architecture - gustavo almeida santos

ARCHITECTURESELECTED PROJECTS - GUSTAVO ALMEIDA-SANTOS

This proposal for a theater explores the idea of a theater/audi-torum under the following conditions:

- A cocoon-like design that would create a strong formal con-trast with its surroundings;

- An interior structure that confronts the exterior;

THEATER

I treated this project as a formal exercise, with some references on the whiteness of brazilian architecture but, from my point of view, with a more graphical approach.I also wanted this building to reveal less of its interior. The exterior piazza extends to the interi-or of the building, and the theater itself does not touch the grould floor ( only through stairs and elevators ).

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This project was developed at UCLA’s architecture department, in Neil Denari’s studio.During the group critic, one of the jury members asked me why we, braziliians, like egg shapes ( He then mentioned artist Ernesto Neto and Oscar Niemeyer ).

I am still figuring out why.

The Red Doors Pavilion was an entry for the competi-tion of the Swiss Pavilion for the Expo 2010 in Shang-hai.The following drawings present the initial develop-

ment of the idea/concept that conciles the notion of modernity,nation and cultural identity through the use

of color and the door as a metaphor for welcoming chinese visitors. The entry was awarded Third Prize in

an international competition.

THROUGH DOORS

DOORS

BRACKETS

CABLES

VERTICAL AND HORIZONTAL BEAMS

MASS AND CIRCULATION

BUILDING FORMED

This was the first project at lee+mundwiler architects that I was 100% responsible for, from concept to design development. After

we were sellected for the second round of the competition, we then formed a big design team.

It was then decided that the courtyard, initially thought out to be an immersive total experience of redness, image, and graphic ( in an

almost “superstudio” kind of way ), would then become a more low key space, with benches and gardens.

I respected the design team decision and supported the group until the end of the competition...

BEFORE AFTER

...ALTHOUGH I STILL THINKWE SHOULD HAVE PUSHEDFURTHER.

This proposal for an underground chapel explores sculpture as an element of performance in the space.The chapel is primarily a group of fyber glass shapes that are manipulated through a spyra system. Through its vertical deslocation, the objects create temporary performances, engaging the audience in a surreal experience. As a space of religion, the sculp-tures play with the idea of rebirth and symbology, while bringing techno sounds/intereferences to the sacred space.

JESUS!HELL ,

testing 1,2...1,2..

My idea was to replace the bell tower with an outside*r* element: an intrusive speaker that will emite sound. When done, it would just retract back to the under-ground.

INTERIOR WALLS FILLED WITH SPEAKERS. PRAYERS IN MP3 FORMAT.

FYBERGLASS + SPEAKERS

STEEL STRUCTURE

INTERIOR SURFACE

LIFT / STRUCTURE

FYBERGLASS + SPEAKERS

STEEL STRUCTURE

INTERIOR SURFACE

LIFT / STRUCTURE The chapel would use simple floor retractable systems that are used in theater to accomodate its many uses.

With all the speakers off and with the elements in movement, the chapel will be filled with other sounds:

Machinery, hydraulics, air blowing.

John Cage’s scores were the starting point

of exploration for this proposal for the City of Helsinki.

The idea is to generate a rhythmic organization of elements in the

built environment that would cre-ate unique, complex, rhytmic ori-

ented urban areas. There was not a design for each building, instead the design proposes a city relying on this pre-arranged organization generating its own elements. Each

building, different in shape and volume, would be part of a large

“urban score” .

BEATSPER

MINUTE

FOLLIES

This project was deloped by lee+mundwiler architects design team, and won an international competition in Shenzhen, China, for their Central Park Area design redevelopment.My role, besides taking part in the design process, was also to define a program of use for the park and the relationship that could be developed within building.

I came up then with THE RADIANT CITY FOUNDATION FOR THE ARTS.

The new design for the Park proposes 3 buildings with distinctive functions: The Aqueduct ( Water Pavilion ), The Muse- um, and the Amphitheater. All structures are located closed to each other, facilitat- ing the variety of activities and events. The Foundation for the Arts would be divid- ed in three departments( Film and Video, Contemporary Art, and Perfor-mances).

Film and Video Complex: The Water Pavilion

The water, as a natural element that has sound, reflectivity, movement, and interac-tion works as a metaphor for the activi-ties that happen in the space. The Water Pavil- ion would provide the audience with workshops, lectures, sym- posiums, screen-ings, short film festivals ( extremely popular for being low budget and an excellent way to promote new directors and film schools), and experimental video/film making. The Film and Video Complex will also host the popular Water Film Festival, a festival where all the entries are projected ON the water feature ( see pic below ), creating a unique experience between image and audience. Each entry would have to deal with issues of dis- tortion and sound to better create an exquisite visual experience.

!

