Expo CIHAC is the biggest annual architecture and construction exhibition in Latin America. Like many other exhibitions, it creates large-scale contamination due to the excess waste it generates. Almost all the pavilions of the different brands and products related to the architecture and construction industry, end up in the trash. Deeply concerned by this, we approached the exhibition principals with the proposal of creating a low cost – zero waste sustainable pavilion that could set an example for future exhibitions.
On June 15th 2012, during the opening of Oerol Festival on the island Terschelling in the north part of the Netherlands, The Pavilion was officially opened. A Pavilion by Studio Elmo Vermijs and Arie van Ziel developed from waste materials and knowledge on the island of Terschelling. A platform for debates, discussions, lectures, presentations and musical interludes. In short, a place where “the word” can be conducted.
The pavilion’s dramatic planar form articulates an assured, yet subtle compression of space, framing views of the lake and the local topography. The building’s tectonic rigour is palpable, its seemingly gravity defying configuration enabling the floor plate and ceiling to cantilever some 6m beyond the lakeshore.
Laval University’s science building, the Pavillon Alexandre-Vachon, was inaugurated in 1962. After fifty years of use without any significant work done to it, the 45,000 m2 building was in need of a major facelift and complete overhaul. Designed by architect Lucien Mainguy, an important figure in Quebec’s modernist movement, the pavilion is protected by the CAMEO, a university committee that among other things is mandated to protect and maintain Laval University’s architectural heritage. A $90 million phased renovation project was put forward by the university, starting with an initial $18 million investment.
The private gallery and house is sited in the hills of the Kangbuk section of Seoul, Korea. The project was designed as an experiment parallel to a research studio on “the architectonics of music”. The basic geometry of the building is inspired by a 1967 sketch for a music score by the composer Istvan Anhalt, “Symphony of Modules,” which was discovered in a book by John Cage titled “Notations.”
Three pavilions; one for entry, one residence, and one event space, appear to push upward from a continuous gallery level below. A sheet of water establishes the plane of reference from above and below.
The pavilion is an outdoor classroom and component of the North Carolina Museum of Art’s Sculpture Park. The structure is wrapped in varying widths of horizontal, perforated metal bands, which offer experiences that change with the seasons, the light, and the vantage point of the viewer .The pavilion’s metallic “skin” reflects its natural surroundings by taking on the colors of the grass and sky or, at times, completely disappearing into a moire pattern of light and shadow.
Three interventions in a 5000 m2 plot in a suburb of Santiago: A meditation hall (or Dojo) at the bottom of the site, a small pavilion in front of the family pool, and the refurbishment of a terrace that was virtually unusable because of high temperature and reflected light. In each case, outdoor spaces were enhanced to face the high temperatures in spring and summer.
A few weeks ago the Dr. Ing. h. c. F. Porsche AG celebrated the opening of their Porsche Pavilion at the Autostadt in Wolfsburg in the resence of 200 guests of honor. For the first time since its opening in 2000, the theme park receives another building structure in the form of the new Porsche Pavilion, which expresses the importance of Porsche within the Volkswagen Group family.
Starting very early cultural production aimed at the promotion of a genuinely Brazilian Architecture, Eduardo deepened in the areas of Design, Architecture and Arts, rescuing several fundamental characteristics of Brazilian Modernism of the 40s. Based on School Carioca, a national style of architecture internationally called Brazilian Style, the artist brings out the whole spirit of that era combining an invigorating nostalgic architecture to what is most modern and sustainable building processes. In defense of a truly Brazilian style, Eduardo has raised questions among academic students of Architecture and managed to change the view of students who had a predilection for international styles and achieved more followers of his vision \”Neo-Modernist\”.