sebrae headquarter brasília df, brazil
- tech chart
- sebrae headquarter - brasília, df - project date: 2008; complemention: 2011; plot area: 10.000 m2; built area: 25.000 m2; architecture, interiors and visual communication: álvaro puntoni, luciano margotto soares, joão sodré and jonathan davies (authors); amanda spadotto, cristina tosta, camila obniski, daniela pochetto, fabiana cyon, flávio castro, joão carlos yamamoto, josé paulo gouvêa, juliana braga, luís carlos dias e roberta cevada (collaborators); andré nunes, júlia valiengo, júlia caio, isabel nassif, rafael murolo, rafael neves e raphael souza (trainees); illumination: ricardo heder; structure: kurkdjian & fruchtengarten - jorge zaven kurkdjian and julio fruchtengarten landscape design: fernando magalhães chacel and sidney linhares; hydraulic and electrical: phe - wang mou suong, ulisses tavano and roberto chendes air conditioning: thermoplan - eizo kosai; environmental eco-efficiency: luís carlos chichierchio and juliette haase de azevedo automation, building security, audio and video: bettoni automação e segurança - roberto luigi bettoni, aires craveiro e victor vainer; vertical transport: empro - moacyr motta waterproofing: proassp - virgínia pezzolo; contentions: engedat; frame project: dinaflex - andré mehes; estimate: nova engenharia - mauro zaidan; art panel: ralph gehre; model: gaú manzi, fábio gionco and josé paulo gouvêa; construction: termoeste - oranor borges de castro, vinícius freitas de castro, carlos borges guimarães, rosângela nunes de almeida, pedro henrique de oliveira, fernando vahia terzella and bruno bessel massouh solotrat (soil stapled); engemix, polimix, original (concrete); gerdau (steel); sh (molds); medabil (metallic structure); denver (waterproofing); enal (Brises-soleis); concrefit (raised floor); amf/knauff (ceiling); metalgrade (electro grids); deca (toilet utilities); docol (metals); trane (air conditioning equipment); thyssenkrupp (elevators); schinder, sintrex (switchboards); cummings (generators); saint-gobain (special hydraulic); ilux, osram (lighting); fab piso (raised floor); fj, systimax (structured cabling); johnson controls (automation, detection and cctv); romero melo (implementation of landscaping); interface (carpet); vitra (office furniture); securit (library furniture); escriba (sliding files); maisdesign (living furniture); flexform (auditorium seats); uniflex (blinds); bradiv (partitions)
- description
- synthesis and citations are a tribute to modern architecture starting with modern design elements frankly of the seat of the brazilian service of support to micro and small enterprises (sebrae), authored by architects álvaro puntoni, luciano margotto soares, joão sodré and jonathan davies, has accumulated awards and critical recognition. and to carry forward the dialogue with various architectural currents, seems to prove the virtues of modernist design shows and rare force of expression. the seat of sebrae in brasilia is an atypical building for various reasons. firstly, even though the private entity, was selected by public competition, held in two phases and that featured three finalists, from which emerged the winner team coordinated by álvaro puntoni, luciano margotto soares, joão sodré and jonathan davies. if that wasn't enough, the building was quickly, built with the point of being finalized in the same management that the commissioned. "when we receive the award, had a scare: had already a contract for the development of the project," recalls puntoni. on the other hand, as a sign of power that the contests may have, even before it published the work has had a nearly instantaneous recognition of critics: was one of the winners of the prix paulista association of art critics (apca) and chosen by andré corrêa do lago as the most significant building of the decade in its category. in fact, the project is intriguing. how to make a tribute to genesis of the federal capital, the drawing part of elements frankly pilotimodern, brise soleil and open x pedimented facades. generally, the building has two kinds of spaces: the served and the servers. the spaces to exhibit flexibility, thanks to generous modulation with range from 9 x 7.5 metres. in this sense, the building has clear organization of vertical point of view. the starting point free groundis, that reinterprets the modern piloti: below it lies the lower ground floor, which concentrates the environments used for training and training. at the core, articulating the access and training rooms, is a large empty, an open courtyard which is at the heart of space. above the piloti lie two floors, divided into two administrative pavilhonaresparts with offices without internal pillars. for this area was used metal structure, which contrasts with the gables of apparent concrete spaces servers. the spaces servers, in turn, are concentrated on the sides, they earn through volume inner gable a second (far from first 3.75 metres). the decision not to take the inner gable to the facade gives more lightness to the final composition, but also makes reading of the party. the authors named these two lateral elements of "service castles", which concentrate the vertical movement, the passage of ducts and support areas. while the first gable, or castle, parallelism follows the plot and general composition, the second, facing north, has a smooth curve that makes the building make a module the more later on the facade. the curve sphinx is the project. for authors, she "marks the uniqueness of this construction, nor pretentiously palace nor isolated, but convergent surface and multiplier of urbe, your story, your life". the free gesture feeds the critical debate: "is of luciano", heard from a critic; "is the álvaro, wanting to confuse everyone," said another. anyhow, the curved element is what more frankly suggests a dialogue with the curves of oscar niemeyer buildings or background lucio costa pilot. this dialog not for ai. firstly, the project seems to want to put to the test all the virtues of modern design, translating concepts as synonymous with efficiency, whether with regard to environmental restrictions or the flexibility of the occupation. detail: this approach more rino levi uses the artigas or niemeyer. advancing in this analysis, dipping in the dialogue between past and present, it is clear the relationship between authors escola carioca and to the escola paulista recent (read pós-mube). this becomes clear in the project's division into two parts-a below and another above the ground-as puntoni had already exercised with angelo bucci on the design of the house in carapicuíba. even if topographic reinterpretation this is not so evident nor the top volume is so strong, the strategy is present in the genesis of the idea of sebrae and is supported by the differential use of steel in concrete and up underneath. in this sense, the building reinterprets the use of piloti, so dear to the design of washington, making a mix between the teachings of the schools paulista and carioca. this relationship also runs through the creation of the internal courtyard: if the heart of the paulista school of yore was characterized by generous interior spaces, whose idea is evident in caramel lounge of the fau/usp, school of niemeyer the relationship with the landscape speaks louder. therefore, sebrae in the team intermediate dialogproposes a: the inner void turns into courtyard open to the landscape at the same time that you want to be an internal space, partially baptized by an element in the height of the coverage. to put to the test several precepts ladies and the national architectural production since the drawing of ministry of education health and, the project is a sample of what could be the brazilian architecture had more opportunity to express themselves.