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PATRICIO POUCHULU ARCHITECT - DAS GESAMT WERK - THE COMPLETE WORKS - LAS OBRAS COMPLETAS - L' ŒUVRE COMPLÈTE - 2014 SUINÃ, Rio de Janeiro / 2014 SÃOS˜, São Paulo / 2014 Casa no Morro, São Paulo / 2013 Cannon City, Colorado Canyon / 2013 Drake Lighthouse / 2013 Expat House, Boston / 2013 Dreaming Bridge, Venezia / 2013 02 Topaz, Copenhaguen / 2012 Cartadach Promenade, Cartagena / 2012 Ecole sur la Plague, Saint Louis / 2012 Labyrinth Library, Alexandria / 2012 Stewart Viewing Point, Yosemite, near San Francisco / 2012 Cyclotel (2007 & 2012-15) The Netherlands and Europe / 2012 Museo Naval, Buenos Aires / 2011 Maison Franck, Lyon / 2011 Medietectum, Victoria Lake, Uganda / 2011 BA Master Plan, Buenos Aires-Colonia / 2011 BA Master Plan, Aquayres, Buenos Aires / 2011 BA Master Plan, Buenos Aires / 2011 Centrogo, Buenos Aires / 2011 Torre TTC, Torre Turismo y Comercio, Buenos Aires / 2011 Casa Pampeana, Buenos Aires / 2011 Casa en La Pampa, Villa Lía, near Buenos Aires / 2010 BAS, Buenos Aires / 2010 Biblioteca Metropolitana, Buenos Aires (in progress) / 2010 Biarritz Weekend House, idem / ←2010 / 2009 Laguna Master Plan, idem / 2009 Iron Avenue, Chicago outskirts / 2009 Velhaus, near Kabul / 2009 Torre "G" Buenos Aires / 2009 Torre Proplowe, Japan / 2009 Cut City, Los Angeles / 2009 Wood City, near Ankara (Angora) / 2008 Studioplus, Buenos Aires / 2008 Oficel, Amsterdam / 2008 Dolomiten, Idem / 2008 Brasiliana II, Rio de Janeiro / 2008 Brasiliana I, Rio de Janeiro / 2007-11 Silent Conversions, London / 2007 Sabar Grand Foyer, Dakar / 2007 Bicycle Hotel, The Netherlands / 2007 Stockholm Public Library (Asplund), Stockholm / 2006 H-Cinum House, Sternbergsee, near Munich / 2006 La Pecera, Buenos Aires / 2006 Olive House, near the Walhalla, Bavaria / 2006 Centro La Rural, Buenos Aires / 2006 Akwaaba Spa, Accra, / 2005 Chuck Jones Refuge, Tasmania / 2005 Londfrus, near Snæfellsjökull (Scartaris), Iceland / Sugluk, Canada / 2005-08 Royal College Street Apartments, London, London / 2005 Teatro Sinfonico, Buenos Aires / 2005 Libreria Nuova, Sicilia / 2005 Guadalajara Public Library, Jalisco / 2005 Shehaus, near San Francisco / 2004 Astronomical City, Addis Abeba / 2004 Maison de la Musique, near Libreville / 2004 Edificio Azul, Buenos Aires / 2004 Centro del Lago, Buenos Aires/ 2004 Tchaikovsky Futurum Turm, near St. Petersburg (Leningrad) / 2004 Torre Futura / 2004 Oval City, Pool / 2004 U2 Tower, Dublin / 2004 Hammerfest, idem / 2003 Okavango Refuge, Kuyseb Canyon, Namib Desert / 2003 Vaginetshop, London / 2003 Zig Zag shop, Buenos Aires / 2003 Balkaakra, Teheran / 2003 Baghdad Masterplan / 2003 Valhall House, Hardangerfjord, Norway / 2003 Pointer Sisters, Java / 2003 Angel House, Nagasaki / 2003 Osaka Mini-City, idem / 2003 School in the Prairie, near Chicago / 2002 Hatshepsut Cenotaph, Karnak / 2002 Cité sur le Coste, Casablanca / 2002 Mosque Garden City, Mecca / 2002 Tray Tower, New York / 2002 Kalevala, Ahvenamaa/ 2002 GEM Grand Egyptian Museum, Giza / 2002 New World Trade Center, New York / 2002 Dinosaur Museum, Neuquen, Patagonia / 2001 Orangenbaum Tower / 2001 Saupers Pompiers, Paris / 2001 Beach House, Cuba / 2001 Mobile House (in between Los Angeles & Las Vegas) / 2001 Bauer House, Mull / 2001 Covered Contained City, Aomori / 2001 Auditorio Maximo, Buenos Aires / 2000 Promenade Nuova, Reggio Calabria / 2000 Plumb Museum, Sicilia / 2000 Scheckbestellung, Berlin / 2000 Leavenn Tower, near Berlin / 2000 Casa en un Precipicio, Alps / 2000 Palacio de Gobierno, Argenbath / 2000 MNBA Extension, Buenos Aires / 2000 The Platform, near Amsterdam / 2000 Resevoir Viewing Point, Parque Nacional Iguazú / 2000 Ciudad de los Aires, Rio de la Plata / 2000 Kleine Hotel, Regensburg / 2000 Casa Aerea, Los Palmares (with Clorindo Testa) / 2000 Floating Airport (in progress) / ←2000 / 1999 Maison des Ancêtres, Puy de Dome / 1999 Colossus Miniature, Rhodas / 1999 Observatorio Lunar, Valle de la Luna / 1999 Torre Hidroespiral, Buenos Aires / 1999 Rugosideo House, Aotori Bay / 1999 Meran Thermal Bath, Merano / 1999 British Council, Buenos Aires Branch / 1999 Auditorium, Keoul / 1999 The Lift, Buenos Aires / 1998 London Bridge Project, London / 1998 Sandbangeles, somehwere in b. Sandbanks & LA / 1997-00 Hotel Blau, Pinamar / 1997 Farol, near Laguna, Santa Catarina do Sul / 1997 Hosteria en las Sierras Cordobesas, Córdoba / 1997 Bond House, Sunderland / 1996 Refuge, Sunderland / 1996 Mirador de Atardeceres, Mendoza / 1996 Proyecto de Ciudad en el Desierto, Patagonia / 1996 Cenotafio de Rancé, Lyon / 1996 Auditorio, La Pampa, Argentina / 1996 Templo de las Artes Espirituales, Tibet / 1996 Proyecto de Ciudad en la Costa, near Recife (Projeto Cidade de Praia) / 1995 Biblioteca Nacional, National Library, Pampas / 1994 House in a Cliff, near San Francisco / 1993 Manzana para Buenos Aires, idem / 1992 Marquesina para Buenos Aires, idem / 1992 Edificio Central de Comunicaciones, Buenos Aires / 1991-92 Casa Atelier, Buenos Aires / 1990 House for a Philosopher, Kerala, India / 1990 Hotel en la Sierra, Córdoba / ←1990 / 1989 Casa Metrox, Bariloche / 1989 Manzana para Buenos Aires, idem / 1988 Complejo Delta, Buenos Aires / 1987 Lujan Hotel, near Buenos Aires / 1987 Zenith Industrial Temple, Detroit / 1987 Philosophy School, Lujan, near Buenos Aiires / 1987 Mead House, Swansea / 1986 Manzana para Buenos Aires, idem / 1986 Gaboto Building II, Buenos Aires / 1986 Gaboto Building I, Buenos Aires / 1986 House on the Patagonia Seaside / 1986La Boca Sport Centre, Buenos Aires / 1985 Palermo Propaganda Cultural Centre, Buenos Aires / 1985 Templo Universal (Universal Temple), Normandie / 1985 Student Hall & Auditorium, Buenos Aires / 1984 Casa Pampa (Pampa House), near Buenos Aires / 1985 / 1984 Casa Hongo (res), Buenos Aires / 1983 Office Hall, Bariloche / 1982 Explorer Mobile, Tierra del Fuego, Patagonia / 1980 Futurist City, Bariloche / ←1980 / MANIFESTO - CREATIVITY: There are always different, new and innovative solutions for any architectural problem. MULTIFUNCTIONALITY: Form and function are unimportant, what matters is the capacity of a space for surprising and adapting to our needs. (e.g.: a car can be used for traveling... or for living several hours during a long trip). BEAUTY: Geological and biological forms are our basic inspirational source. Old architectural languages no longer exist. SENSUALITY: Like the body of a beautiful woman, Architecture has to inspire our soul. Our buildings are both strong and delicate. PRECISION: Buildings can be designed like any other machine to a set standard with precise guidelines. FLUIDITY: Curved lines talk about positive, prospective, clear and optimistic futures. Curves represent freedom. ORGANIC: This means spaces are rich and complex; offering different possible uses, functions, adaptations and views. FLEXIBLE: By super-imposing different functions, forms are less rigid, hence buildings are easily adaptable for the future. STRUCTURED: Within shells, roofs, bubbles, platforms and decks, there are three-dimensional structures. Buildings can be conceived as ships. ORGANISATION: Spaces must be re-organised thinking of macro and micro structural zones, private or public, always orientated into a dialogue between exterior needs and internal new functions. DE-CONCENTRATION: In spite of tragic visions, the Earth is quite big. There is enough space for all of us. Let's de-concentrate the suburbs of big Metropolis. We urgently need new parks and leisure infrastructures. ENERGY: Buildings should produce most of their energy through new systems, innovative materials and saving concepts. We cannot afford glass boxes anymore. MOBILITY: Every person, family and social group changes trends, habitats and lifestyles. Public mobility is highly in demand. Our Office aims to design new concepts for underground, ground and aerial living and transport systems, to link mega structures and cities. ADAPTABILITY: Architecture must offer a reasonable range of urban, suburban and isolated solutions for every topic, site, and climate... always respecting historical patrimony and nature as much as we can. EVOLUTION: What we consider Architecture will change in our life time. Copyright © Patricio Pouchulu Architect - MANIFESTO - CREATIVIDAD: Siempre hay soluciones nuevas, diferentes e innovadoras, para cada problema arquitectónico. MULTIFUNCIONALIDAD: Forma y Función son irrelevantes, lo que importa es la capacidad de un espacio para sorprendernos y adaptarse a nuestras necesidades. (por ejemplo: un automóvil puede usarse para viajar... o para vivir varias horas durante un largo viaje). BELLEZA: Las formas Geológicas y Biológicas son nuestra fuente básica de inspiración formal. Lo que conocíamos como Lenguaje Arquitectónico ha desaparecido. SENSUALIDAD: La Arquitectura, como el cuerpo de una mujer hermosa, debe inspirar nuestro espíritu. Nuestros edificios son simultáneamente delicados y fuertes. PRECISION: Los Edificios pueden ser diseñados como cualquier otra máquina... aunque nunca llegaran a serlo!. FLUIDEZ: Las formas curvas representan futuros optimistas, positivos y prospectivos. Las Curvas significan Libertad. ORGANICIDAD: Esto significa que todo espacio es rico y complejo, ofreciendo distintos usos, funciones, vistas, y siempre debe ser adaptable. FLEXIBLE: Al superponer funciones diferentes, la organización espacial es menos rígida: así sus usos pueden ser transformados en el futuro. ESTRUCTURAL: Detrás de las Cáscaras, Burbujas, Superficies y Plataformas, hay estructuras tridimensionales: nuestros edificios son concebidos de forma similar a la de los barcos. ORGANIZACION: Los Espacios interiores deben ser reorganizados pensando en micro o macro zonificaciones estructurales, públicas o privadas, orientados en un diálogo entre las necesidades exteriores y las nuevas funciones internas. DESCONCENTRACION: A pesar de visiones trágicas, la Tierra es realmente grande. Hay espacio para todos. Debemos desconcertar las grandes ciudades. De manera urgente necesitamos nuevos parques e infraestructura del tiempo libre. ENERGIA: Los Edificios deben producir casi toda la energía a través de nuevos sistemas, materiales innovativos y programas de ahorro. No podemos continuar diseñando cajas de cristal. MOVILIDAD: Cada persona, familia y grupo social cambia, cada vez más, sus hábitos, sus lugares de residencia y sus estilo de vida. La movilidad pública es una necesidad: nuestro Estudio propone diseñar nuevos conceptos para el transporte subterráneo, de superficie y aéreo, para enlazar megaestructuras y ciudades. ADAPTABILIDAD: La Arquitectura debe ofrecer soluciones razonables en un nivel urbano, suburbano y aislado para cada tema, sitio y clima... siempre respetando todo el patrimonio arquitectónico histórico de valor y las zonas de naturaleza protegida. EVOLUCION: Lo que hoy consideramos Arquitectura va a cambiar a lo largo de nuestra vida. Copyright © Patricio Pouchulu Architect - CURRICULUM VITAE - EN - PATRICIO POUCHULU received his architectural training with Sir Peter Cook at the Bartlett School, London, United Kingdom. M.Arch. Master in Architectural Design, UCL, University College London (1998) British Council & Fondo Nacional de la Artes Scholarship (1997). Graduated from FADU, UBA, Universidad de Buenos Aires (1995). Full