CAIO GUARANÁ T. CAVACANTI
ARCHITECTURE PORTFOLIO | 2018
Caio Guaranรก Tavares Cavalcanti 07.04.1994, Rio de Janeiro Contact caio.canti@gmail.com atelierguarana@gmail.com +55 21 98839-4009
caioguarana caiocanti
EDUCATION 2012.1 to today Federal University of Rio de Janeiro - Faculty Architecture and Urbanism 2015 to 2016 University of Porto - Faculty of Architecture (FAUP) | Academic Extension SKILLS Revit, Rhinoceros, Grasshopper, Adobe CS, 3DS Max, AutoCAD 2D, SketchUp Pro, V-Ray, Laser Cutting, 3D Printing EXHIBITIONS, PUBLICATIONS and AWARDS 2012.2 2014.2 2015.1 2016.1 2016.2 2016.2 2016.2 2017.1 2017.1 2017.1 2017.1 2017.2 2018.1
Architectural Design Form II (FAU/UFRJ) | Project Featured Integrated Studio I (FAU/UFRJ) | Exhibition of Best Studio’s Works CBCA Architectural Contest- Steel Structures | Top 7 Finalist Constructive Geometry I (FAUP) | Publication in AEFAUP Student Magazine Constructive Geometry I and II (FAUP) | Exhibition in Anuária’16 XX SiGraDi 2016 “Crowdthinking” - Argentina | Publication and Presentation “30 Hours: Architecture Marathon” Contest - CAAU-PUC Rio | 3rd Place “Living and Working in Tokyo” Competition - ARCHsharing | Finalist “Sydney Rehearsal Follies” Competition - ARCHmedium | Finalist “UIA 2017 Rio Pavilion” Competition- IAB/RJ | 1st Place UIA 2017 Summer School | Selected between 8 open worldwide spots UIA International Studio 2017 | Exhibition in UIA Seoul 2017 “Méxtropoli Pavilion 2018” - Arquine | Honor Mention
INTERNSHIPS and ASSISTANCES 2014 2015.1 2016.1 2016.2 to 2018.2 2017.2 to today 2018.2 2018.2
Internship at RAF ARQUITETURA | Copa Star Hospital Environmental Comfort and Energy Efficiency Lab Assistant (FAU/UFRJ) Digital Fabrication Lab Assistant | DFL (FAUP) Laboratory of Models Assistant | LAMO 3D (FAU/UFRJ) Researcher Internship at Francisco Hue Arquitetura Integrated Studio II Assistant | FAU-UFRJ Models Assistant | “Casas de Vidro” Exhibition at Centro Carioca de Design
WORKSHOPS and OTHER EXPERIENCES 2014.2 2015.1 2015.1 2015.1 2016.1 2016.1 2016.2 2016.2 2017.1 2017.1 2017.1 2017.2
Invited to debate the Integrated Studio I Experience (FAU/UFRJ) Workshop “Desafiando a Gravidade” | LAMO 3D (FAU/UFRJ) Workshop “Bio-Structures” | SUBDV (CAAD Futures São Paulo) Workshop “Highrise Superliving” | AA Visiting School São Paulo Summer School Porto Academy 16 | Carmody Groarke Studio (FAUP) Workshop “C+C+W- Conferência, Colóquio, e Workshop” (FAUP) Workshop “Emergent Virtual Spaces: Minhocão” | LAS Workshop “Curvas Geodésicas” | LAMO 3D (FAU/UFRJ) UIA Seoul Internation Studio 2017 in PROURB/FAU-UFRJ Workshop FAU/UFRJ + FADU/Buenos Aires Workshop “Em Busca da Forma” as researcher | LAMO 3D (FAU/UFRJ) UIA Seoul 2017 Summer School
UIA Rio Pavilion Team: Alexandre Kuroda, Isadora Tebaldi, Renata Portelada and Thomas Takeuchi IAB/RJ UIA 2017 Pavilion National Competition 1st Place
“All the worlds. Just one world. Architecture 21” The proposal for the Rio de Janeiro booth at the 2017 UIA in Seoul combines key elements of design to express the carioca and Brazilian spirit to the visiting public. The city of Rio is known worldwide for its diversity, in both landscape and culture. The nuances and social contrasts are morphologically explicit in its urban topography and, its insertion within a precise geography, synthesize a major aspect of the city’s complexity. The project expresses the contrasts of the Cidade Maravilhosa (Marvelous City) through design elements which, together, synthesize difference into harmony. The modular structure of 0.50 x 0.50m, an interpretation of the austere rationalism of the modernist tradition, is counterpoised by a curvilinear and sinuous ribbon like form made spaghetti ribbing, a reference to popular Brazilian furniture design. The interplay of soft and hard, movement within stillness, create a languid path analogous to the creation of Rio itself, in its parallel to unbound nature and urban enclosures. Portuguese stones are used as floorboards, a clear reference to the main symbols of the city and its colonial history. In many ways, the booth is itself an experience, a stroll through the boardwalks of Copacabana. Much like Brazilian culture, the project possesses a strong permeable aspect. Its translucent form is open ended, blurring the limits between place and public. Appropriation, a commonplace element of Brazilian culture, is fundamental for the “completion” of the project. The public is invited to directly intervene with the booth through the insertion of messages on round colorful stickers. In this way, the creativity and joy of Rio serve as testimony and temporal witness as its flowering is reliant on the passing of visitors throughout the days of the congress. More than imprinting on Seoul and promoting UIA 2020 Rio, the Rio de Janeiro booth seeks to spark curiosity and create new ties, beyond the frameworks of the event.
