Luz Station, São Paulo. Image © Zema Vieira

While using technical drawings, Zema Vieira makes architectural illustrations by using only AutoCAD without any further techniques. Her body of work became a project called “Fachada Frontal” or “Front Facade.” In it, the artist depicts buildings from cities around the world, with a particular focus on Belo Horizonte, Brazil.

Check out below the illustrations made by the artist.

Praça da Estação / Station Square, Belo Horizonte. Image © Zema Vieira

“The project came about through an admiration for the way that architectural designs use to be represented. Not just the buildings, but the project themselves relied on a wealth of detail and an artistic sensibility that I believe would be impossible to recreate with the coldness of technical drawing tools used today, particularly CAD software. That’s where it came from, a desire to try.”

St. Joseph’s Church, Belo Horizonte – Pre-restoration facade. Image © Zema Vieira

St. Joseph’s Church, Belo Horizonte – Post-restoration facade (detailed illustration). Image © Zema Vieira

“Facades especially caught my attention – an architect always plays with shadows to highlight volume, a technique now replaced by using different line thicknesses. The illustrations in Fachada Frontal,  with maybe one or two exceptions, are always elevations, drawings without vanishing points, the same way they would be in technical drawings.”

Souza Pinto Sawmill , Belo Horizonte (detailed illustration). Image © Zema Vieira

Mining and Metal Museum, Belo Horizonte (detailed illustration). Image © Zema Vieira

“Choosing which buildings to do was partly based on personal taste, but also involves practical issues. A major feature of the piece is the representation of each detail of the building, which makes a trip to the place for a photographic survey a fundamental step in the process. This visit also helps in understanding the object and its relationship with the urban landscape that surrounds it, and this is often reflected in designs that include this context.”

Acaiaca Building, Belo Horizonte (detailed illustration). Image © Zema Vieira

Learn more about Fachada Frontal here or follow the project on Instagram or Facebook.

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© Anze Cokl

• Architects: AO
• Location: Triglav National Park, 4265 Bohinjsko jezero, Slovenia
• Architect In Charge: Darko Bernik (2016) based on Karel Korenini (1936)
• Area: 9.15 sqm
• Project Year: 2016
• Photographs: Anze Cokl

• Structural Engineering: Darko Bernik, Rok Feldin
• Engineering & Consulting Team: Darko Bernik, Mirko Klinar, Anže Čokl, Maja Perko, Raf Kolbl, Rajko Tušek
• Site Preparation, Construction And Installation Team: Darko Bernik, Mirko Klinar, Maja Perko, Raf Kolbl, Rajko Tušek, Anže Čokl with help of Aleksandra Božnar, Metod Smolej, Majda Reberšak, Božo Družijanič, Marko Štojs, Miha Rakar, Miha Novak
• Air Transportation: Helicopter and pilots of the Slovenian Armed Forces
• Logo Design: Kapucki, visual communications
• Supporting Contractors: KOV, Impol, Sij Acroni, Društvo gorske reševalne službe Jesenice, Reflex, Elektro Gorenjska, Enos, PIN+, WURTH, Merkur trgovina, Tavči Tatoo, Tapro Grosist, Prevozi Zorko
• Video Edit: Aljaž Salkič
• Client: Alpine Club Jesenice, Slovenia

© Anze Cokl

From the architect. More than 80 years ago, visionary minds of alpine climbers in Slovenia decided to build alpine shelters in the Julian Alps. In 1936 there were no access roads. What used to take climbers and hikers days, takes a couple of hours nowadays. With better infrastructure and general access however, parts of Triglav National Park’s most sacred places still remain pristine and less visited.

© Anze Cokl

In 1936 Skala club members had decided that building small, but functionally ingenious alpine shelters, would save time and effort to climb mountains and make them more accessible for exploration. Bivak II na Jezerih was built on the designs of engineer and mountaineer Karlo Korenini. Together with climbing buddies, they have transported over a ton of wood and steel on their backs alone and built the shelter on the spot! It was in service for respectful 80 years, especially considering the harsh environment and relatively basic materials available at the time. However, wooden construction finally gave way and deteriorated the the point of breaking down.