registered architect in Argentina. His projects explore innovative, futuristic spaces dealing with a wide range of topics, themes, places: Cities and utopias: London Bridge Project; Architecture and nature: Blau Hotel, House in a Cliff; Resting and leisure: Mirador de Atardeceres; Offices: The Lift; Museums: GEM; Theatres: Kalevala. Pouchulu is teaching and lecturing in Europe; his work is published in international magazines. BORN: Buenos Aires, 1965. QUALIFICATIONS: M.Arch. (Bartlett, UCL, London), Architect UBA - CPAU. EDUCATION: The Bartlett School of Architecture, London (1997-1998). Facultad de Arquitectura y Urbanismo, UBA (1983-1993). PRACTICE: Pouchulu Architects (established in Buenos Aires, 1999) Pouchulu is a full registered architect, CPAU, Consejo Profesional de Arquitectura y Urbanismo, Buenos Aires, member of UIA, Union International of Architects. Reg. Nr. 22.484. CONSULTANT: City of Buenos Aires Government, Urban Space, author of the regulation "Nodos Libres" (2006). DIRECTORSHIP: Essential Spatial Project (ESP) specialised in multifunctional mega-structures. Study cases in Europe, Africa, South America and Asia. RESEARCH: New relations between unconventional forms and nature-protected locations. LECTURES: London, Munich, Buenos Aires. ADJUNCT PROFESSOR (LEHRBEAUFTRAGTER): FHM Munich, Germany, MEDU Munich Experimental Design Unit 2002-03. Design Units with Professors Jörg Homeier, Herbert Meyer-Sternberg, (1999-2002). LECTURER: Theory of Architecture. FADU, UBA 1994-95. VISITING TEACHING: London (The Bartlett, Stadelschule-Frankfurt), Buenos Aires (UBA, UP, private competitions). JURIES: London. WRITINGS: London, Buenos Aires, Milano. - - ES - Patricio Pouchulu es discípulo de Peter Cook, con quien estudió en la Bartlett School en Londres, Reino Unido. Se recibió de Master en Diseño Arquitectónico, M.Arch. 1998 (UCL, Universidad de Londres). Fue galardonado con la Beca del Consejo Británico y el Fondo Nacional de las Artes (1997). Se recibió de Arquitecto en la Facultad de Arquitectura, Diseño y Urbanismo (FADU, UBA). Matriculado profesionalmente en Argentina (CPAU). Sus proyectos exploran espacios futuristas, desarrollando un amplio repertorio de temas, lugares y paisajes: Ciudades y Utopías: London Bridge Project; Arquitectura y Naturaleza: Blau Hotel, House in a Cliff; Descanso: Mirador de Atardeceres; Oficinas: The Lift; Museos: GEM; Teatros: Kalevala. Pouchulu enseña y dicta conferencias en Europa y sus trabajos se publican en revistas especializadas de diferentes paises. TITULOS: M Arch (Bartlett), Arquitecto UBA, CPAU. - NACIMIENTO: Buenos Aires, 1965. EDUCACION: The Bartlett School of Architecture, Londres (1997-1998). Facultad de Arquitectura y Urbanismo, UBA (1983-1993). PRACTICA: Pouchulu Architects (fundado en 1999). Pouchulu es arquitecto registrado, CPAU, Consejo Profesional de Arquitectura y Urbanismo, miembro de la UIA, Union Internacional de Architectes. Reg. Nr. 22.484. CONSULTOR: Gobierno de la Ciudad Autónoma de Buenos Aires, Espacio Urbano (2006). LINEA DE ACCION: Essential Spatial Project (ESP) especializado en megaestructuras multifuncionales. Casos de estudio en Europa, Africa, Sudamérica y Asia. INVESTIGACION: Nuevas relaciones entre formas no convencionales y sitios naturales protegidos. CONFERENCIAS: Londres, Munich, Buenos Aires. PROFESOR ADJUNTO: FHM Munich, Alemania, MEDU, Munich Experimental Design Unit, con Susanne Biek, 2003-2004. Catedra junto a los Profesores Jörg Homeier, herbert Meyer-Sternberg. (1999-2002). Profesor Invitado: Londres (The Bartlett, Stadelschule-Frankfurt), Buenos Aires (UBA, UP, private competitions) JURADO: London (The Bartlett), Buenos Aires (UBA, UP, concursos privados). CURSOS DICTADOS: Londres, Munich, Buenos Aires. ESCRITOS: Londres, Buenos Aires, Milan - FR - PATRICIO POUCHULU est disciple de Peter Cook, son maître et directeur de thèse, à Londres, Royaume-Uni. Il a obtenu le Master in Design Architectural, M. Arch. 1998 (UCL, Université de Londres). Il a gagné en Argentine la Bourse exceptionnelle du British Council et du Fonds National des Arts (1997) Il obtient son diplôme d'architecte à l'École d'Architecture, Design et Urbanisme (FADU, UBA). Enregistré en Argentine (CPAU). Ses projets explorent les espaces futuristes et développent un large répertoire de thèmes, lieux et paysages: Villes et Utopies: London Bridge; Architecture et Nature: Hôtel Blau, Casa en un Acantilado; Lieux de Détente: Miradors de crépuscules; Bureaux: l'ascenseur; Musées: Grand Egyptian Museum; Theaters: Kalevala. M. Pouchulu enseigne et donne des conférences en Europe. Son travail est publié dans des revues spécialisées du monde entier et exposé dans les Biennales européennes. - Titre: M Arch (Bartlett), architecte UBA, CPAU. NAISSANCE: Buenos Aires, 1965. EDUCATION: la Bartlett School of Architecture, Londres (1997-98). Faculté d'Architecture, Design et Urbanisme, UBA (1983-93). PRATIQUE: Architectes Pouchulu (fondée en 1999). Pouchulu est Architecte enregistré CPAU, Conseil professionnel de l'architecture et Urbanism, membre de l'UIA, Union Internationale des Architectes. CONSULTANT: du Gouvernement de la Ville autonome de Buenos Aires, Espace Urban (2006). LIGNE D'ACTION: Essential spatiale Project (ESP), spécialisé dans les mégastructures multifonctionnelles. Des études de cas en Europe, Afrique, Amérique du Sud et en Asie. RECHERCHE: De nouvelles relations entre les non-formes conventionnelles et des sites naturels protégés. CONFERENCES: à Londres, à Munich, à Buenos Aires. PROFESSEUR ADJOINT: FHM Munich, Allemagne: MEDU, Munich Expérimentale Design Unit, avec Susanne Biek, 2003-04. CONFÉRENCE avec le Professeurs Jörg Homeier, Herbert Meyer-Sternberg. (1999-02). PROFESSEUR INVITÉ: Londres (The Bartlett, Städelschule-Francfort), Buenos Aires (UBA, UP, concours privé) JURY: Londres (The Bartlett), Buenos Aires (UBA, UP, des concours privé). COURS ASSURÉS: Londres, Munich, Buenos Aires. ÉCRITS: Londres, Buenos Aires, Milan. - Profile: Mobile Office / Everywhere - DE - Die Verfügbarkeit neuer Technologien verändert die architektonische Praxis zu einem globalen, interkontinentalen Phänomen. Patricio Pouchulu führt eine "mobile Büro", arbeitet gleichzeitig an verschiedenen Orten und zu verschiedenen Teilen der Welt. Einige Projekte sind Gedanken auf Reisen quer durch Europa oder den Atlantik, und dann entwickelt in Buenos Aires, London, Rio de Janeiro, München oder in jeder anderen Stadt. Das Büro befindet sich in internationalen Auswahlverfahren beteiligt und seit 2005 auf Einladung. Junge talentierte Architekten aus verschiedenen Ländern arbeiten in kurzfristige Praktika. - EN - The availability of new technologies transformed the architectural practice into a global, intercontinental phenomenon. Patricio Pouchulu conducts a "mobile office", working at the same time from different places and toward different parts of the World. Some projects are thought while travelling, crossing Europe or the Atlantic Ocean, and then designed in Buenos Aires, London, Rio de Janeiro, Munich or any other city. The office is involved in international open competitions, and since 2005 by invitation. Young talented architects from different countries collaborate in short-term internships. - ES - La presencia de nuevas tecnologías ha transformado la práctica de la arquitectura en un sentido global e intercontinental. Patricio Pouchulu dirige un "Estudio Móvil" que trabaja al mismo tiempo desde y hacia distintas partes del mundo. Algunos proyectos son pensados al viajar, cruzando Europa o el Océano Atlántico para luego ser diseñados en Londres, Buenos Aires, Rio de Janeiro, Munich u otras ciudades. El estudio participa de concursos abiertos internacionales y desde 2005, por invitación. Jóvenes arquitectos de distintos países colaboran en internships cortos. - FR - La disponibilité de nouvelles technologies a transformé la pratique de l'architecture en un phénomène mondial et intercontinental. Patricio Pouchulu effectue un «bureau mobile», travaillant dans le même temps de différents endroits et envers les différentes parties du monde. Certains projets sont pensés tout en voyageant, en traversant l'Europe ou l'océan Atlantique, et ensuite conçu à Buenos Aires, Londres, Rio de Janeiro, Munich ou toute autre ville. Le bureau est impliqué dans des compétitions internationales ouvertes, et depuis 2005 sur invitation. Jeunes architectes de talent provenant de différents pays collaborent à court terme des stages. - DE - VANESSA OLIVEIRA (São Paulo, 1978) ist ein brasilianischer Künstler, Musiker und Schauspielerin, die Experimente mit bildender Kunst, Literatur und Architektur. Sie ist tugendhaft tambourinist Musiker, der von Marcos Suzano inspiriert wurde. Als sie erfuhr, Schlagzeuger von Simone Sou. Sie studierte Schlagzeug und Percussion mit Alexandre Biondi an der Kunsthochschulein São Paulo. Sie spezialisierte sich in Buenos Aires mit Maxi Cataldi (Schlagzeug) und Iris Guiñazú (singt). Sie studierte Theater-und João das Neves handelt, und Gitarrenbauer machen mit Fernando Sardo, São Paulo. Oliveira in internationalen Filmen durchgeführt hat: Los Inocentes (Argentinien, 2013), Carne de Neón (España, 2009) und Theaterproduktionen: Tarde de Palhacadas (von Jairo Mattos, 2003-07 Dir.), Teatro Oficina Uzyna Uzona (von Dir. Ze Celso Martínez Correa, 2007), da Pranto Maria Parda (Os Satyros Company, dir von Rodolfo Garcia Vasquez & Ivam Cabral, 2001-02), Sappho de Lesbos (idem, 2001-04). Oliveira arbeitet in Partnerschaft mit Pouchulu als engagierter Afro -Aktivist, und die Förderung der Integration von Kunst und Architektur ..... GEBURT: São Paulo, 1978. FACH: Drums & Percussion, Schau. AUSBILDUNG: Fundação das Artes de São Caetano do Sul, São Paulo (2001-05). PRAXIS: 7P ("Seven Pi") mit Pouchulu (2013) gegründet, Kemet Kanga (Musical-Produktionen). Leitung: Förderung der Black Arts über Menschen afrikanischer Herkunft. Projektstudien in Afrika und Südamerika. FORSCHUNG: 3AM, Afrocentrist Kunst Aktionen in Bewegung. VORTRÄGE: Buenos Aires. PROFESSOR: Kreativ Englisch Lernen für Kinder & Geschäftsleute, São Paulo. SEMINARE: Musik für Kinder; Luthier Techniken für Kinder, São Paulo. TECHNISCHE: Elektroniker, São Paulo. WERBUNG & FASHION: USA, Großbritannien, Italien, Brasilien, Argentinien und weltweit-Kampagnen. SCHRIFTEN: Buenos Aires, São Paulo. - EN - VANESSA OLIVEIRA (São Paulo, 1978) is a brazilian artist, musician and actress, who experiments with visual arts, literature and architecture. She is virtuous tambourinist musician, who was inspired by Marcos Suzano. As a drummer she learned from Simone Sou. She studied drums and percussion with Alexandre Biondi at the Art Conservatory in São Paulo. She specialized in Buenos Aires with Maxi Cataldi (drums), and Iris Guiñazú (singing). She studied theatre and acting with João das Neves, and Luthier making with Fernando Sardo, São Paulo. Oliveira has performed in international movies: Los Inocentes (Argentina, 2013), Carne de Neón (España, 2009) and theatrical productions: Tarde de Palhacadas (dir. by Jairo Mattos, 2003-07), Teatro Oficina Uzyna Uzona (dir. by Ze Celso Martínez Correa, 2007), Pranto da Maria Parda (Os Satyros Company, dir. by Rodolfo Garcia Vasquez & Ivam Cabral, 2001-02), Sappho de Lesbos (idem, 2001-04). Oliveira works in partnership with Pouchulu as a committed