Arq architects series#

Three years later, Philip Johnson and Henry-Russell Hitchcock, the codifiers of the International Style, hailed Neutra’s work as “stylistically the most advanced house built in America since the War.” Thousands of people took the tour striking photographs were published. will conduct the audience from room to room.” Neutra’s middle initial was actually J., but this recent Austrian immigrant, thirty-seven years old and underemployed, had little reason to complain: he was being launched as a pioneer of American modernist architecture. Neutra, architect who designed and supervised the construction . . . On a page crowded with ads promoting quack cures for “ chronic constipation” and “ sagging flabby chins,” Lovell announced three days of open houses, adding that “Mr. Lovell, the imperiously eccentric health columnist for the Los Angeles Times, invited readers to tour his ultramodern new home, at 4616 Dundee Drive, in the hills of Los Feliz.

Arq architects series#

As well as projections of a scientific nature there are others, of an artistic and critical nature, such as Claudia Andujar’s photographs taken among the Yanomami peoples, the series 'Dog without feathers' by Maureen Bisiliat, Cildo Meireles’s 'rio oir' sound work, research into flying rivers by Artur Lescher, or the ephemeral landscape of rubber buoys created by Hector Zamora on São Vicente beach in 'Recanto das Crianças', at the 27th São Paulo Biennial.On December 15, 1929, Dr. They are learning experiences informed by the content, such as, for example, audiovisual projections displaying the microorganisms of the mangrove, Amazonian water lilies, the flooded landscapes of the Pantanal of Mato Grosso and of Marajó Island, byways, streams and swamps, the technological potential of cocao and annatto (the condiment and food-dye from the seeds of the achiote tree), engineering works such as canals, dams and locks, river transposition systems and irrigation of dry areas, and projects to encourage river navigation. They are projection-events, during which visitors are invited to enter the water, becoming active participants in the narrated stories. To this general ambience is added another level of information: short projections, with specific themes and narratives, at specific times, and occurring in different regions of the water plaza. On the roof, out of sight, are the firewater reservoir, air conditioning machines, and museum devices, such as image and light projectors, speakers, and sprinklers for aromas. This floor and the next also have spaces for private meetings with Brazilian government officials and for technical use.

This space may be used for complementary exhibitions, such as delicate or valuable objects. From the foyer, visitors have a privileged view of the water plaza below. The lighting is completely controlled a high-resolution screen is envisaged for presentations in ambient light. On the air-conditioned first floor, accessed by stairs and a large capacity elevator, is a multi-purpose room for lectures, debates, movies, and small-scale shows. These are contained in a separate, suspended, trellised volume that projects over the water plaza, in the manner of the houses on stilts, or palafitas, found in northern Brazil. Access to the pavilion and walks around it can be made in its dry areas, where facilities complementary to the exposition are also located, such as a café, restaurant, and shop. Visitors wishing to enter the water without wetting their feet will be offered Goldon boots, made famous in Venice, worn their overshoes at times of acqua alta.