Aeropolis 2006 r Ne iz

llo

lo Bo

lvi Ca

Lu

ea

Chame-Chame House 1958

Cosmo 2015

es gn i

ao

oB

a Donn ay

meron

w Hara

James Ca

Lina Bo Bardi

Bruno Latour

e aqu es J

i ard

r And

tta va Cia

aB

rdi Ba

tav

Bo

Es

a Lin

Tecno Human 2003

Sao Paulo City Hall 1992

HABITAT 1952

Lin

Lost aris 08

“The Companion Species Manifiesto” 2003

Richard Sennet

Santa Maria dos Anjos Church 1977

“Lessons from Vernacular Arch” 2013

ré

Frida Kalho

Ce

Amazonia S.A. 2019

ubilla

Francis Ké

Lessons from Vernacular Arch 2014

The Last Forest 2021

etwork ory

C Joseto

Sangath 1981

Illustrated Handbook of Vernacular Architecture 1978

er

g Herin

Lina Bo Bardi

Baile en Tehuantepec 1928

Low-Tech

Anna

Handmale School 2007

Benin Cultural Center 1987

Lo Stile 1941

Symbolism

y ofsk Rud

Primary School Gando 2009

The Craftman 1964

pecies nces

Video

d nar

Ber

Takuru 2016

Autorretrato con chango y loro 1942

Crafts

Vernacular

Ta

Abaporou 1928

Architecture without architects

ba aya Ac ral ma oA ad rsil

rco

the past; the vernacular as souce of w ing from isdom Learn

Primitivism

Post Modernism

NA O RDI

“Architecture without Architects” MoMA, 1964

A cuca 1924

Films

merican alism

Ma

Residencia Baeta 1991

Brutalism

CHNOLO GY

rde Bo

New Hope School 2009

A Clockwork Orange ETHODOLO GIES 1971

terial ession

k

ac

oB

lvi

Sy

Unite d’Habitation de Marseille 1952

Childbirth 1944

RFORMANCE

s ie r

ub u ffet

yK

Sta

Jea

nle

nD

Barr y

Paulo

OLLECTIVES

Berg doll

Mend

ro

es da

Roch

a

L PROJECT

cern & I mental Con Environ Seminar: Unorthodox Architectures _ Professor: Juan Herreros _ Student: Rocio Crosetto Brizzio _ AAD Fall 2021 _ GSAPP

around Lina Bo’s work and the main ideas that configurated her architectural production. It sets relations with other relevant

59

TYPOLOGICAL CORRECTIONS Unorthodox Adaptations in NYCHA Housing, East Harlem, NYC

Authors: Rocío Crosetto Brizzio, Ruben Gomez Ganan and Leon Duval Role: Research, General Design Strategy, Technical Drawing, 3D Modelling, Presentation Studio Tutor: Prof. Juan Herreros Fall Semester - MS AAD, GSAPP, Columbia University Status: Academic Project - Design Research East Harlem, New York City, US 2021

How do we live together?

What do we share and when do we isolate ourselves?

Which are the devices that live within us?

Which are the people around our most intimate spaces?

This project addresses the issue of collective housing in terms of a collection of heterodoxical rooms of different sizes and qualities, which can host different activities and alter their use according to the residents’ demands. The project is built under the idea - developed in large by Pier Vittorio Aurelli in his book Less is Enough - that each person should have their own single room. The private room is the minimum intimate space needed to cover the desire for isolation that humans have. Even though we always speak about sharing, what is true is that most times we want to be alone. This project makes a single but radical alteration to the NYCHA plan, fragmenting the type into a series of individual rooms that are equipped by plug-in minimal devices (such as kitchenette, shower, toilet, closet, stairs). Rooms can enlarge, of course, because we believe that the minimum intimate space may need to expand sometimes in our life. Rooms connect horizontally though the “passing-door” device and vertically through the internal stairs device. This way of understanding the private space as an empty room with its own internal infrastructure (the equipment) allows us to re-invent the concept and the use of the intimate. One room could be many things; the other could be just one. One person could have just one room or three people could share 3, 4, or 5 rooms. In addition, these could be connected “in plan or in section”. The collective is performed in 3 open floors, at the ground level, in an intermediate terrace and on the rooftop. The collective space is flexible and also supported by small infrastructures.

60

General Axonometric. The research-design project develops posible heterodox adaptations on NYCHA Housing Buildings. The proposal changes radically the arrangement of the original typologies, rotaring them and adding an external balcony that allows the entrace to the “rooms”.

61

Analitic Collages. They represent the idea of fragmentation and miniaturization of the spaces. By “distroying” the original plan of an sports center, a clinic, a theatre or a child care center we are able to re-arrange the structuring elements of the type and produce a collective type for the NYCHA building.

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Analitic Collages. They represent the idea of fragmentation and miniaturization of the spaces. By “distroying” the original plan of an sports center, a clinic, a theatre or a child care center we are able to re-arrange the structuring elements of the type and produce a collective type for the NYCHA building.

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Isonometrics. 1. Type plan / 2. Intermediate terrace / 3. Ground floor and flooding pond access / 4. Interior of appartment unit

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Collages. 1. Balcony / 2. Intermediate terrace / 3. Ground floor and flooding pond access / 4. Interior of appartment unit

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ARCHITECTURE II Studio Assitant Professor at the Architecture II Studio School of Architecture, Urbanism and Design National University of Córdoba Team: Head Professor Architect Adolfo Mondejar, Studio Professor Architect Juan Manuel Balsa, Studio Assistant Professor Architect Rocío Crosetto Brizzio Role: Assist Studio Professor Juan Manuel Balsa. Give regular lectures on different topics related with architecture theory and history. Control and guide the students’ work through the year and provide them with additional references to expand their knowledge and interests.

Academic Activity - Assistant Professor Córdoba, Argentina 2018 - 2020 The Architecture II Studio is the 2nd year core design studio at the School of Architecture, Urbanism and Design of the UNC. The course is focused on the design of living spaces, in particular individual and collective housing. The course provides students with theoretical, practical and visualizing concepts to better address the challenges of housing.

At the Architecture II Studio we focus on two main points: the conceptual and theoretical component of each project and communication and drawing skills of the student. The course is organized in theoretical lectures and studio classes. In the lectures we share different historical and contemporary approaches to collective and individual housing by showing and discussing important referents of the 20thand 21stcentury architecture. Different discussions take place at the studio such as today´s new challenges related with housing provision, the positive or negative impacts that new urbanizations could have in our city, strategies that could recover degraded areas through smart and diverse housing investments, etc.

These images make a perfect example of how I conceive my work as an architecture assitant professor, as I am responsible of showing the students these two sides of Architecture: Theory who is looking up, thinking and conceiving a future world; and Practice who is with her face to the ground, measuring, analysing and making marks in the terrain.

Personification of Theory From Cesare Ripa

Personification of Practice From Cesare Ripa

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2020 Students Projects. These images show the students’ first projects of the Architecture II Studio. Students had to produce specific interventions in other existing homes from three selected architects (one from “the world”, other from Latin America and other from Córdoba)

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RO C Í O C RO SE T T O BR I Z Z I O +1 646 961 5762 rc 3 4 2 0 @ c o l u m b i a . e d u C ó rd o b a / N Y C 2022

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