The Museum of Contemporary Arts:

As the “ heart “ of the Foundation, it would concentrate most of the administrative activities of the Foundation. It is

also the main exhibition space in the park. All Biennales, International artists’ exhi- bitions, Art Fairs, and major art-related events would happen in this space. Because most

of the Biennales are not limited to one physical space ( and some- times makes it diffi cult for visitors to move from

one place to another ), the Museum can be the departed point, a meeting point, where visitors gather for announce-

ments, lectures, tour and so forth and, later, they can depart for their own destination INSIDE of the park – there

is no need to go anywhere outside of it to attend any art event. The Contemporary Center of Art will also be virtually

linked to each folly in the park through internet connectiv-ity – The follies will become mini branches of the Museum, providing visitors with virtual insights of the exhibition that

is presented. The Museum and the Follies will also host the INTERACTIVE FOLLIES FESTIVAL, where entries

would have to create a parallel world/relationship between the museum and the follies, between the Follies and

Shenzhen, between the Follies and China, and fi nally be-tween the Follies and the World. The whole park would become, through the follies, an outdoor space of connectivity

and experimentation.

The Amphitheater:

As an outdoor space for per-formances, the amphitheater is the place for theater and music. Because of its openess to nature, it is perfect for live ( and loud ) con- certs as well as intimate per-formances. The amphitheater can also host performance artists that are part of the Biennials. There is also the possibility of linking the Amphitheater and the Fol- lies. In a certain way, the Follies are like small stages ( as the tradi-tion of the “Black Box” in theater, a smaller and intimate space for performance, perfect for low budget and experimental theater ). So, small performances and intimate ones can happen in the Follies ( such as Buto japanese theater...or monologues...or read-ings for children ).

· The idea of creating a foundation is based on the design proposal for the Cen-tral Park, as a space of centrality, closeness to nature, architec- tural contemporariness, newness, excellence in architecture, sense of place and cultural identity. · As the heart of the City, The Guang- ming Central Park provides the perfect place for outdoor activities that can accomodate a larger amount of public. · In international festivals and biennials, the activities are not centralized which gener- ates mobility of public around the city. How- ever, tis type of decentrilized event compro- mise the dynamic characteristc of the activities · In this sense, the Central Park can be-come the “ face “ of the events, the kick off of all activities that will take place in and around Shenzhen. · Another positive aspect of the Guang- ming Central Park is its size. Following the tra- dition of main art events, a small town al-lows for a bigger integration and a more con-centrated circle of activities. In Shenzhen, not only the urban mass allows for the creation of a centralized art community but also its close-ness to a big metropolis as Hong Kong allows for inter- change of services and tourist-driven activities.

The construction of the park is currently on hold.

The Geology Museum in Shenzhen,China is a building entirely designed based on the idea of a volcanic rock. Its holes, its textures. It explores the idea of a building that will slowly become part of the landscape, where vegetation will grow on top and where light will defi ne what the interior will look like.

This project is currently under construction.

The rhythmic splay character of this proposal for a yatch club explores architecture as a graphic element within the environment. Through a structurally stressed group of louvres, this project deals with the idea of an enclosed space that detaches itself from its surroundings.

FIRST FLOOR

MAIN ACCESSRESTAURANT

SECOND FLOOR

SAUNA BALLROOM

HAUSThese are some housing proj-ects that I developed in L.A.Some are under construction.My approach, as a designer, is to understand houses as spaces for daily performances, cultural and behavioral state-ments, and locations for land-scape experimentation where botanical and structural issues overlap and resist each other. My designs intend to translate the mundane house into a more pictorial/sculptural territory.

This is a project that is currently under construction. It is a very simple box house. The outside structure is detached from the house, which allows for a one piece curtain to go from downstairs to upstairs, revealing the house as a theater stage.

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25. FIXED WINDOW ASSEMBLY26. SEALANT27. SEALANT WITH BACKERROD28. SHIM30. METAL SILL PLATE32. WINDOW ASSEMBLY

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1. INSULATION, TYPICAL8. METAL LATH9. CEMENT PLASTER10. PLYWOOD SHEATHING11. 2 LAYERS OF BUILDING PAPER12. SELF-SEALING WATERPROOFMEMBRANE22. 3/4" WOOD FLOORING25. FIXED WINDOW ASSEMBLY26. SEALANT27. SEALANT WITH BACKER ROD28. SHIM31. WOOD BLOCKING 10

D1BENCH OVERHANG DETAIL 3" = 1'-0"

D3SECOND FLOOR OVERHANG DETAIL 3" = 1'-0"

D9SLIDER AND DECK DETAIL 3" = 1'-0"

D7LIVING ROOM HEADER DETAIL 3" = 1'-0"D11RECESSED SLIDER HEAD DETAIL 3" = 1'-0"D15PARAPET WITH WOOD SLATS 3" = 1'-0"

D8WINDOW HEAD @ ENTRY 3" = 1'-0"

