academic portfolio 2016 | 2017

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P A O L A

S A LV I A N O architect

brazilian

Tilb u rg , +

31

Th e 0

01.13.1990

Net h e r lan d s 64

7640147

ana.paola.souza@usp.br h t t p : // i s s u u . c o m / a n a p a o l a 7 hard

worker,

versatile,

fast

learning

E D U C A T I O N Master of Architecture Fontys Tilburg, The Netherlands Faculty of Architecture and Urbanism of the University of São Paulo Exchange École Nationale Supérieure d’Architecture de Grenoble

2016 2008 - 13 20 1 1 - 12

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2015 Invisible Architects magazine - “Architectural Challenges of the first half of the XXI Century”

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April = October 2012 Possible futures Symposium | organization assistant Professor Giselle Beiguelman March - April 2013 EAHN European Architecture History Network Seminar | Monitor and Graphic Design assistant

LANGUAGE

PROFESSIONAL EXPERIENCES

KARRES EN BRANDS Hilversum, Netherlands Junior Architect karresenbrands.nl January 2017 - Actual

TASKS: Competitions Sketching Diagrams Model making Drawing Presentation

SOFTWARE: adobe creative suit autocad rhinoceros grasshopper

LANGUAGE: english

TASKS: facade concept and drawings illustrations and sketches 3D and physical models competition board

plan solutions SOFTWARE: vectorworks sketchup adobe photohsop

TASKS: resposible for projects at all phases and scale rendering presentations and books diagrams

SOFTWARE: autocad rhinoceros vray adobe creative suite excel

LANGUAGES: english portuguese

TASKS: furniture detaling executive detailing rendering

SOFTWARE: archicad autocad artlantis microsoft office suite

LANGUAGE: portuguese

TASKS: graphic design art direction events organization publicity images

SOFTWARE: adobe creative suite microsoft office suite

LANGUAGES: portuguese, english,

BOGEVISCH BURO Munich . Germany Graduated Intern | Competition Team bogevisch.de March - September 2016

LANGUAGE: german

SPACE GROUP ARCHITECTS Sao Paulo . Brazil | Oslo . Norway Architect | Concept and creative team spolarchitects.com | spacegroup.no January 2014 - September 2015

ATELIER CLARISSA STRAUSS Sao Paulo . Brazil Intern June - December 2013

MMKT SPORTS MARKETING Sao Paulo . Brazil Art director assistant October 2012 - March 2013

PAPER, ROCK, SCISSOR, FIRE. s e p t e m b e r

2 0 1 6

teachers: Stijn Kriele and Martijn Honselaar

esculptures produced in the classroom

As following, we spent our Friday sketching, photographing in the morning of the late summer and collages with the pictures and other material. Later on, we should produce sculptures. For the sake of pure form and exercise.

The urge for experimentation took over. Smashing, glueing, painting, burning, destroying to build. New techniques could be tested. Some not so conventional, some not even safe. All combined they created an expression of a soul that was for so long hiding behind a computer in office practices. Frozen, my creativity was free despite an assignment to follow and I felt like a student again and had the chance to free myself. Freedom.

We all search for it but are we free? I wasn’t. After years of knowing what my designs were meant to be before they even were sketched caused a confusion at first and a rebellion in the middle of the process.

According to Rudolf Steiner, the nature of human freedom once explored, take part on accepting “that an action, of which the agent does not know why he performs it, cannot be free,” however, asking what happens when a person becomes conscious of his or her motives for acting. His proposition is to observe in introspection and achieve consciousness of the motives that lead our actions. Be aware of the motive of or actions could be a sight of human freedom if it actually exists.

In chapter 2, “The Fundamental Desire for Knowledge,” Steiner believes that subject or mind, object or world must be divided and create a rise and desire of reestablishment between those poles. And once we analysing nature’s manifestations inside of our subjective being these divisions can be overcome.

Regarding at this assignment and recognising the origin of the panic facing a sort of a freedom and apparently no intention, made me wonder the other approaches I had towards the practice and found myself the reasons why I was doing this.

The end results were pleasant and harmonic. They didn’t show at all the confusion of the process, even though I felt they were deep and meaningful. In the end, I could even see that the sculptures had an architectural quality on them and maybe could also suit programmes and uses. Definitely, I learnt a new and useful tool to engine my creative process.

Paola Salviano .

2016|2017 .