THE EDGE Team: Benjamin Wells, Gordon Yip, Ji Hwon Park, Xu Feng and You Jin Hwang Tutor: Ahmet Tercan UIA Summer School Seoul ‘17
The Han River, runs through Seoul from east to west. It has played an important role in the history of Korea and still today signifies a distinctive symbol of properity in the collective memory of the koreans. When South Korea had achieved economic growth at an unprecedented speed, observers described that acomplishment as “miracle of the Han River”. Running through Seoul, the Han River separetes the city into two areas: Gangbuk (north of Han River) and Gangnam (south). The principal aim of this study is to focus on the banks of the river at Seobinggo-dong Area, under the theme of “Resilient Cities through Culture”. The selected area between Hannang Bridge and Banpo Bridge has been investigated thoruh site visits and later analysism being considered as the convergence of various social and cultural trends and as a continuously evolving dynamic flux with a great potential for the future of Seoul. Issues of social coherence, sub cultures, identity, speed of development and use are discussed. Isolated frim the city through an intense network of elevated highways, railroads, overpasses and retaining walls, the river front suffers from the lack of coherent social interaction and anticipated public space. The social hierarchies and separation between the lower income nothern bank and wealthier southern bank citizens limit the potential for community cohesion as well as the sensitive use of local values on the waterfronts. The scheme proposes that formal awareness and consciousness in the day to day use of the public space are preconditions for the political, cultural and social engagement of the citizens of Seoul, revealing the essence of the city through ultimate confrontation.
Architectural Model 1:20 - Paper, Card, Polystyrene, Wood
STUDIO FOR PEDRO CABRITA REIS Tutors: Andrew Carmody and Rui Filipe Pinto Carmody Groarke Studio Porto Academy 16
The project creates a diversity of working environments to think and make, characterized by a strong contrast of dark and light. Enabled by simply dividing the space with the mezzanine.
Architectural Model 1:20 - Paper, Card, Polystyrene, Wood
DWELLING IN SALIR DO PORTO Team: Isadora Tebaldi and Loan Tammela International Competition 2017
Seen from above, the intervention forms a triangle - an ideal, stable and perfect geometry that embraces Sant’Ana chapel ruins. But once the planes are settled in the site, they adapt themselves to create several types of relations in order to enhance the perception of the surrounding’s uniqueness. Thus, the triangle’s edges become frames of the landscape and reinforce the phenomenon of light. With the goal of creating a closer relationship with nature and primitive, the project aims to rethink the concept of dwelling. Reinterpretating the cave and the first settlements of man, the shelter is buried with a hearth in the center, that provides the heat, the cooking and a place of reunion. The water simulates the experience of sea bathing while it reflects the local culture`s proximity to this element. Between the phenomena and the being, the intervention stablishes a place where one has the opportunity to perceive the self. To perceive the whole.
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To dwell here. To be here. To be. Three vertces Three frames Three moments To perceive the greatness of the world and the specificity of the site; the infinitude of time and the instantaneity of the present; the decrepitude of the physical and the permanence of the memory; the stability of the ideal and the fragility of the existence; To perceive the self To perceive the whole In three vertices three frames three moments
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SOUND ARCHITECTURE Team: Erick Bromerschenckel, Isadora Tebaldi and Loan Tammela International Competition 2017 Finalist
A sequence of events in time. That`s how we perceive both architecture and music. They are both temporal forms of art. Exploring the limits between those arts, we designed a path inspired by the first song ever played on the Sidney Opera House, in 1973: Wagner`s Overture for Die Meinstersinger of Nuremberg. Thus the location and design of the follies, as well as the landscape, are conceived with the purpose of transmitting the same sensations and intentions presented and explored on the song - according to our own interpretation of it. Therefore, the music derived from the follies, together with the sounds of the site are to compose a great song: the song of a path.
