Thaylini Luz - research, curatorial practices and anarchitecture portfolio (EN)

Thaylini Luz

research, curatorial practices and anarchitecture thayliniluz@gmail.com +55 41 992441266

I became an architect at the Federal Technological University of Paraná in 2015 and since then I have been deviating myself to anarchitectural practices. I am currently in pursuit of research and curatorial practices as an undisciplined architecture.

Professor of design and theory of architecture Catholic College of Santa Catarina feb 20 - current / Joinville, Brasil Architectural design studio also theoreticalpractical chairs.

18/ 2019 Certified in Art History Claretian College/ Curitiba, Brasil.

Researcher, curator, and founding partner TEU TUA <teutua.com> feb 19 - jun 20 / Curitiba, Brasil TEU TUA (it would translate to YOURS from the Portuguese) was a collective space that supported and inspired the local architectural community.

focus: teaching-learning practices in art 15/ 2016 Certified in Hybrid Arts Federal Technological University of Paraná/ Curitiba, Brasil. focus: performance art and architecture 09/ 2015 Bachelor of Architecture and Urban Studies Federal Technological University of Paraná/ Curitiba, Brasil. thesis: parasitic multi-programmatic structures in the center of Curitiba/PR

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oct 19 - 20.

YOUR Circle. Curatorship and Production/ page 2 may 20.

Anarchitecture study group. Workshop / page 4 may - dec 19.

Book releases ‘Inside the Mist’ by Guilherme Wisnik and ‘Contemporary Architectures in Paraguay’ organized by Goma Oficina. Curatorship and Production/ page 5

Architect and founding partner CORA ATELIER aug 15 - dec 18 / Curitiba, Brasil Cora was an experimental architecture studio, which aimed to understand the gesture of architecture at different scales.

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Collage workshops; UFPR and Catholic College of SC, BR. Workshop/ page 6 aug 17.

The Museum of Stolen History; Non Architecture Competitions, alternative designs for museums.

Finalist Project/ page 8 may 17.

Ex-Posto, Municipal Museum of Art (MuMA), Curitiba, BR. Site Specific and Exhibition/ page 11 dec 16.

The Water Wing; Non Architecture Competitions, alternative designs for sport facilities. Winner Project/ page 9 oct 16.

Architecture for sale Soma Galeria, Curitiba, BR. Performance and Exhibition/ page 12 sep 16.

Vacant, Curitiba, BR. Research and Site specific/ page 13 aug 16.

Factory of the Absurd; Non Architecture Competitions, alternative designs for factories.

Honorable Mention Project/ page 10

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YOUR

circle

oct19 - 20. Curatorship and Production

oct 19. meeting between the participants. photo by Thuany Santos.

so much me, one point so much space, one circle.

The agenda is completely backward, it’s yours, ours, nothing hierarchical. This is YOUR circle. In your/ours house, your space for discussing architecture, professional practice, creative processes, dehierarchization of knowledge.

The YOUR circle was a group of theoreticalethical meetings to discuss the professional practice of architecture. My role at the TEU TUA space was to create and produce activities around the practice of architecture.

With the project YOUR circle, I organized a meeting space for support and motivation, based on the collective experiences. An experience catalyzed with the participation of selected guests with diverse practices.

Competition is the foundation of the architecture school and job market, and despite being a powerful tool to encourage innovation, competitiveness is exhausting for most students and young architects.

What we have proposed is, as opposed to competitiveness, community.

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We meet every two weeks for a year, in the first meeting of the month with guest tutors who brought topics and their experiences to share, and in the second meeting, a moment of intimate sharing among the group’s participants.

YOUR Círculo received as guests: the writer and professor of School of Writing Julie Fank, the architect Victor Dentello of CWBIM, the architect and designer Ana David of Goma Oficina, the architect Emerson Vidigal of Estudio 41, the artists Neto Machado and Jorge Alencar, architect Marcelo Maia from the São Paulo office Andrade Moretin, architects Maria Raquel Rangel and Julio de Luca from Sertão Arquitetos and Cassio Sauer and Elisa Martins from the Sauer Martins office.