Afro activist and promoting the integration of Arts and Architecture ..... BIRTH: São Paulo, 1978. SPECIALIZATION: Drums & Percussion, Acting. EDUCATION: Fundação das Artes de São Caetano do Sul, São Paulo (2001-05). PRACTICE: 7P ("Seven Pi") founded with Pouchulu (2013); Kemet Kanga (musical productions). DIRECTORSHIP: promoting the Black Arts through people of African origin. Project studies in Africa & South America. RESEARCH: 3AM, Afrocentrist Art Actions in Movement. LECTURES: Buenos Aires. PROFESSOR: Creative English learning for children & businessmen, São Paulo. SEMINARS: Music for children; Luthier techniques for children, São Paulo. TECHNICAL: Electronic Technician, São Paulo. ADVERTISING & FASHION: USA,, UK, Italy, Brazil, Argentina, and worldwide campaings. WRITINGS: Buenos Aires, São Paulo. - FR - VANESSA OLIVEIRA (São Paulo, 1978) est une artiste brésilienne, musicienne et actrice, qui expériences avec les arts visuels, la littérature et l'architecture. Elle est une vertueux tambourinist, qui a été inspiré par Marcos Suzano. En tant que batteur elle a appris de Simone Sou. Elle a étudié la batterie et les percussions avec Alexandre Biondi au Fundaçao das Artes de São Caetano do Sul, São Paulo. Elle s'est spécialisée à Buenos Aires avec Maxi Cataldi (batterie), et Iris Guiñazú (chant). Elle a étudié le théâtre et agissant avec João das Neves, et atelier de luthier avec Fernando Sardo, Sao Paulo. Oliveira a joué dans des films internationaux: Los Inocentes (Argentine, 2013) Carne de Neón (Espagne, 2009) et des productions théâtrales: Tarde de Palhacadas (dir. par Jairo Mattos, 2003-07), Teatro Oficina Uzyna Uzona (dir. par Ze Celso Martinez Correa, 2007), Pranto da Maria Parda (Le Satyros Société, dir. par Rodolfo Garcia Vasquez & Ivam Cabral, 2001-02), Sappho de Lesbos (ibid., 2001-04). Oliveira travaille en partenariat avec Pouchulu comme une militant Afro engagée, et pour l'intégration des arts et de l'architecture ...... NAISSANCE: São Paulo, 1978. SPECIALIZATION: batterie & percussion, actrice. EDUCATION: Fundação das Artes de São Caetano do Sul, São Paulo (2001-05). PRATIQUE: 7P ("Sept Pi") fondée avec Pouchulu (2013); Kemet Kanga (productions musicales)). LIGNE D'ACTION: promotion de l'Art Noir par des noirs et leurs descendants. Études de cas en Afrique et en Amérique du Sud. RECHERCHE: Actions d'Art Afrocentriste. CONFÉRENCES: Buenos Aires. PROFESSEUR: apprentisage creative de l'anglais, pour les enfants et les hommes d'affaires, São Paulo. SÉMINAIRES: Musique pour les enfants; techniques Luthier pour les enfants, São Paulo. TECHNIQUE: Electronic Technician, São Paulo. PUBLICITE & FASHION: Etats-Unis, Royaume-Uni, l'Italie, Brésil, Argentine, et campaings mondial. ÉCRITS: Buenos Aires, São Paulo. - ES - VANESSA OLIVEIRA (San Pablo, 1978) es una artista Brasileña, músico y actriz, que experimenta con las artes visuales, la literatura y la arquitectura. Virtuosa del pandero, recibió su inspiración de Marcos Suzano, y como baterista, de Simone Sou. Estudio batería y percusión con Alexandre Biondi en el Conservatorio de Arte de San Pablo, especializándose luego en Buenos Aires con Maxi Cataldi (batería), e Iris Guiñazú (canto). Oliveira estudió teatro y actuación con el renombrado João das Neves, y técnicas de Luthier con Fernando Sardo, ambos en San Pablo. En años recientes ha actuado en filmes internacionales: Los Inocentes (Argentina, 2013), Carne de Neón (España, 2009) y en exitosas producciones teatrales: Tarde de Palhacadas (dirigida por Jairo Mattos, 2003-07), Teatro Oficina Uzyna Uzona (dir. por Ze Celso Martínez Correa, 2007), Pranto da Maria Parda (Os Satyros Company, dir. por Rodolfo Garcia Vasquez & Ivam Cabral, 2001-02), Sappho de Lesbos (idem, 2001-04). Oliveira trabaja con Pouchulu como una dedicada Afro-activista y promoviendo la integración de las Artes con la Arquitectura ..... NACIMIENTO: San Pablo, 1978. ESPECIALIZACION: batería y percusión, actuación. EDUCACION: Fundação das Artes de São Caetano do Sul, San Pablo (2001-05). PRACTICA: 7P ("Seven Pi") co-fundadora junto a Pouchulu (2013); Kemet Kanga (producciones musicales). LINEA DE ACCION: Promoción de las Artes Negras a través de artistas Afrodescendientes. Proyectos de estudio y en desarrollo en Africa & Sud América. INVESTIGACION: 3AM, Acciones de Arte Afrocentrista en Movimiento. CONFERENCIAS: Buenos Aires. PROFESORA: Creative English learning para niños y hombres de negocios, San Pablo. SEMINARIOS: Música para niños; técnicas de Luthier para niños, San Pablo. TECNICA: Técnica Electrónica, San Pablo. PUBLICIDAD & FASHION: USA, UK, Italy, Brasil, Argentina, y campañas mundiales. ESCRITOS: Buenos Aires, San Pablo. - FR - VANESSA OLIVEIRA (São Paulo, 1978) est une artiste brésilienne, musicienne et actrice, qui expérience avec les arts visuels, la littérature et l'architecture. Elle a étudié la batterie et la percussion avec Alexandre Biondi au Fundaçao das Artes de São Caetano do Sul, São Paulo. Elle s'est spécialisée à Buenos Aires avec Maxi Cataldi (batterie) et Iris Guiñazú (chant). Elle a étudié théâtre avec João das Neves, et un atelier de luthier avec Fernando Sardo, Sao Paulo. Oliveira a joué dans les films internationaux: Los Inocentes (Argentine, 2013), Carne de Neón (Espagne, 2009) et les productions théâtrales: Tarde de Palhaçadas (2003-07), Teatro Oficina Uzyna Uzona (2007), Pranto da Maria Parda (Os Satyros, 2001-02), Sappho de Lesbos (Os Satyros, 2001-04). Oliveira travaille avec Pouchulu pour l'intégration des arts et de l'architecture ...... NAISSANCE: São Paulo, 1978. SPECIALIZATION: batterie & percussion, actrice. EDUCATION: Fundação das Artes de São Caetano do Sul, São Paulo (2001-05). PRATIQUE: 7P ("Sept Pi") fondée avec Pouchulu (2013); Kemet Kanga (productions musicales). LIGNE D'ACTION: promotion de l'Art Noir. Études de cas en Afrique et en Amérique du Sud. RECHERCHE: Actions d'Art Afrocentriste. CONFÉRENCES: Buenos Aires. PROFESSEUR: apprentisage creative de l'anglais pour les enfants, São Paulo. SÉMINAIRES: Musique pour les enfants; techniques Luthier pour les enfants, São Paulo. TECHNIQUE: Electronic Techniciene, São Paulo. PUBLICITE & FASHION: Etats-Unis, Royaume-Uni, l'Italie, Brésil, Argentine, et des campaings mondial. ÉCRITS: Buenos Aires. / ßIDEAS - A---Afro Hair. AFRICA influenced Europe since 1900, when African Art started to feed the imagination of European artists. In Africa, the link between space and structure is different: they seem to belong to the same order, affecting all kind of forms. Afro Hairs can be considered an act of formal perfection: a same element becomes structure and form... This idea, to alter some matter by manipulating just single elements, is a constant in every african artistic expression, and quite spectacular in Music. Architecture should explore this approach: to model each individual form and then to mix different ones, and not the opposite. A single element can be transformed in something complex, analysing specific spatial conditions (horizontality, gravity), and new structural configurations (towards flexible materiality and organic spaces). I would not mind a building to be treated like the ladies\' hair: What kind of forms could we reach? Copyright © Patricio Pouchulu Architects 2001 / Picture (fragment) from: "Untouched", The Emotions, © Stax Records (circa 1970, photographer unknown) B---Bridges. BRIDGES always hide something underneath: that is what scares people's imaginary. This is the Book Fair under Waterloo Bridge, some Saturday afternoon. This magnificent space tells about another dimension, the bottom of the bridge, another reality which people from above ignore. What about the bottom of Architecture? Where is that? Is that a particular space? Copyright © Patricio Pouchulu Architects 2001 / Picture: Waterloo Bridge, London, winter 2002 Photo by Patricio Pouchulu. C---Cinema. CINEMA. The notion of architectural space was strongly influenced by films: ideas like "spatial continuity" or "fragmented realities" were developed in films. But there is another aspect: the cinemas themselves. In no other place, neither urban nor suburban, a fiction is framed by architecture in such a natural way. You get to the lobby, accepting that you start a trip. Then you queue, understanding that the experience is not so easy. Then in a few minutes you enter a slightly dark room, and you seat (in other words, you let yourself in hands of the space). After realising that you are not alone the light slowly disappears in favour of the silence, and finally the curtains reveal a screen, a mysterious window.... C---Conscience. CONSCIENCE. This eye is looking at you, Architect. It is saying that you are doing wrong. Did you realised that Architecture could be as beautiful as an eye? Eyes are special: every person has a different spirit, and that spirit is unique, usually reflected in the eyes. I think every piece of architecture should be different. Architecture without a spirit is like an eye without a conscience, it is senseless. Copyright © Patricio Pouchulu 2001 / picture: Green eye: Picture from "Cokin" (fragment), circa 1981, (photographer unknown). D---Donald. DONALD DUCK was developed in the final comic strip format by Carl Barks, following Walt Disney's character. Since 1943 and for more than twenty years, Carl created amazing spaces within sophisticated visual narrations, training the eye of those who followed that world into beautiful concepts of landscape and movement. As a child, I learnt about architectural realities by reading and exploring Carl's stories... Shall we, dear architects, educate the world by designing architecture in such a powerful and simple way? Copyright © Patricio Pouchulu 2001 / Picture: Frame by Carl Barks, extracted from "Luck of the North", circa 1950, courtesy © Walt Disney Productions. D---Dreams. Dreams is what the Universe is made of. Some artists were aware of this. Jorge Luis Borges knew it. Architecture, then, is a particular representation of those dreams. It is formed by spaces, sounds and sensations, as any dream. But more important: Architecture is made of memories projected into the future. Copyright © Patricio Pouchulu 2001 / Picture: Hannover World Fair 2000, photo by Pouchulu. E---Earth. The EARTH is a sphere, but architects ignore it. Most of our architectural knowledge is still based on pre-Euclidian Geometry: what we consider a straight line has been measured according to the centre of our planet, and it is a perfect curve. Actually, all our buildings are horizontally curved, as well as routes, highways and railways. I would like architecture to react in favour of organic patterns, as they naturally represent the idea of freedom. This idea, as perhaps part of the spirit of an idealistic kingdom, can only be found (as a sort of urban statement) in the way paths and streets are designed in Great Britain, where no straight streets exist, except "The Mall", (strictly pointing the Buckingham Palace, reminding us that a Queen is governing us). Copyright © Patricio Pouchulu 2002 / Picture courtesy of NASA, USA © NASA 2000. F---Fantasia. FANTASIA is a concept from Music we should pay attention to. It is our obligation to dream and to build our dreams. Mario Palanti, contemporary and friend of Sant' Elia, went to Buenos Aires in 1913. He built in Argentina the most