LABORATORY FOR VISIONARY FASHION

YOU HEAR ABOUT IT AT DINNER PARTIES

AND FASHION EVENTS.

ITS BEEN THE SUBJECT OF
COUNTLESS MAGAZINE STORIES

AND NEWS REPORTS.

SOMETHING SPECIAL
IS GOING ON IN BRAZIL.

Suleman Anaya.

TABLE OF

CONTENTS
006 ACKNOWLEDGEMENTS
008

ABOUT THE DESIGNER

020 BR FASHION TRAJECTORY

022 EXPERIMENTING BEAUTY
026 INSPIRATIONS

INTRODUCTION
012 ABSTRACT
014 BRAZIL TALKING TO THE WORLD
016 BONITO POR NATUREZA
( BEAUTIFUL BY NATURE )

034 CASE STUDIES

038 OWNERSHIP (CLIENTS)
040 WHOS AROUND? (USERS)

056 PROGRAMMING

044 SO PAULO, BRAZIL

060 CONCEPTUAL THREAD

046 DASLU: THE FASHION EMPIRE

064 PROJECT C.D.

RESEARCH

082 RE-SKINNING
088 LOBBY
104 LIBRARY
120 RUNWAY
136 NIGHTCLUB

PROJECT

156 FINAL THOUGHTS

158 SELECT BIBLIOGRAPHY

INTRO

DUCTION

ABSTRACT

More than shaping faces and life styles, Bra-

and create their art under influence of the tech-

zilian cultural backgrounds can be seen and

nology and values acquired in this cultural

felt in what is produced nowadays in the coun-

environment. A unique mix of entertainment,

try. The cultural footprint in contemporary Bra-

manufacturing, retail, educational and cultural

zilian design is strong and dynamic, qualities

that are apparent from observation.

contours, forms, cuts, textures, shapes and col-

design cannot be completely generalized to

ors are explored side by side in each interior

the whole country to the point of establishing

space.

ion and architecture. Indeed, this design is the

product of certain strategic and aesthetic decisions that are influenced by the latest technologies, the materials and their potential uses, and
the way Brazilians engage with these aspects.

LAVIF

INTRODUCTION

ing design. Where fashion meets architecture,

The findings of this research and its final

a definitive Brazilian style and identity in fash-

12

programs are articulated within the new build-

From its beginning until the present, the

objective of the design development emphasises the creation of a new culture of fashion,
incorporating technology, and other disciplines
such as architecture and biology.

Given the cultural background, this is what

Boosting and strengthening the Brazilian

gives Brazilian design a particularly unique

fashion; promoting the cultural and economic

quality.

growth; attracting tourists; disseminating the

Located in the city of So Paulo, Brazil, the

city in the world press; generating jobs; and

Laboratory for Visionary Fashion (LAVIF) is

moving the commerce, culture, gastronomy,

the new house for the (inter)national fashion

hotels. This is why LAVIF is important to the

designers, whose interests are to experiment

city of So Paulo and its country.

INTRODUCTION

LAVIF

13

Image and text from What about Brazilian Brands?

Perhaps the first Brazilian brand to be truly interna-

Santos wrote in his book Happy 1958, The Year That

tionalizedBossa Novawas launched in the same

Was Not Supposed to End (Feliz 1958, o ano que no

year by two brilliant young men, Tom Jobim and Joao

devia terminar), pride became a fashionable word.

Gilberto. Bossa Nova soon evolved beyond a musical

trend to become a whole attitude of life. The new and
more modern Brazil was knocking on the door: even
President Juscelino Kubitschek was dubbed as bossa
nova.In retrospect, the music, in some ways, was an early indicator of the optimism that Americas boom years
would spread across the world only a few years later.
Juscelino Kubitschek (aka JK) was not blind to this
flood of opportunity that the U.S.s prosperity brought

BRAZIL

TALKING TO THE WORLD

It is hard to say when exactly Brazil first
looked at the rest of the world and decided it
had to carve out its own brand and personality,
but most would say that the seeds were likely
planted in 1958, when it won its first World Cup
in Sweden. At that moment, Brazil announced
to the world its swing, its classy lifestyle, and
its soccer stars Garrincha and Pel.
14

LAVIF

INTRODUCTION

with it. Noting the enormous potential that lay in furthering Brazils international growth, he opened up

And now, after fifty years, the bossa nova period in

Brazil has come into fruition, our brand (and bossa nova
itself ) is once again a rising global star. Brazil is talking to
the world, telling people that it is fun loving and highly
adaptable, with a flair for improvisationbut always
backed by numbers, strategy and lots of hard work.
In the fashion and beauty industries, brands
have evolved all of the juicy clichs, transforming
them into an innovative and contemporary professionalism. While we cant boast the worlds unani-

the economy to foreign investors and encouraged

mous admiration of French haute couture or its

new industries to relocate to Brazil. For the first time

assessment of Italys impeccable taste, we have

ever, automobiles were manufactured entirely in

been able to create a language that can travel the

Brazil; VW Beetles rolled off the lines in 1958, in the

world and incite desire in a short period of time.

