Opera Guarany . The Opera of the past lies at the confluence of axial boulevards and remains inaccessible. Opera Guarany disrupts the hierarchy of the axis of power by being an anti-axial building. Site as a delicate piece at the tip of Ile de Vannes, it does not want to be central, it wants to be accessible. . The frame that contains the opera of the past is blurred and given to the public. Its core, the horseshoe shape, is freed and revealed to the exterior. This shape provides the best sightlines and acoustics. It allows a nomadic building to not require any amplified sound. Excellence remains the essence of opera. . The Marche and the Grand Foyer are given to the public through accessible ramps and become a platform for contemplation or simply rituals of doing nothing by the river. The event of going to opera becomes a collective experience that is transformative of the subject and engages people of all ages.
Advanced Design Studio: The Opera of the Future with George Knight, Ruth Mackenzie, Francine Houben, Isaac Kalisvaart. Spring 2020.
. Martellona is located at a tripoint between the municipalities of Rome, Tivoli and Guidonia. The settlement has the potential to sustain its population to become, in a last stage, autonomous in terms of food supply, with harvesting ranging from agriculture to horticulture. In fact, gardens are strategic urban elements that serve as catalysts for social and cultural activities, as well as new forms of labor. . Wasteland Advanced Studio with Pier Vittorio Aureli and Emily Abruzzo. Critics: Esther da Costa Meyer, Angelo Bucci, Tatiana Bilbao, et al. Spring 2019. Collaboration with Sunny Cui. Spring 2019.
Cortile del Bramante and Santa Maria della Pace . A fragmented and contradictory whole depicts the translation from Donato Bramante´s high Renaissance vocabulary to Da Cortona´s posterior intervention at Santa Maria della Pace and its cloisters. The diptych registers a shift in urban orientation, with a hinge between its parts marked by the central octagonal drum. .
Entering the church and deambulating along the axis of the 2-bay nave to the cubic courtyard, Da Cortona´s intervention carefully aligns its beholder with the center columns of the preexisting chiostro. There is a transition from a centered subject to a centered column. .
Drawn in ink and pencil, this piece investigates the relation between phenomena and abstraction for the transformation of the subject along the buildings, using a composite of reversed and regular axonometrics, one-point perspectives and section perspectives. . The Robert A.M. Stern Summer Program. Summer 2019.
. Terra Incognita. Part of the Reframing Brazil Exhibition at YSoA North Gallery. Spring 2020. . On the way to the ápeiron one has lost its way without noticing. After kósmoi have been neutralized by the striations of a metric territory, cut across by a familiar infrastructure, the ethos becomes oîkos. A creative destruction. “The destruction, however, is not entire—the framework survives almost intact, but without ornaments; you could almost describe this as the bones of a body without the flesh. “ Lying on a hilltop and surrounded by gardens, the distance between the city and the freestanding object is in itself, symbolic of power. The Imperial Palace materializes power through the groundedness of its walls. Criticality is a key to reframe it. In 2018, an estimated 20 million artifacts from the National Museum of Brazil were lost to the flames, including the oldest human fossils ever found in South America.