amazing surreal stuff. His forms and spaces are sometimes eclectic or neoclassical, always organicist and innovative, like Pasaje Barolo (1923) or this project for a Tempo Votivo (1913). He was perhaps the last Romantic architect, he ignored Modernist's dogmas, but his spirit was modern indeed, and even more legitime: he knew how to build and respected the principles of architecture (materiality, proportion, scale, rejected by post-war modernism) Palanti believed we must leave a lasting message for coming generations, and he succeeded. Fantasia: 1. A fanciful composition observing no strict musical form. 2. A medley of various themes, usu. with brilliant variations and embellishments. Copyright © Patricio Pouchulu 2001 / Source: Funk & Wagnalls, Standard Encyclopaedic Dictionary, 1969. Copyright © Patricio Pouchulu 2001 / Picture: "Progetto di Tempio votivo alla Pace Universale", © Mario Palanti, circa 1913, from "Prima Esposizione Personale D'Architettura vella Republica Argentina, Arch. M. Palanti", Milano 1917. F---Feet. This woman has painted her FEET's nails in a way that the presence of those images deal with a spatial condition: the ring's tiny flowers point delicacy, the one at the right has an oriental aspect, the others show minimal bluish landscapes, suggesting far lands. Architecture implies more than a short, external visual scenery, it always affects our close spatial surroundings: if you cross this lady on the street and see her feet, you are (by sure) more affected by them than by any building around you. In that moment, what is more important, the lady or the buildings? Those nails have an intention, a background, they have changed her own space and perhaps yours, even if that happened for a few seconds. Architecture must get back to this quality: the possibility for surprising in a fresh way, like Neoclassicism did for centuries. Picture: Nail Art, courtesy of Marian Smith, 2000. F---Forest. A FOREST is not just a place, it is a place by definition, like this unique forest in Germany. It is fairly ironical that in order to make architecture we have to destroy nature. Actually, architects are not conscious about this tragedy. That is one of the reasons why our civilisation is still insecure about architecture. In that sense, we have a tremendous responsibility: to anticipate possible futures but within forests, prairies, rivers, mountains, deserts and valleys. Even future cities should get integrated in possible landscapes. Each tree is an organism establishing a particular "place". This tree seems to move. Its branches are like arms, pointing the sky; it is the home of birds and insects; when this photo was taken it stimulated our imagination towards a different reality, one beautiful and cold morning in the deep Bavarian forest. Copyright © Patricio Pouchulu 2001 / Picture: "Dual Tree", forest near Stanbergsee, Bavaria, July 1999. Photo by Pouchulu and Biek. G---G. GESTALT is a unique German concept, that describes particular formal conditions that apply in essential things, like this unique forest in Germany. It is fairly ironical that in order to make architecture we have to destroy nature. Actually, architects are not conscious about this tragedy. That is one of the reasons why our new civilisation is still insecure about Architecture. In that sense, we have a tremendous responsibility: to anticipate new possible futures... but within forest, prairies, mountains, deserts and valleys. Even future cities should get integrated there... a new state of Gestalt is waiting to be created. Picture: Forest near Stanbergsee, Bavaria, July 1999. Photo by Pouchulu / Biek. H---Hands. Our HANDS are the most amazing gift of the Universe. While drawing, talking or singing, our hands describe images, movements, stories, creating a rare sense of space. Some people really speak with their hands. Sometimes we remember a person because of his or her hands. Painters, sculptors, musicians, dancers, poets, all of them use their hands in a direct relation with the art. What a pity: Architects are not using their hands anymore... I resist. Copyright © Patricio Pouchulu 2001. Photo: "Blade Runner" frame; Rachel (Sean Young) smoking while interrogated by Deckard (Harrison Ford) at the Tyrell Corporation. Copyright © 1982 Warner Brothers Inc. Courtesy: Sir Ridley Scott. Copyright © Patricio Pouchulu 2001 / Miriam Makeba's hand. From: record cover (frag) "Miriam Makeba" © Editions Syliphone Conakry, Paris, 1975. Photo: © B. Blin. H---Holes. HOLES are very curious. They produce different and complex reactions in our subconscious. The Universe is composed by mass and holes, every object or thing we know has some sort of holes. There are holes in macro or micro structures, within positive and negative reactions and appear during expansive and contraction movements. Holes are a reaction of mass after some energy's action. Holes have organic and erotic implicances. A stone can be perforated by water or wind. Holes have been studied and re-produced by Anish Kapoor, one of the best contemporary artists. Copyright © Patricio Pouchulu 2001 / "Hole 13682". Stone collected in Seven Sisters, South of England, 1997. I---I. An IMAGE is something mysterious. Architecture can be seen, felt and understood through personal suggestions. Our mind usually creates unexpected images and spaces. This small stone seems to have some sort of ocean and (perhaps) a ship or an object. Architecture should see this kind of forms while imagining and designing a specific form. Copyright © Patricio Pouchulu 2002 / Picture: stone collected by Patricia Pouchulu in Misiones, Argentina. Photo from 2002. I---Imagination. IMAGINATION and creativity are the base of good Architecture. It is not easy to do something new, but it is the only way to create a new, better world. It does not mean to replace everything. I love Classicism and its long forgotten universal principles (materiality, proportion, scale), but it is non sense to reproduce the past; we cannot ignore our evolution but to analyse it, conduct it and make the necessary corrections. We must keep the treasures of our past and at the same time, to look for new environments, forms, technologies, looking for a new spirit. Did you know that these spheres represent a city? Copyright © Patricio Pouchulu 2001 / Picture: "Mobile bubbles" Composition and photo by Pouchulu, 2002. J--- Japan. JAPAN always produced elegant, industrious, strong and beautiful objects and images... Their capacity for modelling reality is unique. Impossible to mistake Japanese things: landscapes, cities, costumes, design, paintings... however, due to their excessive, abstract conception of space, they did not integrate the European idea of anthropomorphic system. This, and the fact that they feel a need of exploring "outer" natural forces (like British, they live isolated within a limited territory) make them believe that everything can and will change following the discovery of technical extensions (devices). This is quite visible in the astonishing video-games and Anime industries (quite violent), that accelerated our global conscience while exporting their psychological drama of being the first victims of the nuclear holocaust. However, together with their executors, they have confronted the last European Romantic principle: the humanist individualism; of Renaissance origin, it took final form in the 19th Century, reaching a balance between art and technique. Is it possible to integrate both lines of thinking? I try. Photo: "Fuji mountain in clear weather", Hokusai, circa 1830. From "Hokusai", courtesy: Hugo Klickowski editions, 2002. k---kew. KEW GARDENS' Palm House could be considered the first futuristic building and one of the best 10 pieces of architecture ever built. It was designed by the great (and forgotten) Decimus Burton for the great (and remembered) Queen Victoria (1837–1901). The Palm House was finished in 1848; still there, in a mint condition, it holds the Tropical Collection of the Royal Botanic Gardens, developed by the mother of George III with the assistance of Sir Joseph Banks (1743–1820, renown botanist who accompanied Captain James Cook on his first voyage to the Pacific). Every time I see the Palm House I face amazing discoveries, and endless surprise for my soul; reflecting the sky and the atmosphere, it always looks different... it is not a building: it is a perfect organism. (you can visit it briefly for free half an hour before closing time: a British courtesy) Copyright © Patricio Pouchulu 2001 / Picture: Palm House, (Decimus Burton, 1844-48) Kew Gardens, Richmond, London. Photo by Pouchulu, 1998. L---LeavesThis LEAF inspires me... as it owns several architectural qualities. When was the last time you had a leave in your hands? Do not misunderstand me, I mean, when was the last time you spent a few minutes with a leave, admiring, inspecting, exploring it...? This leave comes from Paris, not far from Montparnasse. Please have a look at the nerves, going up and down, look the symmetry: it is imperfect. Look the wandering border, linking small spaces, some of them almost rectangular. Architect: please look at this leaf: it might be a plan or even better, I think it is a secret map. Picture: leaf collected in Paris by Patricia and Patricio Pouchulu, July 2001. L---Legs. The LEGS represent an intriguing part of the female body: they are delicate, strong, active and quite sexy. Human Body should be taken again as our first architectural reference. Beyond classic, old anthropomorphic concepts, we must renew our inspiration sources by exploring women's sensuality. Universal principles apply: materiality, proportion, scale. Face and hands hold a delicate poetry, but if we pay attention to mayor curves, legs become a unique source of beauty. Dear architect: if you are unable to contemplate the legs of a beautiful woman and, afterwords, get some architectural feedback out of that (including specific morphological concepts) I you are probably lost. Picture: J. Birkin's legs (frag), from "Rèalitès", Mars 1969. © Rèalitès, Paris, 1969. (Photographer unknown) M---Mushrooms. MUSHROOMS have complementary inner and outer structures and a morphological organisation that shows natural geometrical patterns. Mushrooms evidence singularity, as each one is slightly different from the other; regularity, as there are sort of "prototypes" scattered in thousands of groups; and irregularity (or random) in the way they grow and expand under the forest. However, what interests me more, is the fact that a mushroom is a complete and fine piece of minimal architecture. Copyright © Patricio Pouchulu 2001 / Picture: "Hongos en el Delta del Tigre", 1994, photo by Pouchulu. N---Neon. NEON tubes have transformed the perception of time. Buenos Aires -like London- smells like a huge machine, mixed with some strange oil and burned rubber smoke flavours. For urban creatures, this presence is addictive and, together with the neon tubes, gives at night a strange sense of atemporal and decadent urban atmosphere, creating the myth of eternal night. Referring films, BA is a noire city, it hides secret architectural stories everywhere, the artificial space is transformed there in something surreal. Copyright © Patricio Pouchulu 2001 / Record cover (fragment) from: "Tangos Vol. II" , © Ariola