10. PLYWOOD SHEATHING11. 2 LAYERS OF BUILDING PAPER12. SELF-SEALING WATERPROOF MEMBRANE13. PRESSURE TREATED SEAL14. WOOD FRAMING SYSTEM15. CONCRETE FOOTING16. WEEP SCREED17. SILL SEALER18. ELASTOMETRIC ASSEMBLY19. SKYLIGHT ASSEMBLY20. GYPSUM BOARD W/ VAPOR BARRIER

21. 2 1/2" FRY REGLET METAL REVEAL22. 3/4" WOOD FLOORING23. SOFFIT VENT, DRIP EDGE24. PLASTER BEAD25. FIXED WINDOW ASSEMBLY26. SEALANT27. SEALANT WITH BACKER ROD28. SHIM29. STEEL TRIM30. METAL SILL PLATE31. WOOD BLOCKING

32. WINDOW ASSEMBLY33. SLIDING DOOR ASSEMBLY34. GRAVEL35. PRIMERS36. MASTIC37. SELF ADHERED WATERPROOFING38. DRAINAGE PROTECTION COMPOSITEBOARDS39. CONTINUOUS SEALANT AT DRIP

KEY NOTES

1. INSULATION, TYPICAL2. GYPSUM BOARD, PTD.3. SHEET METAL FLASHING4. BASE FLASHING5. CANT STRIP6. ROOFING7. RIP STRIP8. METAL LATH9. CEMENT PLASTER

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1. INSULATION, TYPICAL2. GYPSUM BOARD8. METAL LATH9. CEMENT PLASTER10. PLYWOOD SHEATHING11. 2 LAYERS OF BUILDING PAPER12. SELF-SEALING WATERPROOFMEMBRANE14. WOOD FRAMING SYSTEM23. SOFFIT VENT, DRIP EDGE

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1. INSULATION, TYPICAL2. GYPSUM BOARD3. SHEET METAL FLASHING4. BASE FLASHING5. CANT STRIP6. ROOFING7. RIP STRIP10. PLYWOOD SHEATHING2. GYPSUM BOARD10. PLYWOOD SHEATHING14. WOOD FRAMING SYSTEM 5

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1" M

IN.

2" M

IN.

2

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14

7 ANGLE WITHFLEXIBLEMEMBRANELAMINATEDSAFETYGLASS

ROOF SEALINGLAYERMECHANICALLYFIXED

CONT. STEELANGLE

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STL. ANGLEATTACHED TOSTEEL

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SLOPE

1. INSULATION, TYPICAL2. GYPSUM BOARD3. SHEET METAL FLASHING4. BASE FLASHING5. CANT STRIP6. ROOFING7. RIP STRIP10. PLYWOOD SHEATHING2. GYPSUM BOARD10. PLYWOOD SHEATHING14. WOOD FRAMING SYSTEM 5

D1CROSS VENTILATION DETAIL 3" = 1'-0"

D3STAIR DETAIL 3/4" = 1'-0"

D9OVERHANG AT ENTRY 3" = 1'-0"

D7FULL HEIGHT GLASS / SILL @ SECOND FLOOR 3" = 1'-0"

D13FULL HEIGHT GLASS @ PARAPET 3" = 1'-0" D5FULL HEIGHT GLASS / SILL DETAIL @ COURTYARD 3" = 1'-0"

D11WINDOW SILL @ ENTRY 3" = 1'-0"D15FULL HEIGHT GLASS IN FRONT OF WALL @ PARAPET 3" = 1'-0"

10. PLYWOOD SHEATHING11. 2 LAYERS OF BUILDING PAPER12. SELF-SEALING WATERPROOF MEMBRANE13. PRESSURE TREATED SEAL14. WOOD FRAMING SYSTEM15. CONCRETE FOOTING16. WEEP SCREED17. SILL SEALER18. ELASTOMETRIC ASSEMBLY19. SKYLIGHT ASSEMBLY20. GYPSUM BOARD W/ VAPOR BARRIER

21. 2 1/2" FRY REGLET METAL REVEAL22. 3/4" WOOD FLOORING23. SOFFIT VENT, DRIP EDGE24. PLASTER BEAD25. FIXED WINDOW ASSEMBLY26. SEALANT27. SEALANT WITH BACKER ROD28. SHIM29. STEEL TRIM30. METAL SILL PLATE31. WOOD BLOCKING

32. WINDOW ASSEMBLY33. SLIDING DOOR ASSEMBLY34. GRAVEL35. PRIMERS36. MASTIC37. SELF ADHERED WATERPROOFING38. DRAINAGE PROTECTION COMPOSITEBOARDS39. CONTINUOUS SEALANT AT DRIP

KEY NOTES

1. INSULATION, TYPICAL2. GYPSUM BOARD, PTD.3. SHEET METAL FLASHING4. BASE FLASHING5. CANT STRIP6. ROOFING7. RIP STRIP8. METAL LATH9. CEMENT PLASTER

Some construction drawings.

architecture - gustavo almeida santos

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