Master of Architecture

G L A S S s e p t

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teachers: Stijn Kriele, Martijn Honselaar, Ricky Rijkenberg, Victor Verhagen

T h o s e w h o l i v e s h o u l d n o T

i n g l a s s T h r o w p a o l a

perspectives tests and final work

h o u s e s s T o n e s s a l v i a n o

We should choose a hero. An architect to inspire us and that would be our muse for the rest of the semester. In my case, Lina Bo Bardi. I had to pick a woman. My positioning towards woman valorisation in the profession in bigger roles as well as recognition has to start with myself. Feminism for equality need to be practised in the day to day activities and in little choices like this, we can stand our grounds. Not for my surprise, Lina was the only female hero chose in the class.

The process was to study and scrutinised a project design by the chosen architect. I had doubts between MASP and Glasshouse. But once the house was designed by her for herself and husband, the villa would be a closer look at Lina and her life not only as an architect. The context was the Brazilian populism peak, the woman fights for rights and suffrage and few years before the Militar Coup. Lina was an Italian woman that had her office bombed during the war and fled to Brazil together with her husband, Her excellence as an architect can be seen in one of the, if not the most, most iconic buildings in Sao Paulo the MASP. My pick was the House of Glass, and I went deep. Deeper than architecture. So far with social concerns and political positioning that I almost lost a hero. Me, the woman who was so proud to choose another female partner in this man for men profession. Lina and her servants’ rooms destroyed my view and I had to go back to architectural analysis to sustain my thoughts.

The site is a reminiscent piece of the forest of an old farm and closes to the terrain is possible to visit the reminiscent of this past of slavery. There is a big steep on the place of around 9 metres. This fact was crucial for the decisions taken in the design. The proportions are for a house that appears to float in pilotis but is well fundamental in a solid third on the back that is where the service was performed. The back house is steady, closed and compact. The facade is free, transparent and light. A good metaphor for life maybe.

I defragmented the house and took it principal qualities: transparency, solidness, simplicity and connection with its natural surroundings. Funny coincidence, in the winter school I had the chance to interact with the project again and in this time I tested its ability of international architecture style in actual international applications. Can a modernist building be placed anywhere without big modifications?

Lina bo bardi’s glass house illustrations | how international?

Paola Salviano .

2016|2017 .

Master of Architecture

INTO DE WOODS o c t o b e r

- PART 1

2 0 1 6

teachers: Stijn Kriele, Martijn Honselaar, Ricky Rijkenberg, Victor Verhagen

jewellry inspired on lina bo bardi glass house perspective assignment

After producing the perspective the next step was to go to a really big scale. Real objects that were inspired by the perspective. I recognised that the biggest quality of my previous work was not the out come itself but the discussion towards my hero and the capacity to critically analyse her work as well as persona. The solid and the light, the compact, the transparent. The models should be done in a brainstorming afternoon. No sketches, no previous design, making. And I started my work from the form to the materials. Limitating my choices of material I was able to produce more and asthetically satisfying jwells. For massive I took wood and for transparency acrylic, that later was replaced by void. The production solidifyed my concept and from there it was clear that the contrapoint between two acpects were the pillars of my process for the semester. I was going to analyse the dual part of thoughts. Dualism was started to be formed. Parallel to the philosophical development of my ideas we took our objects as models from a different scale and placed them digitally into different landscapes and invironmments. Using photoshop, the jwellery collages represented now buildinds, towers, houses.

They could have a programmatic or sculptural character. Once again, I visited the possibilities of pure form deisigning like the first assignment for the year.

jewellry where? | collages Paola Salviano .

2016|2017 .

Master of Architecture

INTO DE WOODS n o v e m b e r

- PART 2 2 0 1 6

teachers: Stijn Kriele, Martijn Honselaar, Ricky Rijkenberg, Victor Verhagen

forest shelters of duality

Changing the scale in the follow from the perspective and now the jwellery we designed a furniture piece. It should combine the experimentations and subsequent CLEAR ACRYLIC PANELS

CLAMPS

findings of our journey so far. Lina put a lot of evidence

STEEL PROFILES

on the fact that the house was inserted in the florest and was integrated with the nature. The simple colours 0.4

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and transparency of the main room were meant to look outside. This said, it is interesting to know that she and

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her husband were active art collectors. Therefore her living room was packed with several objects from the INSULATION

art nouveau, art deco and neoclassic periods as well as

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brazilian and indigenous hadmade artfacts. I decided to PLYWOOD BOARDS

dedicate my furniture to nature observation. Placed into the woods the shelter would permit a stay to look to the

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trees, the animals, to the landscape and its surroundings on the transparent side. On the other side, one would be invited to observe the nature in itself. The one we 0.5

can see when we are not looking. The tree was the piloti that hold the whole structure of a metallic frame coverd wood panels with clamps.