Eurodisc, circa 1970 (photographer unknown). O---Organic. ORGANIC objects and spaces have been surrounding us since ever. A need for abstract statements has changed our perception towards dry spatial languages, like certain extremist rationalism. Minimalism is the best expression of deadly boring stuff. Architects must get some inspiration by analysing natural organisations and structures; in historical or literary spaces and within nature, which is infinite (even if contemporary philosophers dictate the contrary.) Copyright © Patricio Pouchulu 2001 / Picture: Water Sculpture (bottom) by Giulia Kosice, from Pouchulu's personal collection. P---Production. PRODUCTION. Architecture could be produced as a plane; most of its components should be made in different factories and then mounted, like a plane. In that sense, every part becomes cheaper and more sophisticated, as it is individually controlled. Some attempts have been done in recent years. However, the appearance of this kind of objects still reminds of an ordinary building, and they do not represent yet a new formal state. We must search for new formal states but respecting culture diversity and applying universal principles (materiality, proportion, scale). Picture: Pre-production Aircraft -Concorde 01- Engine ground test, picture from: "Concorde" © Aerospatiale France & British Aircraft Corporation, 1970. Q---Quintessence. WOMEN represent the Quintessence of life and the epitome of beauty. The delicate skin of women is one of the strongest existential concepts: a conjunction of many meanings, attraction, sensuality and protection. Everything that surround us has some sort of skin, including our bodies and thoughts, they are covered by many types of skin, a link between a mysterious interior, and our perception. Architecture (in spite of recent, violent attempts of destroying the idea of materiality) becomes real only... if a skin or veil protects it, setting inner and outer states. Perhaps we might find, in the details of that woman's hand, a complete Universe... Picture: Woman's hand (fragment) Copyright © Uwe Ommer 1995, from "Black Ladies", courtesy of Venedikt Taschen. R---Rosas Rojas. A ROSE, symbol of life, represents the concepts a new essential architecture should have: a strong visual impact; simple structure; irregular, non-geometrical organisation; morphological contrast against close external environments; integration with analog organisms; flexible formal evolution; a relatively fixed-home place; a renewable lasting time and some unforgettable detail, perhaps even the smell... who knows. Copyright © Patricio Pouchulu 2001 / Picture: "Rosas Rojas, Verano del 2000" Photo by Susanne Biek. S---Saturn. SATURN is a fascinating territory. As most of our planets, it can be considered an architectural statement. This picture shows how it was seen in the early forties. In those years we used to see it from one point of view only, till the great astronomer and educator Carl Sagan (1934–96, he proved amino acids as life generators and created the TV series Cosmos, 1980); Carl showed us Saturn from different angles through the heroic photographs taken by the Voyager I and II spaceships built by NASA, now travelling outside the Solar System with a message for alien civilisations (see: "Star Trek I", 1979). However, nothing changed in the basic concept we have today of this marvellous planet. A simple combination: a giant sphere is surrounded by a flat ring. It is obvious that Architecture has lost its synthesis. Wright imagined the Guggenhaim, Gropius saw his Bauhaus: they knew this quite well. We need to explore new formulas, but they must be simple. Architectural forms have no reason to be unclear or unnecessarily complex. Saturn is there to inspire us. Picture: Astronomie -Les Astres - L'Universe, Larousse © AugÈ, Gillon, Hollier-Larousse, Moreau et Cie, 1948. S---Shell. SHELLS are the most interesting natural expressions of a possible structural Architecture. A shell is not only beautiful, it is strong, simple, it covers endless typologies. Shells have a revolutionary concept for developing a form that is structural and superficial at the same time. They have organic borders, a very well kept inner (sacred) space. Every shell shows as well direct traces of Architecture: the shell of the picture once was the home of an organism which was integrated in it, as we are with our contemporary spaces. Copyright © Patricio Pouchulu 2002 / Picture: Shell collected by Pouchulu in the south of Brazil, 1997. Photo from 2002. s---Ships. SHIPS are architecture, but perfect. They do not depend on the architect's humour; they are thought and designed following the rules of Poseidon and the water. The structure is clear and rational; the surfaces are soft and the machinery is designed and built following logical procedures. The whole mobile building (that is what any ship is) includes minimal, functional rooms, communicated by stairs and corridors. Architecture should add the beauty and the function of a ship, plus an asymmetrical sense of space. Freedom, that is what a ship implies: but it is not just a form, it is an attitude of respecting the sea, the wind and the ocean. Architecture has to become part of the future, instead of being just a medium for destroying nature. Architecture needs a new spirit. Picture: The Dutch fleet preparing to set sail (frag) attributed to Adam Silo (1674-1760) Christies's catalogue, 1989. S---Skin. The idea of SKIN is one of the basic, strongest and oldest existential concepts: everything we know, including our bodies and thoughts, is covered by some sort of skin. When we think of something we first imagine... the external appearance, a link between a mysterious interior and our perception. Architecture (in spite of recent attempts of destroying the idea of skin), becomes real by protecting spaces... with some sort of skin or veil. Perhaps we might find, in the details of that woman's hand, a complete Universe... Picture: Woman's hand (frag) Copyright © Uwe Ommer 1995, from "Black Ladies", Copyright © Venedikt Taschen Verlag GmbH 1997. T---Toy. A TOY is a piece of Architecture. There is no big difference between a small model and the one-to-one actual object. We could say, more precisely, that our imagination does not need the exact machine, space or building to understand it as real: Architects are like children, we cannot distinguish a model or maquette from the actual-sized object. For basic considerations such as design, shape, proportion, style, colours, the car shown above fulfils all the requirements; Even more: you can have it in your pocket, something difficult to do with the big one. Copyright © Patricio Pouchulu 2002 / Picture: Volkswagen 1600 TL, Matchbox, Series No 67, © Matchbox, England. Pouchulu's personal collection. Photo from 2002. T---Tree. A TREE is an organism and a form that announces an essential space. It becomes a piece of architecture by itself. This tree moves its branches like a hand, trying to capture the air or the sky; it is the home of birds and insects, and, while taking the picture, it was transformed in a piece of Architecture: it moved our imagination towards a different reality. Copyright © Patricio Pouchulu 2001 / Picture: "Dual Tree", close to Starnberger See, Germany. Photo by Pouchulu and Susanne Biek, spring 2000. U---U-Boat. U-BOAT. Perhaps the best industrial creation of all times, the "U-boat" German submarine series built between 1936 and 1943 was based on the U1 from 1906. The U-boat inspired designers since ever. Its soft angles and elegant, futurist profile gives the shape a complete atemporal spirit. The father of all contemporary submarines, it is as well a statement of a hidden architecture. Everything there: functional devices, small pods, amazing and ingenious machines, all has been for the first time- thought, designed and built as minimal surviving personal spaces. Still an example of how to design within extreme dimensional situations. Try to visit the Deutsches Museum, Munich, and see the only survival U-boat. Drawing: Standard U-boat (U32 series) from: Submarines in Colour, coutesy © Blandford Press 1976, Pool, UK. Drawing by John W. Wood. V---Venus. The BIRTH of VENUS is an architectonical statement: a birth is taking place in the coast, the Sea has offered a miracle; she appears standing, she is being introduced to the World. But a single element appears somehow abstract: the shell. The organic form becomes the main place in the act; it is an altar, a hand. Pure piece of architecture, the shell becomes a space. I believe architecture has to recover the sense of foundation. The shell is not only bringing her to the World: it has modified the sense of the painting. It is detached from all the characters and elements of the picture. Like any architectonical space, it certainly defines its condition of medium. And it is even as legal as any ordinary piece of architecture… because it cannot exist without Venus. The shell becomes a symbol of logical geometry: in other words, it suggests the idea of civilisation. Picture: "The Birth of Venus" (frag), by Sandro Boticelli (circa 1480), courtesy: Galeria Ufizzi, Florencia. W---Wind. The WIND affects Architecture much more than we imagine, but somehow we reject to accept it. A plane is designed by the wind. This Concorde\'s original testing model in the wind tunnel (picture) inspires me since ever. Future forms will be strongly modelled by the elements. Wind, water, sand... Lines will tend to be simple and elegant, like invisible traces of a dancer's body floating in the air. Only then Architecture can recover from useless formal chaos originated by computers\' software and pre-set parametric designs, that have destroyed the sensibility of our hands and spirit. Picture: Wind tunnel test, Concorde 01, picture from: "Concorde" © Aerospatiale France & British Aircraft Corporation, 1970. W---Wren Sir Christopher WREN (1632–1723), pushed English architecture into modern times after the great fire (1666). He imported the Renaissance from Italy and France. England was an isolated country that lacked (and still does) its own architectural ideas. The unique St. Paul's Cathedral is a masterpiece. It took all his life to build it, against all probabilities. However, I would like to point his thoughts about urbanism. He loved the mediterranean world, and he developed urban interventions through monuments and nodes. He widened the narrow streets. Within a few years, the simple, cozy medieval London became an imperial capital. Thanks to Wren parts of Westminster area are well structured. His disciple John Nash (1752-1835), a genius in his own right, designed the exquisite Regent's Park. In spite of the heavy German bombing in WWII, and the catastrophic urban interventions of "modern architecture" since 1960, we still can enjoy walking around. But London's changed. The things that spell London to me are disappearing fast. Sir Christopher WREN (1632–1723), es recordado por el extraordinario impulso que dio a la arquitectura inglesa, importando el espíritu Renacentista tardío desde Italia y Francia, a un país aislado del continente (y de las artes). Su Catedral de San Pablo es una obra maestra. Sin embargo, pasa desapercibida la influencia de su pensamiento urbanístico mediterráneo, donde un sinnúmero