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IN BETWEEN Team: Fernando Bonini, Isadora Tebaldi and Maria Elisa Reis Mextrópoli Pavillion ’18 Honor Mention
In the proposal for the Mextrópoli 2018 pavilion, we seek a clear interaction between the existing and the ephemeral, so that the temporary experience changes the perception of what is habitual. Emergency situations are moments of instability, uncertainties. These are moments of reconstruction. The connection between people needs to be stronger, to then have a physical and psychological stabilization. In this way, much more than inform, it is important to feel. In our project, we do not seek to give answers to emergency situations, but to raise questions and reflections. For this, we install the pavilion inside the oldest public park in Mexico. Looking for a new and differentiated experience (using all the senses), in an old and stable/permanent site, causing us to revisit that space with an unsteady circumstance. Creating and recreating a (new) view of that usual environment. In an asymmetrical corridor of 20 meters in length, structured from slats of demolition wood in sequence, a net placed on the axis makes the dialogue between both sides. A simple system, that requires total sensory immersion because it’s dynamics, changing according to the constant movements of those who are there. Through instability, interactions happen, bringing people closer to what surrounds them, in order to reach harmony. Something that does not appear to have surprises, but surprises. An apparently simple object that synthesizes great complexity of connexions. An object that provokes and attracts the public. A constant reconstruction of the place with people.
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area: 77m2 20.5m x 3.75m net width: min. 0.70m max. 1.85m
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THE LIFTED RAIN Team: Bernardo do Amaral, Camila Torres, Gabriela Bonifácio, Marinah Raposo and Roberto da Matta Tutor: Ernesto Bueno, Gonçalo Castro and Verônica Natividade Workshop LAMO/FAU-UFRJ SiGraDi’16 Publication
The goal was to overcome the force of gravity by producing an environment sensitive to human actions. The action indicated to the group, “ soil peeling “ , was conceptually idealized by creating an atmosphere that had the ability to subvert the force of gravity. The premise of the project was to support a critical attitude towards anthropo-centric movement by emphasizing the individualistic character inherent to contemporary human being. This attitude has been represented by reversing the forces hierarchy. The power to control gravity was then assigned to the agent and, while they were in touch with the installation, they would have full control over a natural phenomenon and could handle it in their favor.
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MEMORY GARDEN
National Student Competition 2018
Brasília é uma cidade que nasce hierarquizada, dura. Planejada e desenhada por homens. Em um momento que as mulheres ainda precisam de muito esforço para ganhar algum espaço em uma sociedade machista e patriarcal. Um avião que aponta para o futuro, mas que até hoje, sendo pilotado basicamente por homens, voa pelo passado. Com uma organização rígida e de eixos claros, que dividem e subordinam as suas zonas. Como, então, propor um Monumento à Memória Feminina em um terreno no Eixo Monumental, em meio a ícones desenhados por Oscar Niemeyer? Às mulheres, Brasília ainda não pertence. A partir deste questionamento, procura-se um descolamento da cidade, buscando pertencimento àquela terra em outra superfície, para, assim, fugir do duro espaço de poder imposto pelo traçado da cidade. O monumento busca ter uma imagem mínima projetada para fora, discretamente situado no mundo dos homens. Todos devem entrar para, então, se deparar com a mensagem proposta. De fora, à distância, somente são percebidas copas de diferentes espécies de árvores. Um aglomerado que surge em meio a um vazio. Uma natureza que está dentro e fora. Que acolhe, mas também se protege mutuamente. Através das rampas e escada, cercadas por lâminas de água, o visitante é levado a sair de uma escala monumental em busca de um abrigo. Os acessos à cota inferior funcionam como um filtro. Uma fuga da rigidez. Uma transição entre escalas. Se aproximando da escala do ser humano. Chegando ao nível inferior, nos deparamos com o coração do projeto. O jardim. O momento de encontro com a natureza. Que, isolada e central, se torna monumental. A natureza é o verdadeiro símbolo feminino. Não é um ícone estático. Sua beleza está na transformação diária. É um momento emocional, de reconciliação entre ser humano e a natureza. E entre o ser humano com ele mesmo. O Monumento à Memória Feminina deve ser vivo. Não deve ser apenas para lembrar, mas para se sentir. Fazer refletir. Deve estar em constante transformação. Representar uma multiplicidade. Os frutos, pétalas, flores e folhas, estão misturados no céu, no chão e no reflexo da água. Sombra e água fresca como um oásis no concreto. Todo o projeto é voltado para esse centro, de forma que essa natureza, no feminino, esteja sempre presente.