Paola Salviano .

2016|2017 .

Master of Architecture

INTO DE WOODS - PART 3 THE DUALITS TOWER d e c e m b e r

2 0 1 6

teachers: Stijn Kriele, Martijn Honselaar, Ricky Rijkenberg, Victor Verhagen

the dualist tower illustrations

The final step with the Hero Journey was to make a

to point out that not always a good result is the only

tower. I finally had my concept: dualism. In the history

valuable learning process. In my opinion, that’s the

of thought, ‘dualism’ has different interpretations. The

biggest advantage of the school. A place for us to push

general idea is that, for some specific domain, there are

ourselves to extremes and allow bad choices. We are

two principals. In theology, for example, the Good and

going to make them in real life as well. Although the

the Evil (God and Devil). In the philosophy of mind, it is

safe environment of the school can give us a prospect

that the mind and body are part of different worlds. The

of where are our weaknesses and strengths. Failure

design of the tower would play with mindsets of the

should be taken as an important step as well as success.

journey. We start equal but different paths will take us

I put a failure here as a step in my development and

to different places. There is a choice. It was made in the

to understand where my mistakes relied on. I was too

beginning by the entrance. And depending on that one

ambitious with this project and chose a wrong working

would achieve the rooftop of the tower by enclosure

process. However, I learnt how to use machines,

staircase with glimpses of the surroundings. The other

developed my model skills and graphic representation.

option was a pleasant slow journey to the top with the

As well as developed a strong conceptual view and

view of a controlled view box.

working frame. This was really important for my last

Unfortunately, my tower collapsed and the result

studio in the school and for sure in all the projects that I

was not good. I decided to use it illustrations though

develop in my career from now on.

Paola Salviano .

2016|2017 .

Master of Architecture

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teachers: Raul Forsini

plan drawing

The studio was based in the use of the software Grasshopper. After classes, the teacher invited us to make a concept proposition for an urban exercise. I wanted a sensorial experience and a transcendent representation of the music combining both parametric design and aesthetic. For this, the music chosen was Glassworks n° 1 from Philip Glass. This minimalist work shows how sound manipulation can be simple and invite us on a journey and fill gaps or even open air when we permit ourselves. The first step was to create manually and personally how I visioned the music in a language understandable by the software.

Then represent it in an urban tactile building typology.

In this process, the music began its disintegration and I was no more dealing with music but with notes and, so, the sound frequency that is represented by geometric places in x,y,z. With this table translatable to the software, Now data, the sound had a geometric tridimensional form. Each point as an address in the city that was about to born. The city itself is a simple L-shaped building module. When together, rotating and changing heights according to the sound coordinates it complexity is minimalist and ethereal.

The labyrinth city with pitched hills in it’s sublime and ethical serenity suggest a way get lost and found in the notes fluctuations. An invitation to dive, touch, feel and find openness.

The process of the project was complex. The group was not united and we all had different aims and goals towards the final result. I was responsible for developing the ideas in the Grasshopper software and was the only one who worked on a concept. My task was the research, the programming, modelling and preparation for 3d printing. Later I decided to prepare and organise the material in a poster as well the text myself. The whole experience was a great teaching. I learnt how to deal with different mindsets when it comes to the architecture discipline and also the importance to delegate tasks when in the leader position. I also recognised in myself the passion that I have for the good results and the versatility to assume different tasks and delivery if necessary.

3d printed model

“No man is an island, entire of itself”

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grasshopper diagramatic illustratiton

Positioning of the music notes according to number system in x, y and z

render and illustration

With grasshopper and rhino combine the interpretation was possible to be create with scripts and modelation

3D printing permit touch and visual

F SERENITY

NATURE THE STATE OF BEING CALM, PEACEFUL AND UNTROUBLED

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teachers: Raul Forsini

FILTERING

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WHO HAS SEEN THE WIND? NEITHER I NOR YOU: BUT WHEN THE LEAVES HANG TREMBLING, THE WIND IS PASSING THROUGH.

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WHO HAS SEEN THE WIND? NEITHER YOU NOR I: BUT WHEN THE TREES BOW DOWN THEIR HEADS, THE WIND IS PASSING BY.