ABC region of So Paulo. Amid the euphoria of these

We are on the worlds agenda for fashion events,

boom years, President Kubitschek campaigned on his

we are exporting models, and now we are exporting

famous catchphrase Fifty years in five. He also asked

brands too. (Not many of them yet, it is true.) Brazil-

Oscar Niemeyer, a member of the cultural avant-

ians have a lively eye for detecting demands and re-

garde, to design the new vision of the capital of Bra-

sponding to them. Responses are alert and refined.

slia in a location that had nothing to do with beach-

Now strategy must also be refined. The behavior of

es, or with any tropical clichs involving bananas.

consumers over technology has to be understood

Brazils World Cup win enabled Brazilians to drop

and the hearts and minds of new consumers, win over

their mutt complex. As journalist Joaquim Ferreira dos

to ultimately sell more.

INTRODUCTION

LAVIF

15

The identity of Brazilian fashion reflects

our multiplicity and versatility, attributes
of a diverse and young country.

BONITO
POR
NATUREZA

Since 1500, Brazil has been a place for the

BEAUTIFUL BY NATURE

blending of different cultures. Starting with Brazilian natives, Portuguese and Africans, the mixture
increased with a massive number of immigrants
from 1887 until the Second World War, who equally contributed to the formation of one of the most
ethnically diverse countries in the world. Brazilian
anthropologist Roberto Damatta affirms that Brazilians are considered the perfect synthesis of all

egory for Brazil, as a society which celebrates in

ating new and alternative products, and we have

of the races. This reveals the countrys capacity to

betweenness, is what shapes the Brazilian charac-

a unique approach to our countrys natural setting

reconsider oppositional categories and reconfigure

ter and culture.

and resources. We love analyzing things and rein-

them in a positive light. Brazil is not a dual country

which operates only with the logic of the in or out,
right or wrong, man or woman, married or separated, God or devil, black or white. On the contrary, in
the case of our society, the difficulty seems exactly
to apply the dualism of exclusion character; an opposition which determines an inclusion of a term
and the automatic exclusion of other, as usual in
the American and South African prejudice and we,
Brazilians, consider as brutal., Damata states.
According to Lilia Schwarcz, Brazilians use over
130 shades to identify their skin color, such as coffee and milk and suntanned. She affirms it is not
possible to believe in a unique definition. Brazil is
so many things!. This impossible definitional cat16

LAVIF

INTRODUCTION

Brazils land is lovely and bountiful. It is a landscape of endless generosity and the geography is
as warm and welcoming as the Brazilians, always
finding a way to crack a smile. There are no earthquakes, no tsunamis, and aside from the occasional drought or torrential downpour, nature is usually
in a good mood. Energy flows as if by magic: plenty of sunlight and endless supplies of water; the
Amazon pumping out oxygen to the world; gems in
Minas Gerais. Theres gold deposits, sugarcane, oil,
food and drink.

venting them, making new products and specializing in any number of other transformations to
show people that we are good, indeed very good,
at taking the commonplace and improving it. That
is how we make our presence felt in Brazil and
around the world too.
Beauty comes with the territory, and appreciating beauty is our calling in life. This is evident in
everything from our inarguable expertise in bikinis,
to our way of flaunting our body, and our individual
interpretations of the hang of garments (taking into

Such copious gifts of nature cannot but favor

account the high level of skin exposure required

this nation. Brazil has always been recognized as

due to the heat). Beauty lives alongside the colors

one of the worlds greatest source of food supplies

in Brazils sunlight and beaches, where aesthetic

and today this image is even stronger. We are cre-

democracy reigns supreme.

