Como os acessos ao blog são principalmente por essa obra do Siza, e de importância cultural incalculável para Porto Alegre, aí vai mais um post sobre!Na revista AU (edição 171) desse mês, saiu uma reportagem muito legal sobre a FIC. Aliás, várias revistas de peso estão falando sobre a obra. Ponto para Porto Alegre, a Comissão FIC e ao Iberê, que ganha reconhecimento internacional (mesmo que póstumo) pelo belo e polêmico trabalho.
Inclusive, nessa mesma revista, há uma entrevista com o eng. José Luiz Canal, que executou a obra.
Nesse tem direito a resumo em inglês.
STRAIGHT WALLS AND WAVY SURFACES
In 1998, Álvaro Siza Vieira was invited by Fundação Iberê Camargo to participate in a competition for the institution's museum, which would shelter its assets of four thousand works of art and would function as a cultural center. The Portuguese architect won the contest with a project inspired by his intense contact with the works of Iberê Camargo (1914-1994). "The physical environment with variations in level, side road and the immense water surface (the Guaíba river) at its front have also stimulated me", he emphasizes. Another source of inspiration was the New York Gugenheim Museum, by Frank Lloyd Wright, which determined the shapes and the concept for the building in Porto Alegre . Decorated with the Golden Lion at the 8th Venice Architectural Biennial, in 2002, the building is already considered one of the best museum spaces in Brazil.
Siza Vieira's proposal adapted itself to the topography, without interfering in the surroundings, accommodating the building in a depression in the slope. The lot, small, is limited in the South by the slope, and in the North, by avenida Padre Cacique. The reinforced concrete building emerges as a gigantic white sculpture oriented towards the sunset in the Guaíba river. Implanted in the rock, the base consists of a long platform, elevated 1.40 m relative to the avenue, where parts of the program areas - auditorium for 120 persons, library, ateliers with the artist's equipment, administration, warehouses and a parking lot for 100 vehicles.
The main volume is framed by the slope's vegetation occupying a concavity, and results from the superposition of four irregular-shaped floors. This volume is outlined by straight and almost orthogonal walls, southward and westward, and by another wavy surface, northward and eastward, which confines in the entire height of the building, the atrium space - surrounded, in the remaining perimeter, by the showrooms (three in each floor). In total, there are 1,300 m2 for exhibitions. Following the Guggenheim Wright model, Siza Vieira used a continuous ramp system which traverses the volume from top to bottom. An enclosed and asymmetric galleria, which either enters the atrium or detaches itself from the building. At points opened with small windows oriented toward the most beautiful Guaíba river landscape and by clearstories, the walkway creates a dynamic and interesting pathway.
Mazáá!
Inclusive, nessa mesma revista, há uma entrevista com o eng. José Luiz Canal, que executou a obra.
Nesse tem direito a resumo em inglês.
STRAIGHT WALLS AND WAVY SURFACES
In 1998, Álvaro Siza Vieira was invited by Fundação Iberê Camargo to participate in a competition for the institution's museum, which would shelter its assets of four thousand works of art and would function as a cultural center. The Portuguese architect won the contest with a project inspired by his intense contact with the works of Iberê Camargo (1914-1994). "The physical environment with variations in level, side road and the immense water surface (the Guaíba river) at its front have also stimulated me", he emphasizes. Another source of inspiration was the New York Gugenheim Museum, by Frank Lloyd Wright, which determined the shapes and the concept for the building in Porto Alegre . Decorated with the Golden Lion at the 8th Venice Architectural Biennial, in 2002, the building is already considered one of the best museum spaces in Brazil.
Siza Vieira's proposal adapted itself to the topography, without interfering in the surroundings, accommodating the building in a depression in the slope. The lot, small, is limited in the South by the slope, and in the North, by avenida Padre Cacique. The reinforced concrete building emerges as a gigantic white sculpture oriented towards the sunset in the Guaíba river. Implanted in the rock, the base consists of a long platform, elevated 1.40 m relative to the avenue, where parts of the program areas - auditorium for 120 persons, library, ateliers with the artist's equipment, administration, warehouses and a parking lot for 100 vehicles.
The main volume is framed by the slope's vegetation occupying a concavity, and results from the superposition of four irregular-shaped floors. This volume is outlined by straight and almost orthogonal walls, southward and westward, and by another wavy surface, northward and eastward, which confines in the entire height of the building, the atrium space - surrounded, in the remaining perimeter, by the showrooms (three in each floor). In total, there are 1,300 m2 for exhibitions. Following the Guggenheim Wright model, Siza Vieira used a continuous ramp system which traverses the volume from top to bottom. An enclosed and asymmetric galleria, which either enters the atrium or detaches itself from the building. At points opened with small windows oriented toward the most beautiful Guaíba river landscape and by clearstories, the walkway creates a dynamic and interesting pathway.
Mazáá!
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