“WALD” M EST, AND MEANING SOLITUDE ING OF B THE WOO HINTS AT NESS T

MEANING FOR D “EINSAMKEIT” LONELINESS OR E. IT IS THE FEEL BEING ALONE IN ODS, BUT IT ALSO A CONNECTED TO NATURE.

Following the urban exercise, we were invited to develop a facade for one of the buildings in our previous assignment. The group changed and we found our balance. The idea was to, once again, give a whole experience in our space. A hybrid of landscape and building that would create an entire experience.

In a brainstorm, we defined our ideas of how our facade would represent a concept that would be a development of the first one. A closer look into the spaces created before give us an idea of how to elevate the experiences one could have in our squares. A closer look at the modern man was our hook for the qualities we wished our design would have.

In an urban environment, the massiveness and the over artificiality can lead to the disconnection of the true nature and inner peace. The research that relates to over urbanised areas with mental illness evidence the necessity of a more balanced surroundings. On the other hand, the compact and dense city is defended as optimising the infrastructure and reducing ecological impact.

Serenity means the quality or state of being calm and peaceful.

The project aims to reproduce artificially the sensation of being in a forest. The balance is achieved by the right amount of silence and sound. The suppression of the noise, the production of sound and reflection of it creates an artificially mechanically controlled ambient that mimetic the feeling of being in the woods. The calm of being in peace but not alone, the peace of the vibration and the slight rustle of the wind gently touching the leaves of a tree. It’s a memorial of what we destroyed, a tribute to the dead forests. But a hopeful reminder that we can go back to rebalance between human and nature and the benefits of it.

The point of serenity is also a space to think and make better decisions for the future of our living environment. A chance to stop and develop in a moment of crisis.

hand made interactive model

DISTRACTION

ORGANIZATION

NOISE

NATURE

CHAOS

SOUND

SILENCE BALANCE

CREATE

TRACTION

DISTRACTION

NOISE

NOISE

CHAOS

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THE STATE OF BEING CALM, PEACEFUL AND UNTROUBLED

THE POINT OF SERENITY

HARMONY

DISTRACTION NOISE

CHAOS

CHAOS

SILENCE

SILENCE

BALANCE

FILTERING

TERING

WIND W IND WIND

WALDEINSAMKEIT WIND

WHO HAS SEEN THE WHO HAS SEEN THE HAS SEEN THE WHO HAS SEEN THE WHO WIND? WIND? WIND? WIND? NEITHER I NOR YOU: NEITHER I NOR YOU: NEITHER I NOR YOU: NEITHER I NOR YOU: BUT WHEN THE LEAVES BUT WHEN THE LEAVES BUT WHEN THE LEAVES BUT WHEN THE LEAVES HANG TREMBLING, HANG TREMBLING, HANG TREMBLING, HANG TREMBLING, THE WIND IS PASSING THE WIND IS PASSING THE WIND IS PASSING THROUGH. THROUGH. THE WIND IS PASSING THROUGH. THROUGH.

WHO HAS SEEN THE WHO HAS SEEN THE WIND? WIND? SEEN THE NEITHER YOU NOR NEITHER I: YOU NOR I: WHOWHO HASHAS SEEN THE WIND? BUT WHEN THE TREES BUT WHEN THE TREES WIND? BOW DOWN THEIR HEADS, DOWN THEIR HEADS, NEITHER YOUBOW NOR I: NEITHER YOU NOR I:BY. THE WIND IS PASSING THE WIND IS PASSING BY. BUT WHEN THE TREES

FILTERING

FILTERING

BUTBOW WHEN THE TREES DOWN THEIR HEADS, BOW THE DOWN THEIR HEADS, WIND IS PASSING BY. THE WIND IS PASSING BY.

W AMLAKDLEE INSAMKEIT W A L D E I N S AW DI TE I N S A M K E I T “WALD” MEANING FOR -

“WALD” FOR “WALD” MEANING “WALD” FOR - MEANING MEANING FOR -EST, AND “EINSAMKEIT” EST, AND “EINSAMKEIT” AND “EINSAMKEIT” EST,EST, AND “EINSAMKEIT” MEANING LONELINESS OR MEANING LONELINESS MEANING OR LONELINESS MEANING LONELINESSOR OR SOLITUDE. IT IS THE SOLITUDE. FEEL IT IS THE SOLITUDE. IT FEEL IS THE FEEL SOLITUDE. IT IS THE FEEL ING OF BEING ALONE ING IN OF BEING ALONE IN ING OF BEING ALONE IN ING OF BEING ALONE IN THE WOODS, BUT THE IT ALSO WOODS, BUT IT ALSO THE BUT IT ALSO HINTS AT A CONNECTED - ATWOODS, A CONNECTED THEHINTS WOODS, BUT IT ALSO NESS TO NATURE. NESS NATURE. HINTS AT ATO CONNECTED HINTS AT A CONNECTED NESS NESS TO NATURE. TO NATURE.