TEU TUA was a free space for thinking and acting in architecture based in Curitiba between 2019 and 2020. It was created and developed by me, Thaylini Luz, and by architects Juliano Monteiro and Jéssica Brodhage.

dec 19. meeting with architect and designer Ana David of Goma Oficina. photo by Thuany Santos.

nov 19. meeting with architect Vitor Dentello from CWBIM. photo by Thuany Santos.

sep 19. meeting between the members. photo by Thuany Santos.

jan 20. encontro com a presena dos artistas Neto Machado e Jorge Alencar da Dimenti Produıes Culturais. foto de Thuany Santos.

jan 20. meeting with artists Neto Machado and Jorge Alencar from Dimenti Produıes Culturais. photo by Thuany Santos.

may 20. virtual meeting with architects Maria Raquel Rangel and Julio de Luca from Sertªo Architects office.

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Anarchitecture

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study group may 20. Workshop

may 20. first virtual meeting of anarchitecture study group.

Here is what we have to offer you in its most elaborate form - confusion guided by a clear sense of purpose. Gordon Matta-Clark -

publicity piece of the anarchitecture study group.

From my postgraduate research, I selected six artists and/or architects whose works fall within the boundaries between the disciplines of art and architecture to trigger discussions on the topic. There were six meetings, six undisciplined, some texts, many images, and a lot to experiment: Gordon Matta-Clark; Hélio Oiticica; Lina Bo Bardi; Bernard Tschumi; Gianni Pettena and Bernard Rudofsky.

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may - dec 19. Curatorship and Production

Inside the mist, Guilherme Wisnik

In 2019, we organized book launches that fall within the context of debate and critique of contemporary architecture production, the first book released from the TEU TUA space was “Inside the mist: contemporary art, architecture, and technologies” with the presence of the author Guilherme Wisnik, on 2019-05-20.

At the event, architects, researchers, artists, and students from the city of Curitiba had direct contact with the author, enhancing reflections on the text and encouraging the creation of action projects with different possible positions of architecture concerning contemporary society

may 19. launch of Inside the mist with a lecture by the author and an autograph session. photos by Thuany Santos.

Contemporary Architectures in Paraguay, Goma Oficina Next, we launched the book “Contemporary Architectures in Paraguay” collectively signed by Goma Oficina. The event took place on 2019-12-14 at TEU TUA. The book is a bilingual publication (Portuguese-Spanish) that reveals the richness and inventiveness of contemporary constructions carried out by a new generation of Paraguayan architects. At the launch event, architect Ana David presented the book project and told a little about Goma Oficina’s practices.

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dec 19. launch of Contemporary Architectures in Paraguay with a lecture by Ana David. photo from personal archive.

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Collage workshops 16 - 18. Workshop

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2016.

5_8 Assembly of the collective collage THE HOUSE developed by UFPR students.

The collage workshops were part of a sequence of experimental projects by Cora Atelier, a work environment created by me and my colleague Rafaela Agapito.

The workshops were held based on invitations from academic organizations of the undergraduate and architecture and urban studies programs in the region of Curitiba, PR, and Joinville, SC, and took place between 2016 and 2018. We created and proposed different exercises in different contexts, we started from the hypothesis that the collage is not just about an opposition between cut-paste, collage takes place at the time the figures meet, at an interval right after the cut and before the glue act, collage is understood as a game of experiments, bringing fragments closer and further apart, and from this game a horizon of possibilities opens up. We explore some of these possibilities.

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6 2016. in situ collages developed by UFPR students.

1 Bruno Douat 2 Gabriela Moro and Gabriel Tomish 3 Nicolie Duarte 4 Ingrid Schmaedecke The complete portfolio can be accessed at: https://issuu.com/ coraatelier/docs/ portfolio-oficina

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2017.

2017.

collages developed by students at the Catholic College of SC.

13_14 students during the workshop at the Catholic College of SC.