© Anze Cokl

The original 1936 bivouac was airlifted on a custom made platform so that it would not crumble into itself. It was donated to the Slovenian Mountaineering Museum as an exhibit.

© Anze Cokl

Main restrictive factors affecting the design were thus set both by highly restrictive policies of the Triglav National Park and the extreme mountain weather and conditions as well as air-transportation limitations.

© Anze Cokl

The following criteria had to be met:

• bivouac has to withstand winds of 200 km/h
• finished bivouac must not exceed the 1300 kg of total weight as this is the limit of the available air-lift helicopter for the area and height
• bivouac’s gross volume must be within 10% plus/minus of the original
• due to remoteness of the area the bivouac must be built as easy to maintain as possible
• the bivouac must be cozy and give priority to function over general attractiveness

© Anze Cokl

Bivak II na Jezerih was thus conceived on the basis of the 1936 bell-shaped original, retaining traditional outline, but with major improvements to construction, use and finishing materials and details. All with functionality and ease of installation and maintenance in mind.

© Anze Cokl

Beside the extreme environment with hurricane force winds and few meters of snow and general exposure, having a relatively useful space on an area of less than 9m2 for 6 people is a challenge. With a folding table, overlapping bench (when sleeping feet are below and you sit from the other side), a box for accessories which you can also sit on plus many other details, make up for a better living comfort in the mountains.

Section

Isometric

Having respected ingenious architects and builders of the 1936 and especially the solutions which proved to be working for almost a century, the newly built and vastly improved bivouac now stands open after over 600 hours of voluntary work for the mountaineers and climbers and the test of time.

Product Description. IMPOL Group 2 mm EN 3103 Aluminum was chosen as the main material for the harsh environment of the high alpine world, both from practical and aesthetic reasons, with limestone rock gray color blending nicely with the material in the sensitive alpine world.

The aluminum has a great look, low weight, is long lasting and is easy to work with. It was delivered in pre-cut plates from a roll by IMPOL Group. Plates were laser cut and trimmed in the workshop and pre-bent for later fixing. The aluminum had a natural look and finish of the EN3103 and with the passing of the time will get it’s final (somewhat oxidized) look, without any need of using paints or whatsoever, blending in the environment even better.

© Anze Cokl

Aluminum EN 5754 of 4mm thickness with 3D pattern was also used for the entrance and floor, dividing the sleeping part. It was wrapped up on all sides to the verticals (wood) and welded, so it also holds water that could come off of wet boots of snow or equipment. There is an opening on one end where water can escape out of the bivouac. Aluminum for the floor is durable, non-slippery, and can withstand pressure of crampon points, should there be negligence or emergency by mountaineers walking in with crampons still on.

© Anze Cokl

Construction was made of 4 mm steel, welded and optimized for low weight, galvanized and painted. All points of contact with aluminum were specifically protected to prevent negative galvanic cell effects. Special care was also taken with the selection of proper screws and at all points of contact.

© Anze Cokl

REFLEX provided specialty glass that is both safe and has protective features with superior insulating capabilities. The biggest concern was that the glass would not break before the final installation on the mountain due to the difference in altitude and thus pressure at the time of the production and before being installed on the mountain.

© Anze Cokl

© Anze Cokl

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The 2016 Lisbon Architecture Triennale, which opened last week, is comprised of a constellation of exhibitions and satellites. One such show—eponymously named The Form of Form—is both an exhibition and a structure in itself – a sequence of rooms designed collaboratively by Mark Lee of Johnston Marklee, Kersten Geers of Office KGDVS, and Nuno Brandão Costa. If “one of architecture’s fundamental legacies is its own form,” the curatorial statement declares, “this exhibition [builds] a dialogue that challenges notions of authorship and the limits of form.”