INTRODUCTION

LAVIF

17

SEARCH

RE

SPF W +

BRAZILIAN

TRAJECTORY IN FASHION

As time passed, the mass of immigrants began

and television began to have an extensive influ-

to settle down and identify a certain aesthetic com-

ence on fashion, in particular Brazilian soap opera.

monality. This had its public manifestation in 1922

Still habitually travelling to Europe and America,

at the first Semana de Arte Moderna (Modern Art

fashion professionals began to adapt foreign fash-

Week) which saw itself as a rupture with European

ion to their own reality and realized that copying or

culture. However, its influence on fashion only hap-

just adapting foreign fashion was no longer good

pened around 20 years later when international

for their business as they were producing enough

cinema productions explored the rhythm and swing

to export. In response to this high demand the first

of Brazilian music and dance without any commit-

fashion school was established in Brazil in 1987, at

ment to Brazilian reality. Since then, forests, fruits,

Faculdade Santa Marcelina.

samba, beautiful women, and carnival have become the icons of Brazil.

LAVIF

RESEARCH

sil became So Paulo Fashion Week, the SPFW,

In the 1950s the United States had a great influ-

which is now the fifth most important fashion event

ence in Brazil as a model of economic and cultural

in the world, making So Paulo known as the fash-

development. The American way of dressing pre-

ion capital city of Latin America. In the 2000s, the

sented in movies and musicals began to be incor-

challenges for Brazilian fashion identity were to at-

porated on a daily basis. This acceptance of foreign

tend international market needs in relation to Bra-

fashion trends began to be questioned and Brazil-

zilian culture and to preserve national identity with-

ian designers created their first collections inspired

out making it look folklore or regional.

by popular Brazilian products, such as the coffee.

20

Created in 1996, the Morumbi Fashion Bra-

I admit that Brazils complex colonial past and

In the early 70s the Brazilian fashion design-

rich history of immigration make the country rich

er Zuzu Angel became popular. Angels inspiring

pickings for designers. However, this vast array of

themes reflected the oppression of the military

cultures provides the Brazilian fashion a wealth

censorship imposed on the country during the 60s,

of graphic icons, clothes, colors and identities as

a more engaged cultural expression than only Bra-

inspirations. In this scenery, the question is what

zilian natural resources. The 1980s Rio de Janeiro

Brazilian fashion imbues to mean it is Brazilian.

RESEARCH

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21

EX

FAS
HIO
NISW
YOU
FOU REOFFE HAT
YEA R TIMES RED
R. S
WH
TYL A
AT Y
E IS
O
PIC
U
KO
UT O
THA
T FA
F
SHIO
N.

PERIMENTING
BEAUTY

Beauty lies in the essence of art. For me, not every art is beautiful
but every beautiful thing is art. I see beauty in things I feel interested
in, and I find it interesting by understanding its messages, meanings,
and origins. Then, my imagination takes care of the beauty. However, it
doesnt mean I dont like the ugly. Those art pieces that are not meant to
be beautiful dont mean that there isnt something about it that does not
captivate my imagination.
In architecture, I believe there is a collision between the ugliness
in art and the utilitarian world. I disagree with Louis Sullivans principle
form follows function from the 20th century, because if you consider
only the function of things you built, it can soon be useless. However, if
you built something beautiful, it can serve multiples. In my design process, which includes my perception of architecture and fashion, beauty
is a vital resource. Through the search for beauty, Ill design LAVIFs
world as the first Brazilian visionary fashion home. Despite the content
and interior spaces, the technology used in the facade will expand passers and users joys.
Experimenting beauty is essential to create a balance in human life,
giving us meanings, connecting us with the world we live in, and taking
us out of routines.
RESEARCH

LAVIF

23

Opposite page - one edge

1. Flash and photo
2. Two edges
3. Two corners
4. Four corners

The intention of this experiment is to create an

of shapes was formed by playing with a flashlight.

item that represents my thinking process of this

Two-way mirrors, or one-way mirrors as they are

particular design. Its visually simple, but complex

also called, are materials that transmit the light

in its process and understanding. It can represent

a space, a garment, a painting, nature, or anything
the observer imagines. With that in mind, the idea
is to create a structure made out of two-way mirrors
and light.
This research began in an raw project that was
meant to present the concept of the structural grid
as a formal principle and with that, simply create

24

LAVIF

RESEARCH

from one side and reflect it from the other. They

are intriguing, beguiling and thought-provoking for
the optical, perceptive characteristics and the many
connotations that derive from it.
The space of the mirror is not a field of a virtual but of a dematerialized reality. The perception
of depth in this space is retained, although in the

a beautiful thing. It was easy manual work and a

mirror image no longer exists. Apparently paradoxi-

couple of old pieces of mirrors were used to cre-

cally, the mirror time is objectified, and space is rel-

ate a cube. In order to create rhythm, a repetition

ativised, being simply turned into a plane surface.

RESEARCH

LAVIF

25

INSPIRATIONS
``

I start with the fabric, material and touch.