9 Marcos Medeiros 10_11 Julia Zanella 12 Francine Tavares

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Museum of Stolen History nonarchitecture competitions aug 17. Finalist Project

Finalist proposal for Showing, international competition of the organization NonArchitecture Competitions. Presented by the architects of Cora Atelier Thaylini Luz, Rafaela Agapito, and Miguel Pereira.

Since ancient times the conquerors take the treasures of the defeated. There are millions of looted artefacts around the world, especially in widely known museums such as the British Museum, the Louvre Museum and the ones on Museum Island in Berlin. Most of these institutions bear in their history the marks of being repositories for stolen art in the context of war, imperialism, and colonialism and have these objects in exhibition till this day.

Currently, the cases of repatriation have been rising and one of the most common argument in defense of the museums is the notion that cultural heritage belong to the world, not to a people, therefore should stay on a cosmopolitan place such as London and Paris. However, why should the western cities represent the world’s view and perpetuate the inequalities between the west and the rest of the world? Why should the artefact only be studied by European professionals and scholars?

Seeking to distance itself from any sort of

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political games of strength between countries, The Museum of stolen history is placed in the international waters. It functions as a self-government institution: all the looted art is rescued from these museums that perpetuate the colonialist narratives and are taken to The Museum of stolen history where they will be studied. In more ways than none this museum is not really a museum, it’s an antimuseum or even more so - It’s a disciplinary action.

The Water Wing

nonarchitecture competitions dec 16. Winner Project

Winning proposal for Training, international competition of the organization NonArchitecture Competitions. Presented by the architects of Cora Atelier Thaylini Luz, Rafaela Agapito, and Miguel Pereira.

Of all sports facilities placed at public urban areas those that include pools are a rarity. Thus, in a utopian exercise it was created a public urban system dedicated to watersports in the capital of Brazil, Brasilia. The system transgresses the urban plan of the city and composes with the south and the north wing of the pilot plan with the intention of creating a new wing per say, though not for cars but for water: The Water Wing.

Brasilia, the federal district, recently received the title of the World Water Capital*, ironically, the city is known as being practically a desert.

Between the months of June and September the weather becomes so dry, that all the green fields become brown and citizens start placing bowls of water around the house for humidity purposes. The Water Wing is a 12km elevated pool

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for sports, fitness and recreational purposes, where all bodies are welcome - sick, fit, rich, poor, old, young and Olympic – with the purpose of displaying water sports as an urban installment and transform Brasilia in a truly water capital, whilst humidifying parts of the city.

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nonarchitecture competitions aug 16. Honorable Mention Project

Proposal with an honorable mention for Making, international competition of the organization Non-Architecture Competitions.

Presented by the architects of Cora Atelier Thaylini Luz, Rafaela Agapito, and Miguel Pereira.

This is a very ironic factory, not interest in the logical (in this sense meaning simple and effective) but only the absurd, and it is so because it measures time in an obviously ineffective way.

However, this is more than a machine or a factory since it questions the way we’ve had been ruled by time, and more specifically: the clock. Not so long ago men would experience time trough perception and fifteen minutes wouldn’t cause any commotion of tardiness, but the industrial revolution changed that and the tyranny of the clock together with the imposition of work discipline became a fact of life.

Nevertheless, in the factories world, men became unproductive when compared to machines that

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didn’t sleep or eat or loved, robots work until they break. Therefore, if the factory of the absurd was operated by a robot than it wouldn’t be absurd, it wouldn’t be inefficient.

But should efficiency be everything? Would a product be better or it would just produce more quantity resulting in more waste? The factory of absurd question the quantity versus quality in the production of goods.

ex-posto brownfields may 17. Site Specific and Exhibition

Every two years, the exhibition “Architecture for Curitiba” takes place, in which the city’s offices are invited to propose a practice and discussion project on a theme presented by the curatorship. In 2017, with Cora Atelier, based on a survey of urban voids, we proposed a look at the areas called Brownfields. The project was developed in the form of urban intervention, an exhibition of the intervention records at the Municipal Museum of Art in Curitiba (MuMA), and a new assembly of the work with a performance at the museum.