REFLECTION

PRODUCE SOUND

BUFFERS THE NOISE

REFLECTION

REFLECTION

FA C

PRODUCE SOUND

PRODUCE SOUND

N O I S E A B S O R B I N G PA N E L S

UFFERS THE NOISE

THE NATURAL ACOUSTIC PROPERTIES OF TIMBER CONTROL THIS EXCESSIVE ECHO, OR REVERBERA TION, BY REDUCING THE TRANSMISSION OF SOUND VIBRATIONS

BUFFERS THE NOISE

R E F L E C T I V E PA N E L S

RUSTLING

REFLECTION FA C A D E D E TA I L

KOMOREBI

N O I S E A B S O R B I N G PA N E L S

THIS IS THE WORD THE JAPANESE HAVE FOR WHEN SUNLIGHT FILTERS THROUGH THE TREES THE INTERPLAY BETWEEN THE LIGHT AND THE LEAVES.

THE NATURAL ACOUSTIC PROPERTIES OF TIMBER CONTROL THIS EXCESSIVE ECHO, OR REVERBERA TION, BY REDUCING THE TRANSMISSION OF SOUND VIBRATIONS

PRODUCE SOUND

REFLECTIVE

BUFFERS THE NOISE RUSTLING

WOOD COND LONGITUDIN THAN PERP WOODEN ST AND CAN EAS THAT CHAN A SUFFI INSULATION USUALLY BE USING MULT A SO-CALL FORMED W EFFECTIVE THAT ARE STRUCTU MAKING W MAKING HO A PERFOR CREATED DAMPENS M

WOOD CONDUCTS SOUND BETTER IN THE LONGITUDINAL DIRECTION OF THE GRAIN THAN PERPENDICULAR TO IT. A DENSE WOODEN STRUCTURE REFLECTS SOUND, AND CAN EASILY BE MADE INTO SURFACES THAT CHANNEL SOUND REFLECTIONS. A SUFFICIENT LEVEL OF SOUND N O I S E A B S O R B I N G PINSULATION A N E L S IN WOODEN BUILDINGS CAN USUALLY BE ACHIEVED STRUCTURALLY BY THE NATURAL ACOUSTIC USING MULTI-LAYERED CONSTRUCTIONS. PROPERTIES OF TIMBER A SO-CALLED BOARD RESONATOR IS THIS EXCESSIVE FORMED WHICH, WHEN IT VIBRATES, P A N E L CONTROL S ECHO, OR REVERBERA EFFECTIVELY DAMPENS LOW SOUNDS TION, BY REDUCING THE THAT ARE PROBLEMATIC FOR LIGHT TRANSMISSION OF SOUND STRUCTURES. FURTHERMORE, BY VIBRATIONS MAKING WOODEN BATTENING OR BY MAKING HOLES IN WOODEN SURFACES, A PERFORATED RESONATOR CAN BE RUSTLING CREATED THAT ALSO EFFICIENTLY DAMPENS MEDIUM-TO-HIGH-PITCHED SOUNDS.

FA C A D E D E TA I L WOOD CONDUCTS SOUND BETTER IN THE LONGITUDINAL DIRECTION OF THE GRAIN

T H E WA L L A N D T H E C O U R I O U S j u n e

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teachers: Andy Wu

study models in 1:50

The assignment proposed by the teacher was to make a 6x6x6 metres cubic room based on an element, in my case the wall, in which a history could be told by an image. In a way to help the telling, character to inhabit this environment could also be chosen. Together with texts and films, the theory of how food and architecture can have parallel approaches when it comes to why, how and propose. Why do we cook/build? Those are survival activities that could be performed in their primordials by the simplest solution.

However, human beings elevated those actions to an another level. Luxury and lust. The seek for pleasure can be seen in the human history by different schools. Hedonism, a derivation of the Greek word for “delight”, is a school of thought that argues that to pursue pleasure and happiness are intrinsic to human nature. In ethical hedonism views, is believed that people have the right to do everything in their power to obtain the greatest amount of delight. The savoireRyue Nishizawa’s vertical garden house in Tokyo

faire perhaps is what detaches the basic survival good to the

Junya Ishigami models

pleasure provider. And when it comes to the practice of cook and design, creativity, in my point of view, is the turning point that heightens both.