Then I go to the form. Maybe forms require
a certain material or a certain material requires real form for them.
Yohji Yamamoto

INSPIRATIONS

HUSSEIN

CHALAYAN

Hussein Chalayan was born in Nicosia in

1970 and graduated from the Turkish Maarif
College of his hometown. He moved with his
family to England in 1978, obtaining British
citizenship. He graduated at Central Saint Martins College of Art and Design in London 1993,
his collection titled The Tangent Flows, contained clothes which he had buried in his back
yard and dug up again. An instant sensation,
the whole collection was purchased and displayed in luxury designer store Browns in London. In 1995, Chalayan beat 100 competitors to
clinch a top London fashion design award. In
the contest, organized by the company Absolut, Chalayan, aged 25, won financial backing
of 28,000 to develop creations for the British
capitals Fashion Week in October of that same
year. His clothes are minimal in look but maximal in thought; his fascination with architec28

LAVIF

RESEARCH

ture, spatial dynamics,urban identity and aerodynamics are expressed in garments based on
concepts, architectural systems and theories
of the body. Chalayans sense of the visual is
ultimately true to his grasp of the practical and
cultural needs resolved by clothing.
He is one of the few fashion practitioners
who can be recognized as a designer rather
than a stylist.
Many of the creative working in the fashion
industry merely resurrect older modes of dress
or reinvent the basic garments found within the
traditional fashion canon. Chalayan moves forward with completely new forms, shapes and
materials conceived to dene space, rejecting
the construction principles and notions of contemporary architecture more than conventional
fashion.
RESEARCH

LAVIF

29

INSPIRATIONS

WORLD OF

SCI-FI PRODUCTION

Looking at the newly released production

photos from Tron Legacy, its hard not to be
struck by how much of the movie was shot on
real sets. With the demands of 3-D and CG movie-making, plus the need for real-life spaces
that look like they could be inside of the computer, its easy to see the influence of Kosinskis
architectural background.
In a recent conference (You Tube video),
Kosinski talked about starting a small film after school where he and his partner wanted
to blend architecture, design and film. People
thought he was crazy to think that an architect
could be a film directorand that it might be a
30

LAVIF

RESEARCH

waste of a good architecture degree. Je Bridges

praised Kosinskis ability to plan dierent constructs and lm them three-dimensionally for
this film.
Its interesting dierent lm makers where
they come from and what they bring to the lm
and [Kosinskis] an architect and so the film
has a very, you know, heightened design feel
to it. And he hired this wonderful production
designer, Darren Gilford. And he is out of car
design so it adds another thing. Its not somebody, you know, who is an interior decorator.,
said Bridges.
RESEARCH

LAVIF

31

DESIGN BY

VARIOUS ARTISTS

CASE STUDY

Laboratory = Experiments
Stimulating environment

ARCHITECTURAL PROJECTION MAPPING

& DIGITAL INTERACTION

Motion: Visual & Touch sensitive

Informative & Proftable
Buildings nightlife

slack-jawed gawping factor its also a fond favorite

Visual design highlights and innovative applica-

for brand promotion.

tions interact and operate like an ingenious integral

voucher system. The spectacle offers an interac-

The success of the interactive windows shop

tive brand experience in any public space with-

and interior stores walls also has a positive influ-

out the help of street promoters, once it could be

ence on brands and buildings. By lifting the bar-

extended in smaller scale around the city. The act

riers between shop and street there is a positive

of suspending your disbelief to watch moving im-

shift in brand image and an increase in customer

ages, and the application of projecting these, has

traffic and profit. For the consumer, there is a high

its roots in cinema, but it also adds the collective

entertainment value and visual fun factor. A good

thrill of large gatherings, felt at public events like a

example is the Diesel interactive window (image

firework display or a free concert. Over the last few

4) fully embraces the zeitgeist of a target customer

years its become a popular way to wow crowds at

group for whom the virtual world is a life style, not

celebratory events of all kinds and because of the

a necessity.

1. The dynamic process of studyng how a

trashed material as cardboard can become
beautiful with few resources.Digital Design
Workshop, by MAPT.
2. Strukt Design Studio created this digital wallpaper for an office space in Vienna using only
a wall and digital projectors.
3. The picture shows a captivating moment of an
architectural projection on Hamburg Kunsthalle
Museum, in Germany. The project named
555 KUBIK, How it would be if a house was
dreaming makes use of the architectural
details of the Gallery of Contemporary Art to
create fantastic illusions which simply boggles
the mind.I bet you would take a second look at
the video when you finish with the page!
4. Inside Diesels interactive window, which was
tied to its Destroyed jeans campaign, shoppers could control the weather via a video
game that linked to the window set-up.