de iglesias menores e intervenciones urbanas exquisitas multipolares dieron a la humilde Londres medieval una impronta clásica y monumental acorde a sus intenciones imperiales. A Wren le debemos que hoy la acogedora Londres posea hitos urbanos y fragmentos bien estructurados. Algunos fueron diseñados por su genial discípulo John Nash (1752-1835) en el bello Regent's Park. Pese a los delirantes bombardeos Alemanes en la segunda guerra y a la catastrófica intervención de los arquitectos modernos desde 1960 hasta hoy (causando mayor destrozo que los bombardeos), Londres puede ser aun caminada con placer, aunque su belleza espontánea va desapareciendo… inexorablemente. / Foto: Catedral de San Pablo, circa 2008, por Pouchulu. X---Xylophone. The XYLOPHONE is an instrument that has added a different, fresh sound to our sensibility. Its notes are like drops of space touching water... Sometimes Architecture does the same: we found a reflection or a texture following a trees's movement or (if we stand for a while) we see a shadow playing with the Sun. In spite of high intoxicating levels of virtuality, I see a possible future Architecture acting as a Xylophone, transforming our perception of reality into unknown, beautiful worlds. Copyright © Patricio Pouchulu 2001 / Picture: "Snow in the Dark" (fragment) Photo by Pouchulu, Munich, Winter 1999. Y---Yaguar. The YAGUAR, Jaguar or South American tiger (from Guaraní: yaguára) holds and extraordinary golden yellow fur. Yellow is an extraordinary colour, it pops up our imagination, bringing a fresh and light perceptive condition. Architecture usually ignores yellow spaces and objects, but we generally admit yellow in machines (tools, cars, etc). In template or cold latitudes leaves change from green to yellow in autumn and spring. Can you imagine a building that changes its appearance all over the year, imposing its presence through its yellow colour, like the Yaguar?. Hand drawing: Bob Kuhn, from Collier's Encyclopaedia, volume 15, pages 306/307, sheet III. Copyright © The Crowell-Collier Publishing Company 1962. - YELLOW is an extraordinary colour, it pops up our imagination, bringing a fresh and light perceptive condition. Architecture usually ignores yellow spaces and objects, but we generally admit yellow in machines (tools, cars, etc). Plants change their green into yellow and red in autumn or spring. Can you imagine a building that changes its appearance all over the year? Copyright © Patricio Pouchulu 2002. - Z---Zone. Zone. We are surrounded by hidden realities. Architecture has to push towards unknown knowledge zones, perceptive, visual, conceptual, technological... it depends on us to go further into the future or to get stuck in the past. A zone is waiting for you to be filled by your utopias and dreams, with responsibility, pacience and persistence. Copyright © Patricio Pouchulu 2001. Image: "La Gota Azul", photo by Pouchulu, 2001. CONSULTANTS - DE - UGO DOSSI, Künstler, München & Murnau, Deutschland / NICK MACLEAN, Ingenieur, neue ökologische Materialien, London, UK / PATRICK TEUFFEL, Ingenieur PhD University of Stuttgart, Teuffel Engineers Consultants, Stuttgart, Deutschland / CARLOS MORAN, business & Jurist, Buenos Aires, Argentinien / RICARDO Finocchiaro, Lobbyisten, Public Affairs, Buenos Aires, Argentinien / DANIEL LAUFER, nachhaltige Materialien, Buenos Aires, Argentinien / ISABELLE LAUMONIER, Journalistin und Schriftstellerin, Buenos Aires, Argentinien & Paris, Frankreich / - EN - UGO DOSSI, visionary artist, the subconscious and beyond, Murnau, Germany / NICK MACLEAN, civil engineer, new ecological materials, London, UK / PATRICK TEUFFEL, Teuffel engineers, PhD University of Stuttgart, innovative structures, Stuttgart & Berlin, Germany / CARLOS MORAN, lawyer, business issues, Buenos Aires, Argentina / RICARDO FINOCCHIARO, public affairs, Buenos Aires, Argentina / DANIEL LAUFER, audio & electronics, new ecological materials, Buenos Aires, Argentina / ISABELLE LAUMONIER, journalist & writer, media, Buenos Aires, Argentina & Paris, France / - ES - UGO DOSSI, artista, Munich y Murnau, Alemania / NICK MACLEAN, ingiero civil, nuevos materiales ecológicos, Londres, UK / PATRICK TEUFFEL, ingeniero PhD Universidad de Stuttgart, Teuffel Engineers Consultants, Stuttgart, Alemania / CARLOS MORAN, asociado, experto legal y de negocios, Buenos Aires, Argentina / RICARDO FINOCCHIARO, relaciones públicas, Buenos Aires, Argentina / DANIEL LAUFER, materiales ecológicos, Buenos Aires, Argentina / ISABELLE LAUMONIER, periodista y escritora, media Buenos Aires, Argentina & Paris, Francia / - FR - UGO DOSSI, artiste, Munich et Murnau, Allemagne / NICK MACLEAN, ingénieur civil, de nouveaux matériaux écologiques, Londres, Royaume-Uni / PATRICK Teuffel, ingénieur Ph.D. Université de Stuttgart Ingénieurs, Consultants Teuffel, Allemagne / CARLOS MORAN, affaires et expert juridique, Buenos Aires, Argentine / RICARDO Finocchiaro, affaires publiques, Buenos Aires, Argentine / DANIEL LAUFER, expert technicien en audio, matériaux durables, Buenos Aires, Argentine / ISABELLE LAUMONIER, journaliste et écrivain, médias, Buenos Aires, Argentine & Paris, France / OUTLINES - IDEOLOGY - Looking for a 21st Century Humanism - DE- POUCHULU wird für die Erstellung von innovativen Projekten in innovativen Konzepten erkannt. Jeder Vorschlag wird als eine spannende Gelegenheit, neue Visionen und Plätze in der 21 Century. Er ist besorgt über die passive Energie Effizienz (Energie, Wasser, Luft, Licht), die Integration von Architektur in Schutzgebieten, urban oder natürlich. Unsere Projekte entwickeln an verschiedenen Orten. Wir denken und produzieren höchst inspirierende Räume. Wir sehen die Wirklichkeit in einer positiven Weise, die Schaffung multifunktionaler sinnliche Gebäude: Wir glauben an Schönheit, nicht im Chaos. Wir entwerfen komfortable Wohnformen, berührt durch zarte Details. Unsere Ideen sind eine Synthese von komplexen Analysen, praktische Entscheidungen und eine neue Einstellung. Mobilität, Anpassungsfähigkeit und Entwicklung: Unsere Architektur basiert auf "positive Widersprüche". - EN - POUCHULU is being recognised for creating cutting-edge projects within innovative concepts. Each proposal is taken as a challenging opportunity to show new visions and spaces in the 21st. Century. He is highly concerned about passive environmental efficiency (saving energy, water, air, light), integrating architecture in protected areas, urban or natural. Our projects evolve and adapt according to different locations and latitudes. We thinsk, imagine and produce highly inspiring spaces. We see reality in a positive way, creating multifunctional sensual buildings: we believe in beauty, not in chaos. We design comfortable living forms, touched by delicate details. Our ideas are a synthesis of complex analysis, practical decisions and a fresh attitude. Our architecture is based on "positive contradictions": mobility, adaptability and evolution. - ES - POUCHULU es reconocido por crear proyectos de vanguardia a traves de ideas innovadoras. Cada trabajo es entendido como una oportunidad única para mostrar visiones del nuevo milenio. Se interesa por temas ambientales (ahorro pasivo de energía, agua, aire y luz), integrando la arquitectura en sitios naturales o urbanos protegidos. Nuestros proyectos evolucionan de acuerdo a diferentes lugares y latitudes. Imaginamos y producimos espacios altamente inspiradores. Vemos la realidad de forma positiva, creando edificios multifuncionales y sensuales: creemos en la belleza, no en el caos. Deseamos vivir confortablemente, y para ello diseñamos formas atractivas y detalles finos. Nuestros conceptos son una síntesis de análisis complejos, decisiones prácticas y una actitud joven. Nos basamos en "contradicciones positivas": movilidad, adaptabilidad y evolución. - FR - POUCHULU est reconnu pour la création de projets de pointe au sein de concepts innovants. Chaque proposition est considérée comme une occasion stimulante de montrer de nouvelles visions et des espaces dans le 21. Siècle. Il est très préoccupé par l'efficacité environnementale passive (économie d'énergie, eau, air, lumière), l'intégration de l'architecture dans les zones protégées, urbain ou naturel. Nos projets évoluer et s'adapter en fonction de différents endroits et des latitudes. Nous pensons, d'imaginer et de produire des espaces très inspirant. Nous voyons la réalité d'une manière positive, en créant des bâtiments sensuelle multifonctionnels: nous croyons en la beauté, non pas dans le chaos. Nous concevons des formes de vie confortable, touché par la délicatesse des détails. Nos idées sont une synthèse de l'analyse complexe, des décisions pratiques et une nouvelle attitude. Notre architecture est basée sur «les contradictions positives»: la mobilité, l'adaptabilité et d'évolution. - MOBILE OFFICE - DE - Die Verfügbarkeit neuer Technologien verändert die architektonische Praxis zu einem globalen, interkontinentalen Phänomen. Patricio Pouchulu führt eine "mobile Büro", arbeitet gleichzeitig an verschiedenen Orten und zu verschiedenen Teilen der Welt. Einige Projekte sind Gedanken auf Reisen quer durch Europa oder den Atlantik, und dann entwickelt in Buenos Aires, London, Rio de Janeiro, München oder in jeder anderen Stadt. Das Büro befindet sich in internationalen Auswahlverfahren beteiligt und seit 2005 auf Einladung. Sein Partner, Musiker und Darsteller Vanessa Oliveira, der Zusammenarbeit in interdisziplinären Linien, insbesondere die ESP-Programm, und durch ihre Organisation 7π ("sieben pi"). Britische, Niederländisch, Deutsch, Französisch und argentinischen Berater Experten arbeiten in strukturelle, ökologische und finanzielle Ratschläge. - EN - The availability of new technologies transformed the architectural practice into a global, intercontinental phenomenon. Patricio Pouchulu conducts a "mobile office", working at the same time from different places and toward different parts of the World. His extensive projects are thought while travelling, and then designed in Buenos Aires, London, Munich, or São Paulo. Pouchulu is involved in international open competitions, and since 2005 by invitation. His partner, musician and performer Vanessa Oliveira, collaborates in interdisciplinary lines, particuarly the ESP programme, and through their organization 7π ("seven pi"). British, Dutch, German and Argentinean consultant experts collaborate in structural, ecological and financial advice. - ES - La presencia de nuevas tecnologías ha transformado la práctica de la arquitectura en un sentido global e intercontinental. Patricio Pouchulu dirige un "Estudio Móvil" que trabaja al mismo tiempo desde y hacia distintas partes del mundo. Algunos proyectos son pensados viajando, para luego ser diseñados en Buenos Aires, Londres, Munich, San Pablo u otras ciudades. El estudio participa de concursos abiertos internacionales y desde 2005, por invitación. Su socia, músico y performer Vanessa Oliveira, colabora en áreas interdisciplinarias, en especial el programa ESP y a través de 7π ("Siete Pi"). Consultores Británicos, Alemanes, Holandeses y Argentinos asesoran en temas estructurales financieros y ecológicos. - FR - La disponibilité de nouvelles technologies a transformé la pratique de l'architecture en un phénomène mondial et intercontinental. Patricio