Brownfields are idle or underutilized areas on contaminated soil. These areas are usually related to deindustrialization processes: the abandonment of old manufacturing structures and the lack of waste isolation end up contaminating the soils. However, most of the contaminated areas in the state of Paraná are in urban areas, under gas stations. According to the Paraná Environmental Institute, of the approximately 3000 gas stations in the state, 20% (or 600 stations) had some type of contamination. These gas stations, when deactivated, usually remain abandoned, because for the land to be reused it is necessary to remediate the soil, a slow and costly process.

The brownfields then become vacant terrains in the urban fabric, in the sense of Solà-Morales’s expression, “terrain vague”, connected to the physical idea of ​​waiting and potentially usable, indeterminate, and unstable piece of land.

These are lands awaiting action by government agencies, soil remediation, regularization, and an architect or another spontaneous, illegal occupation by a nonarchitect.

From these discussions, we proposed an act. An act on the brownfields.

An articulating act. The project was developed in collaboration between Cora Atelier architects and architecture grad students.

2017. site specific photos by Muryel Gomes; photos installation at MuMA by Felipe Gomes; photo catalog of the exhibition of personal archive.

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architecture for sale

oct 16. Performance and Exhibition In 2016, Cora Atelier did a residency at SOMA Gallery, where we established ourselves as an architectural and non-architecture practice office. As a way of placing ourselves in the field of visual arts, we asked ourselves about the salable product of architecture and produced a series of drawings/collages of functional spaces (or not) and commercialized these images in different contexts, print fair, vernissage, and craft fair.

2016. architecture for sale at SOMA Galeria vernissage. personal archive photo.

We think that above technical specifications, material dimensions, Architecture, and its sale is a visual experience, an image, or a set of images that define the general aspect of the work to be built, of the product to be sold. The objective of this project was to deal ironically with the issue of the production of architecture and consumption of images, the sale of an ideal, often treated in a generic and/or surreal way. We also understand that the production of architecture, in addition to being an onerous job, is often undervalued. The symbolic value per figure/image works ironically with the subversion of values ​​paid for the development of these projects, as it questions the accessibility of services provided to the majority of the population.

images in architecture for sale.

2016. architecture for sale at a craft fair in Largo da Ordem in Curitiba. personal archive photo.

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vacant

sep 16. Research and Site specific

2016. site specific on urban void in Curitiba and mapping the voids in the environment of Cora Aletier. personal archive photos.

The project began unpretentious as a mapping of urban voids in the central area of Curitiba and developed as a set of door-licking interventions for these voids on a full scale.

The absence of human presence in the built or the absence of the built is discussed in this urban action/investigation in order to discover the catalytic potential of these places in the urban context. Solà-Morales uses the expression “terrain vague”, in which terrain, in the French term, indicates an urban space that can be either an extension of ground with precise limits, or larger and less precise extensions, connected to the physical idea of ​​a portion of land waiting and potentially usable, and the term vague, epistemologically departs from two Latin origins - vacuum, space not occupied or available, and vagus, imprecise or indeterminate, - and another Germanic one - vagr-wogue, with the sense of instability, movement, oscillation, and fluctuation.

The intervention proposes to understand these spaces as waiting figures, waiting for wandering beings, as in Barthes’s “Fragments of a loving discourse”. Wandering, according to Barthes, “is the human capacity to make mistakes, to wander in search of the beloved body”, the wanderer brings the possibility of change, he brings another language, he reveals the waiting figure as an open being. “If the errant exists, it is because something is waiting. (...) it is also because something was left behind, it was separated, abandoned, fragmented. ” The waiting figure is the receptacle, the host body, it is the being that

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waits for the arrival of the wanderer so that it acquires a different meaning. What is vacant, the terrain vague.

In this context, we propose to discuss the role of the architect’s hand as an articulator of encounters between the waiting space/being and wandering beings. So, we propose to investigate, cut, and denounce these gaps in Curitiba. We mapped the central region of the city in search of these vacant spaces and proposed, as a cut-out/ opening gesture, the collage of door lamps in full scale. The door separates the terrain from its context, reveals its limits and its very existence, creates an opening of reception, a mystery, the desire for encounter, it creates waiting.

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