The content of the show—a series of photographs, drawings and paintings homogenized in scale and presented at eye-level throughout the “rooms”—is curated by Fosco Lucarelli and Mariabruna Fabrizi of the Socks Studio “Visual Atlas,” a “non-linear journey through distant territories of human imagination.”

Courtesy of Lisbon Architecture Triennale

As part of an expansive discussion held in June 2016 (and published in the Triennale’s catalogue) Lee, Geers and Costa reflect on the process of designing, and co-authoring, the installation. For Geers:

From day one it was clear to us that we should work together on the same space and that we would make full scale, “one-to-one” architecture. It was interesting because I believe our offices are part of a generation that is, I would hazard to say, post-diagrammatic from the point of view of our part of the world [Europe], and more formalist from the point of view of Mark and Sharon’s [co-founders of Johnston Marklee] part of the world [America].

According to Lee:

One the one hand, there are obvious differences between our offices, but, on the other, the process that we participated in together provided coherence to the final outcome. […] There’s something special about building in this “one-to-one” scale. Often exhibitions of architecture consist of representations—whether through a model or a drawing, which is not the thing itself—standing in for something larger and real.

For Costa:

Each of us has his or her own methods, and in the design sequence we build a sort of theory. Being a sequence of decisions and thoughts, the project is always theory until the moment it’s built. And when it’s built, it becomes something real, with social and physical conditions; it lives and is part of a real city or landscape or wherever it is. When we build, we jettison theory.

You can view the project, here.

Courtesy of Lisbon Architecture Triennale

Space 1: A Window to the River

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Space 2: The Courtyard

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Space 3: A Roofless Loggia

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Space 4: Intersections

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Space 5: The Oculus

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The Form of Form (4th Lisbon Architecture Triennale) / Johnston Marklee, Nuno Brandão Costa & Office KGDVS
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© Fernando Guerra | FG+SG

• Architects: Correia/Ragazzi Arquitectos
• Location: 8400 Carvoeiro, Portugal
• Area: 255.0 sqm
• Project Year: 2016
• Photographs: Fernando Guerra | FG+SG

• Collaborators: Francisco Tavares Ascensão, Juliano Ribas Silva, Rita Breda
• Structure And Foundation Engineering: : Alcepi Engenharia
• Hidraulic Engineering: Alcepi Engenharia
• Technical Facilities Engineering: Lusoclima
• Electrical Installations: Acácio Cerqueira Gabinete de Projectos

© Fernando Guerra | FG+SG

The new Sotheby’s real estate headquarters at Carvoeiro, Algarve, is on an existent building characterized by both local and traditional construction technics as well as materials. In order to save and recuperate the building having in mind the new program, we have decided to conduct some internal demolitions as the building was not well preserved. said demolitions, at a spatial configuration level, will allow to recover the building and make the necessary adjustments to the contemporary needs, mainly in terms of energy efficiency.

© Fernando Guerra | FG+SG

The main façade had been transformed over the years therefore we have redesigned it according to what was believed to have been in the past. We have also introduced a cornice as it is tradition in most buildings of the region, similar to those existent in the area.

© Fernando Guerra | FG+SG

Sections

© Fernando Guerra | FG+SG

On the ground level one finds the public access into a double height hall with a connecting stair as the main element, of sculpture character; it intends to give the space more fluidity in order to achieve greater sense of flow and space. On the upper floor, over the stair, we have proposed a skylight remembering the local constructions, as a way to achieve a higher height, sense of space and particular interest.

© Fernando Guerra | FG+SG

Plans

© Fernando Guerra | FG+SG

On the terrace we have proposed a new volume finished with the same materials as the existent building and with the same height; here one can find a small kitchen with a particular spatial configuration given by its skylight. Both volumes, the existent and the new building, are openly different and take as architectonic options for its completion a sense of rehabilitation, maintenance and consolidation of existent walls and structure, being chosen, whenever possible, local and traditional technics and materials. we believe that this way one can establish a coherent relation between the existent and the new construction.

© Fernando Guerra | FG+SG

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