Pouchulu effectue un «bureau mobile», travaillant dans le même temps de différents endroits et envers les différentes parties du monde. Certains projets sont pensés tout en voyageant, et ensuite conçu à Buenos Aires, Londres, Munich, San Pablo ou toute autre ville. Le bureau est impliqué dans des compétitions internationales ouvertes, et depuis 2005 sur invitation. Son partenaire, musicien et interprète Vanessa Oliveira, collabore dans une approche interdisciplinaire, en particulier dans le programme ESP, et par leur organisation 7π ("Sept Pi"). Experts britannique, néerlandais, allemands et argentins collaborent à des conseils structurelles, écologiques et médiatiques. - ESP DE - Essential Spatial Programme - DE - In 1999 Pouchulu developed a study plan titled Essential Spatial Programme, ESP, focused in the exploration of architectural principles. New configurations were established by identifying tacit architectural gestures. He is also researching about the symbology in architecture perception in between films and architecture. This work surrounds discussions of virtual nature, re-interpreting both classical and modern movements in order to analysse essential classical principles and its psychological behaviour, related in part to the Gestalt. Following this line of work he started the Architectural Fictions, part I: exploring architectural forms in relation with a fictional land where nature and architecture are "one and the same". It is composed as a long sequence of pencil drawings, a visual narration. The thesis was finished in 2003; it deals with philosophy and alternative architectural cinematic languages. It was presented first in London (Lowe lectures 2000) and Munich, where a hard cover Art book was published. The Architectural Fictions, part II started soon. It explores the language of machines and proto-industrial design. The third part deals with film's recreation of space as pure architectural perception, exploring in detail Alfred Hitchcock's masterpieces.- EN - In 1999 Pouchulu developed a study plan titled Essential Spatial Programme, ESP, focused in the exploration of architectural principles. New configurations were established by identifying tacit architectural gestures. He is also researching about the symbology in architecture perception in between films and architecture. This work surrounds discussions of virtual nature, re-interpreting both classical and modern movements in order to analyze essential classical principles and its psychological behaviour, related in part to the Gestalt. Following this line of work, in 1999 he started the Architectural Fictions, part I: exploring architectural forms in relation with a fictional land where nature and architecture are "one and the same". It is composed as a long sequence of pencil drawings, a visual narration. The thesis was finished in 2003; it deals with philosophy and alternative architectural cinematic languages. It was presented first in London (Lowe lectures 2000) and Munich, where a hard cover Art book was published. The Architectural Fictions, part II started soon after the first part, exploring the language of machines and proto-industrial design. The third part deals with film's recreation of space as pure architectural perception, exploring Alfred Hitchcock's masterpieces- ES - Pouchulu desarrolló en 1999 un plan de estudios titulado Essential Spatial Programme, ESP, focalizado en la exploración de principios arquitectónicos. Nuevas configuraciones fueron establecidas, al identificar gestos arquitectónicos tácitos; también explora la simbología de la percepción arquitectónica entre el Cine y la Arquitectura. Esta investigación rodea discusiones de naturaleza virtual, re-interpretando tanto los movimientos clásicos y modernos y su comportamiento psicológico, en parte relacionado con la Gestalt. Siguiendo esta linea de trabajo inició las Ficciones Arquitectónicas, parte I: explorando formas en relación a un territorio de ficción, donde la naturaleza y la arquitectura son "uno y lo mismo". Se compone de una secuencia de dibujos al lápiz, una narración visual. La tesis fue finalizada en 2003; involucra temas de filosofía y lenguajes cinemáticos alternativos. Fue presentado en Londres (Lowe Lectures 2000) y Munich, donde publicó un libro de Arte, tapa dura. Las Ficciones Arquitectónicas, parte II fueron comenzadas recientemente, explorando el lenguajes de las maquinas y el diseño proto-industrial. La tercera parte estudia la recreación del sentido del espacio en el Cine, entendida como pura percepción arquitectónica, explorando las obras maestras de Alfred Hitchcock. - FR - En 1999 Pouchulu élaboré un plan d'étude intitulée programmes spatiaux essentiels, ESP, porté dans l'exploration de principes architecturaux. De nouvelles configurations ont été établis par l'identification des gestes architecturaux tacites. Il est donc des recherches sur la symbolique de l'architecture dans la perception entre le cinéma et l'architecture. Ce travail entoure discussions de nature virtuelle, réinterprétant la fois classique et mouvements modernes afin d'analyser les principes classiques essentiels et son comportement psychologique, liée en partie à la forme. Suite à cette ligne de travail, il a commencé les Fictions Architecturaux, partie I: explorer les formes architecturales en relation avec un pays fictif où la nature et l'architecture sont "une seule et même chose." Il est composé comme une longue suite de dessins au crayon, une narration visuelle. La thèse qui a terminé en 2003; il traite de la philosophie et d'autres langages cinématographiques architecturaux. Il a été présenté d'abord à Londres (Lowe conférences 2000) et de Munich, où un livre à couverture rigide ce genre publié. Les Fictions Architecturaux, partie II ont commencé peu de temps après la première partie, la découverte de la langue des machines et la conception proto-industrielle. La troisième partie traite de la récréation de films de l'espace comme perception architecturale pure, analysee en détail les chefs-d'œuvre d'Alfred Hitchcock. / LEEA - Light Energy & Easy Architecture - DE - Im Jahr 2005 begann eine Pouchulu Forschung, Light Energy & Easy Architektur (LEEA). Der erste Schritt war getan in London, bei der Analyse der Stahl-und Holzkonstruktionen; der zweite Schritt durch die Arbeit an der Analyse, Bewertung und Umsetzung von viktorianischen Gebäuden. In dieser Phase intensiv arbeitete er auf dem Feld mit Senior Ingenieur Nick Maclean, mit denen lernte er verschiedene Konzepte und Strategien, in frühen Abend Gespräche mit einem anständigen Pint Ale. Leea in der Cyclotel Netzwerk-Projekt derzeit in der Entwicklung in den Niederlanden angewandt wird, mit der Unterstützung von der niederländischen Botschaft in Argentinien und der Stadt Amsterdam. - EN - Pouchulu started a field research in 2005, Light Energy and Easy Architecture (LEEA). The first step was done in London, first by analysing how steel and timber structures work; the second step by working on the analysis, appraisal and conversion of Victorian buildings. In this stage he intensively worked with senior structural engineer Nick Maclean, with whom he learned different concepts and strategies, enjoying early evening conversations with a decent pint of Ale. LEEA is applied in the Cyclotel Network project, currently under development in The Netherlands, with the support of the Dutch Embassy in Argentina and the City of Amsterdam. - ES - En 2007 Pouchulu inició una investigación titulada LEEA (en ingles: Light Energy & Easy Architecture). La primera etapa, realizada en Londres, consistió en el análisis de estructuras de hierro y madera; la segunda, trabajando en el análisis y transformación de edificios Victorianos. En esta fase trabajo intensamente con el ingeniero Nick Maclean, con quien disfrutó gratas conversaciones por las tardes, aprendiendo sobre estrategias y el placer de una cerveza Ale. LEEA esta siendo aplicado en el proyecto Cyclotel, en desarrollo en Holanda, con el apoyo de la Embajada de Holanda en Argentina y la Ciudad de Amsterdam. - FR - Pouchulu commencé une recherche sur le terrain en 2005, de l'énergie lumineuse et facile Architecture (LEEA). La première étape a été fait à Londres, d'abord en analysant comment les structures d'acier et de bois travaillent; la deuxième étape en travaillant sur l'analyse, l'évaluation et la conversion de bâtiments victoriens. A ce stade, il a travaillé intensivement sur ??le terrain avec ingénieur principal Nick Maclean, avec qui il a appris les différents concepts et stratégies, dans agreable conversations du soir, avec une pinte de bière. LEEA est appliquée dans le projet Cyclotel réseau, actuellement en cours de développement aux Pays-Bas, avec le soutien de l'ambassade néerlandaise en Argentine, la ville d'Amsterdam et orgsanizations locales. / 7π - Towards a Black Consciousness - OLIVEIRA und POUCHULU gegründet 7π ("Seven Pi") im Jahr 2013. Vanessa Oliveira, eine schwarze Frau und engagierte Aktivistin, hat zu positiven Maßnahmen für schwarze Menschen und Afro Nachkommen in Brasilien arbeitet seit 1999 und später in Argentinien, einer überwiegend weißen Gesellschaft wo Rassismus ist in allen sozialen Schichten vor. Pouchulu, von gemischten Hintergrund (Französisch, Italienisch, Kreolisch und Schwarz), zusammengetan, und sie sind jetzt in einer Lebenszeit gewidmet Action-Projekten beteiligt. 7π ist die Förderung der Kunst und Architektur in und aus dem afrikanischen bezogenen Welt. Mehr als positive Maßnahmen fördern wir schwarz Aktionen, die auf das Bewusstsein. Ein paar Städte systematisch arbeiten zu diesem Thema, wie Amsterdam: eine Straße Plakat (links) aus einem Theaterstück mit dem Titel: "Blanken Zijn Nog Steeds de Baas", sind Whites immer noch der Chef. - EN - OLIVEIRA and POUCHULU founded 7π ("Seven Pi") in 2013. Vanessa Oliveira, a Black Woman and committed activist, has been working towards affirmative actions for Black People and Afro descendants in Brazil since 1999, and later in Argentina, a predominately white society where racism is dramatically present, in all social classes. Pouchulu, of mixed background (French, Italian, Creole and Black), joined forces and they are now involved into a life-time dedicated Action-Projects. 7π is promoting Architecture and Arts within the African-related world. More than positive actions, we promote Black Actions. A few cities work systematically on this issue like Amsterdam: a street poster (left) from a theatre play, titled: "Blanken Zijn Nog Steeds de Baas", Whites are still the Boss. - ES - OLIVEIRA y POUCHULU fundaron 7π ("Seven Pi") en 2013. Vanessa Oliveira, mujer negra y dedicada activista, a trabajado en acciones afirmativas desde 1999 para negros y Afro-descendientes en Brasil y luego en Argentina, una sociedad predominantemente blanca Europea donde el racismo esta presente en todas las clases sociales. Pouchulu, de origen mixto (francés, italiano, criollo y negro), ha unido fuerzas y ambos desarrollan este programa enmarcado como proyecto de vida. 7π promociona la integración de la Arquitectura y de las Artes desde y hacia el mundo Negro-Africano. Mas que acciones positivas, promovemos acciones hacia la conciencia de la negritud. Pocas ciudades trabajan sistemáticamente este tema como lo hace Amsterdam: un póster en la calle (izquierda) de una obra teatral, lee: "Blanken Zijn Nog chevaux de Baas, "El Blanco todavía es el Jefe". - FR - OLIVEIRA et POUCHULU ont créé 7π ("Seven Pi") en 2013. Vanessa Oliveira, une femme noire et une militante engagée, a travaillé à des actions positives pour les Noirs et les descendants d'Africains au Brésil depuis 1999, et plus tard en Argentine, une société à prédominance blanche où le racisme est présent dans toutes les classes sociales. Pouchulu, d'origine mixte (français, italien, créole et noir), ont uni leurs forces et maintenant ils sont impliqués dans une vie d'action-projets dédiés. 