Looking at the wall as an element together with the provided bibliography and techniques of working flow and organisation proposed by the teacher, I realised that in other languages we can find different words for exterior and interior walls. The exterior wall is a barrier, is the first contact of our house with the city/society. And its function is related

Ryue Nishizawa’s S Proyect

to privacy. I found my concept there. Privacy. And how we want to have it for ourselves but break anothers. The biggest change that the freedom of the wall from the structure permitted was to create more rooms in ordinary houses.

Each one of them with a different function and determinating where should we socialise with our family, friends and visitors, where to eat, where to cook and where to sleep. The bedroom. The bedroom is the space you are allowed to stay in alone and rest. It would be the most sacred space if the evolution of the wall hasn’t permitted the bathroom/ toilet inside of the house structure. This place we often don’t share.

It’s the room where even visitors have the right to close with a key. We lock ourselves in any bathroom in public or private buildings.

Sugar Houses Stephen Taylor and Ryue Nishizawa.

The model process was interesting. Part of it was done in

references

classroom and part in my house. I dedicated a long time Paola Salviano .

2016|2017 .

Master of Architecture

to create the objects and furniture with clay. I developed a good skill in the manufacturing of them and I wanted to have an almost theatrical look to them. I was creating a scenario. The other students saw it and told me how well made they were. And I placed carefully in a place that had to look used. A place that was easily recognised as a bedroom and a bathroom combined in a mezzanine. And after all, I placed a big wall in front of it. Slightly shifted, intentionally showing parts of the interiors. The window could be opened but looking inside couldn’t be made without having to push the curtain away. The skylight as well. The interior of the bedroom could be seen by an unclear mirror. This way, the whole model would be seen framed and in a composition chosen by me. And the most interesting, it worked. I could analyse that the biggest care for hidden and privacy, the biggest the curiosity around it. My characters were on a trip someone said looking at the suitcase, they weren’t sure if it was one or two persons at the moment. They have used the space because the fabrics were disturbed and the clothes were on the floor. But was it the reality? Was it actually been seen? Or was it was I wanted them to see?

Paola Salviano .

2016|2017 .

Master of Architecture

PER S ONAL PHOTOGRAPHY EXERCISES m a r c h

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Knowing how to represent our own work is important.

Therefore recongnising in our surrondings existent compositions can help on this development. Determinated artificially, naturally, randomly, it’s interesting to try to find them and capture them. The power of a camera is that each shoot is capturing a life. Analog to a gun, shooting with a camera create a piece of frozen life that will rest for a long time (maybe forever?) A photography is a way to represent how we see the world. Small trips to close locations can inspire and ignate they practice. And i decided to give it a chance.

Different weather conditions, lighting and environments. I wanted to test manual exposure, over exposure, lenses and framming. I proposed myself some limitations and some goals and went of to field.

As I started to work in a landscape architecture office, I felt the need to improve how I regard to nature and urban spaces. The photography exercises are really helpful in developing this skill in my opinion.

PER S ONAL PHOTOGRAPHY EXERCISES m a r c h

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B IB L IOGRAPHY

GAARDER, J., & MØLLER, P. (2007). Sophie’s world: a novel about the history of philosophy. New York, Farrar, Straus, Giroux.

ARTIGAS, João Batista Vilanova; Caminhos da arquitetura; São Paulo: Cosac e Naify, 2004 The Glass House, 1951: Bardi’s residence BARDI, Lina Bo. Lina Bo Bardi. Instituto Lina Bo e P.M.Bardi. Organizador: Marcelo Carvalho Ferraz. 1993. São Paulo.

Glaeser, Edward L. Triumph of the city : how our greatest invention makes us richer, smarter, greener, healthier, and happier Meagher, Sharon M. Philosophy and the city : classic to contemporary writings Thorpe, Josh, ‘Dan Graham, Pavilions: A Guide’, Toronto ON: Art Metroplole, 2009 Rem Koolhaas, AMO, Harvard Graduate School of Design, Ellements, Marsilio 2014 Detail Maganize structure 02/2016 Christian Schittich (Hrsg.), In Detail Mikroarchitektur, 2010 Wolfgang Tillmans, Neue Welt, Taschen, Cologne, 2012 Websites http://www.thebookoflife.org/ http://www.theartassignment.com/ http://www.archello.com/en http://www.archdaily.com/ https://www.dezeen.com https://creators.vice.com/en_uk

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