7π est promo tion architecture et des arts au sein et du monde liées à l'Afrique. Plus que des actions positives, nous favorisons les actions vers la conscience noire. Quelques villes travaillent systématiquement sur ??cette question, comme Amsterdam: une affiche de rue (à gauche) à partir d'une pièce de théâtre, intitulée: "Blanken Zijn Nog chevaux de Baas," les Blancs continuent d'être le patron. / MANIFESTO - DE - KREATIVITÄT: Es gibt immer andere, neue und innovative Lösungen für jede architektonische Problem. Multifunktionalität: Form und Funktion sind unwichtig, was zählt, ist die Fähigkeit, einen Raum zu überraschen und die Anpassung an unsere Bedürfnisse. (ZB: ein Auto für unterwegs ... oder für das Leben mehrere Stunden während einer langen Reise verwendet werden). BEAUTY: Geologische und biologische Formen sind unsere grundlegenden Inspirationsquelle. Old architektonischen Sprachen nicht mehr existieren. SENSUALITY: Wie der Körper einer schönen Frau, hat Architektur, unsere Seele zu begeistern. Unsere Gebäude sind beide stark und zart. PRÄZISION: Gebäude können wie jede andere Maschine zu einem festgelegten Standard mit genauen Richtlinien. Fließfähigkeit: Geschwungene Linien sprechen über positive, prospektive, klar und optimistisch Futures. Die Kurven stellen die Freiheit. ORGANIC: Das bedeutet Räume sind reich und komplex; bietet verschiedene Einsatzmöglichkeiten, Funktionen, Anpassungen und Ansichten. FLEXIBEL: Durch super-imposanten verschiedene Funktionen, Formen weniger starr, also Gebäuden leicht anpassbar für die Zukunft sind. Strukturiert: Innerhalb Muscheln, Dächer, Blasen, Plattformen und Decks gibt es drei-dimensionalen Strukturen. Gebäude können als Schiffe konzipiert werden. ORGANISATION: Spaces müssen neu organisiert Denken der Makro-und Mikro-strukturellen Zonen, privat oder öffentlich, immer orientiert in einen Dialog zwischen Außen Bedürfnisse und internen neue Funktionen. DE-Konzentration: Trotz der tragischen Visionen, die Erde ist ziemlich groß. Es ist genug Platz für uns alle. Lasst de-Konzentrat die Vororte der großen Metropolis. Wir brauchen dringend neue Parks und Freizeit-Infrastrukturen. ENERGY: Gebäude sollten den größten Teil ihrer Energie durch neue, innovative Materialien und spart Konzepte zu produzieren. Wir können uns nicht leisten Glaskästen mehr. MOBILITÄT: Jede Person, Familie und soziale Gruppe ändert Trends, Lebensräume und Lebensweisen. Öffentliche Mobilität ist sehr gefragt. Unser Amt ist bestrebt, neue Konzepte für die U-Bahn-, Boden-und Luft-Wohn-und Transport-Systeme zu entwerfen, zu Mega-Strukturen und Städten verbinden. Anpassungsfähigkeit: Architektur muss eine angemessene Auswahl von städtischen, vorstädtischen und Insellösungen für jedes Thema, Standort und Klima bieten ... immer mit Rücksicht auf historische Erbe und die Natur so viel wie wir können. EVOLUTION: Was wir als Architektur wird in unserem Leben zu ändern. Copyright © 2005-14 Patricio Pouchulu Architect - EN - CREATIVITY: There are always different, new and innovative solutions for any architectural problem. MULTIFUNCTIONALITY: Form and function are unimportant, what matters is the capacity of a space for surprising and adapting to our needs. (e.g.: a car can be used for traveling... or for living several hours during a long trip). BEAUTY: Geological and biological forms are our basic inspirational source. Old architectural languages no longer exist. SENSUALITY: Like the body of a beautiful woman, Architecture has to inspire our soul. Our buildings are both strong and delicate. PRECISION: Buildings can be designed like any other machine to a set standard with precise guidelines. FLUIDITY: Curved lines talk about positive, prospective, clear and optimistic futures. Curves represent freedom. ORGANIC: This means spaces are rich and complex; offering different possible uses, functions, adaptations and views. FLEXIBLE: By super-imposing different functions, forms are less rigid, hence buildings are easily adaptable for the future. STRUCTURED: Within shells, roofs, bubbles, platforms and decks, there are three-dimensional structures. Buildings can be conceived as ships. ORGANISATION: Spaces must be re-organized thinking of macro and micro structural zones, private or public, always orientated into a dialogue between exterior needs and internal new functions. DE-CONCENTRATION: In spite of tragic visions, the Earth is quite big. There is enough space for all of us. Let's de-concentrate the suburbs of big Metropolis. We urgently need new parks and leisure infrastructures. ENERGY: Buildings should produce most of their energy through new systems, innovative materials and saving concepts. We cannot afford glass boxes anymore. MOBILITY: Every person, family and social group changes trends, habitats and lifestyles. Public mobility is highly in demand. Our Office aims to design new concepts for underground, ground and aerial living and transport systems, to link mega structures and cities. ADAPTABILITY: Architecture must offer a reasonable range of urban, suburban and isolated solutions for every topic, site, and climate... always respecting historical patrimony and nature as much as we can. EVOLUTION: What we consider Architecture will change in our life time. Copyright © 2005-2014 Patricio Pouchulu Architect - ES - CREATIVIDAD: Siempre hay soluciones nuevas, diferentes e innovadoras, para cada problema arquitectónico. MULTIFUNCIONALIDAD: Forma y Función son irrelevantes, lo que importa es la capacidad de un espacio para sorprendernos y adaptarse a nuestras necesidades. (por ejemplo: un automóvil puede usarse para viajar... o para vivir varias horas durante un largo viaje). BELLEZA: Las formas Geológicas y Biológicas son nuestra fuente básica de inspiración formal. Lo que conocíamos como Lenguaje Arquitectónico ha desaparecido. SENSUALIDAD: La Arquitectura, como el cuerpo de una mujer hermosa, debe inspirar nuestro espíritu. Nuestros edificios son simultáneamente delicados y fuertes. PRECISION: Los Edificios pueden ser diseñados como cualquier otra máquina... aunque nunca llegaran a serlo!. FLUIDEZ: Las formas curvas representan futuros optimistas, positivos y prospectivos. Las Curvas significan Libertad. ORGANICIDAD: Esto significa que todo espacio es rico y complejo, ofreciendo distintos usos, funciones, vistas, y siempre debe ser adaptable. FLEXIBLE: Al superponer funciones diferentes, la organización espacial es menos rígida: así sus usos pueden ser transformados en el futuro. ESTRUCTURAL: Detrás de las Cáscaras, Burbujas, Superficies y Plataformas, hay estructuras tridimensionales: nuestros edificios son concebidos de forma similar a la de los barcos. ORGANIZACION: Los Espacios interiores deben ser reorganizados pensando en micro o macro zonificaciones estructurales, públicas o privadas, orientados en un diálogo entre las necesidades exteriores y las nuevas funciones internas. DESCONCENTRACION: A pesar de visiones trágicas, la Tierra es realmente grande. Hay espacio para todos. Debemos desconcertar las grandes ciudades. De manera urgente necesitamos nuevos parques e infraestructura del tiempo libre. ENERGIA: Los Edificios deben producir casi toda la energía a través de nuevos sistemas, materiales innovativos y programas de ahorro. No podemos continuar diseñando cajas de cristal. MOVILIDAD: Cada persona, familia y grupo social cambia, cada vez más, sus hábitos, sus lugares de residencia y sus estilo de vida. La movilidad pública es una necesidad: nuestro Estudio propone diseñar nuevos conceptos para el transporte subterráneo, de superficie y aéreo, para enlazar megaestructuras y ciudades. ADAPTABILIDAD: La Arquitectura debe ofrecer soluciones razonables en un nivel urbano, suburbano y aislado para cada tema, sitio y clima... siempre respetando todo el patrimonio arquitectónico histórico de valor y las zonas de naturaleza protegida. EVOLUCION: Lo que hoy consideramos Arquitectura va a cambiar a lo largo de nuestra vida. Copyright © 2005-2014 Patricio Pouchulu Architect - FR- CRÉATIVITÉ: Il ya toujours différentes, des solutions nouvelles et novatrices pour tout problème architectural. MULTIFONCTIONNALITÉ: Forme et fonction sont sans importance, ce qui compte, c'est la capacité d'un espace pour surprendre et s'adapter à nos besoins. (Par exemple: une voiture peut être utilisé pour voyager... ou pour vivre plusieurs heures au cours d'un long voyage). BEAUTÉ: formes géologiques et biologiques sont notre source d'inspiration de base. Vieux langages architecturaux n'existent plus. SENSUALITE: Comme le corps d'une belle femme, architecture doit inspirer notre âme. Nos bâtiments sont à la fois fort et délicat. PRÉCISION: Les bâtiments peuvent être conçus comme toute autre machine à un standard établi des orientations précises. FLUIDITÉ: Les lignes courbes parler positives, prospectives, à terme optimiste. Courbes représentent la liberté. BIO: Ce sont des espaces moyens riche et complexe; offrant différentes possibilités d'utilisation, des fonctions, des adaptations et des vues. FLEXIBLE: En superposant les différentes fonctions, les formes sont moins rigides, d'où les bâtiments sont facilement adaptables pour l'avenir. STRUCTURE: Dans des coquillages, des toits, des bulles, des plates-formes et ponts, il ya des structures tridimensionnelles. Les bâtiments peuvent être conçus comme des navires. ORGANISATION: Les espaces doivent être réorganisés pensée de macro et micro-zones structurales, privées ou publiques, toujours orientés vers un dialogue entre les besoins extérieurs et intérieurs de nouvelles fonctions. DE CONCENTRATION: En dépit de visions tragiques, la Terre est assez grande. Il ya assez de place pour nous tous. Faisons une déconcentration de la banlieue de les grande métropoles. Nous avons urgemment besoin de nouveaux parcs et d'infrastructures de loisirs. ÉNERGIE: Les bâtiments devraient produire plus de leur énergie grâce à de nouveaux systèmes, matériaux innovants et des concepts d'économie. Nous ne pouvons boîtes en verre plus. MOBILITÉ: Toute personne, familiales et sociales des changements de groupe tendances, des habitats et modes de vie. La mobilité de la population est très en demande. Notre bureau a pour objectif de concevoir de nouveaux concepts pour des travaux souterrains, terrestres et aériennes, des systèmes vivants et de transport, de relier les méga-structures et les villes. ADAPTABILITE: L'architecture doit offrir un éventail raisonnable de solutions urbaines, suburbaines et isolé pour chaque sujet, le site et le climat ... toujours dans le respect du patrimoine historique et la nature tout autant que nous le pouvons. EVOLUTION: Ce que nous considérons l'architecture va changer dans notre vie. Copyright © 2005-2014 Patricio Pouchulu Architecte