2
32

LAVIF

RESEARCH

4
RESEARCH

LAVIF

33

DESIGN BY

CASE STUDY

ZAHA HADID

Spectacle within a Spectacle

Respect original architecture
Color relationship
Material

JS BACH CHAMBER MUSIC HALL

Function x Form

A unique chamber music hall specially designed

to house solo performances of Johann Sebastian
Bach works enhancing the multiplicity of his music by using a single, continuous ribbon of fabric
which constantly changes, stretches, compresses
and moves around itself to cocoon both performers
and audience within an intimate fluid space.
A translucent, fabric membrane stretched over a
steel structure suspended from the ceiling divides
and encloses the space, creating a stage, enclosure for the audience and passages into and out of
the auditorium. It would be interesting to see how
the bold monochrome design is affected by the
multicolored clothing of the audience members.
34

LAVIF

RESEARCH

Location: Manchester Art Gallery, T1 Gallery,

Manchester, UK
Client: Manchester International Festival
Program: Chamber Music Hall
Site Area: 17m x 25m
Architect: Zaha Hadid Architects
Design Team: Melodie Leung and Gerhild
Orthacker
Acoustic Consultant: Sandy Brown Associates
Tensile Engineer: Tony Hogg Design Ltd
Fabricator: Base Structures
RESEARCH

LAVIF

35

DESIGN BY

CASE STUDY

JEAN NOUVEL

Shopping experience
Stimulating environment

EXCELSIOR MILANO

Respect original architecture

Museum-like Retail use
Update trend - media
Flow & Movement

The relation between the pre-existing structure and the new one occurs by reflection: the inner walls of the old movie theatre are coated with
reflecting paints, while the exterior supports LED
screens all along the outer edge. Its a project on
fashion, food and design. Jean Nouvels project is
contemporary but in line with the existing Excelsior,
designed to become a statement of style.
36

LAVIF

RESEARCH

Excelsiors clients have a clear sense of style

and well travelled. The shopping experience it offers aims to be cross-genre and always putting the
focus on excellence. The technological flow that
ideally links the ancient site to the new hub dedicated to high profile urban shopping, is achieved by
an envelope of images that seems to run through
all floors. It invites you to take a journey into the
future of shopping.
RESEARCH

LAVIF

37

OWNERSHIP
CLIENTS PROFILES

Created 30 years ago, Iguatemi Empresa de

Shopping Centers S.A. is the division of the Jereissati Group responsible for planning, building, structuring and managing shopping malls. Since 1979
Iguatemi manages Brazils first shopping center, the
Iguatemi So Paulo mall. Focused on the South
and Southeastern regions, and Braslia, the company has 11 operation malls and five greenfields
projects.
Carlos Francisco Ribeiro Jereissati
CEO of Grupo Jereissati

Recently opened, JK Iguatemi is already part of

the architectural landmark of the city of So Paulo,
and has brought 23 international brands to Brazil.
The mall is part of the grand commercial complex
that includes three towers of offices and an entertainment and retail unit, the laboratory for visionary
fashion - LAVIF.
Established on May 23, 1979, the Jereissati
Group began its operations in the textile area and
subsequently, diversified its investments in the real
estate.

38

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RESEARCH

Born in 2003, the Brazilian Association of Fashion Designers (ABEST) aims to strengthen and
promote Brazilian design and fashion. Their main
proposal is to assist the development of Brazilian
brands of international scope and to ensure the authenticity and creativity of each of them, and disclose the lifestyle of their country, thus contributing
to the growth of all segments related to fashion.

The brand stands for style, comfort, affordable luxury, and positive energy. The first pair of
Havaianas was born in 1962 and since then, the
company hasnt stopped creating regional and international fashion trends. The most famous flipflop in the world has been part of the Oscars since
2003 with an exclusive model given to the nominees.

As a nonprofit association, ABEST partnerships

goal is to show that the Brazilian fashion evolved,
found its own style and became professional. The
idea is to show members of both ABEST and LAVIF
the importance of conquering new markets, and developing special collections. Currently ABEST has
56 member brands from all over Brazil, also exporting products to 48 countries. In addition, strategic
actions run constantly to enlarge their penetration
into new markets around the globe and narrow relationships with those already achieved.

The opening of Espaco Havaianas in Sao Paulo

embodies Brazils envy-inducing climate of constant sun and air by funneling them into a concept
flagship store. Limited-edition models flank a tented stand featuring more coveted versions, including the monotone blue classic that helped turn the
companys powdery sand into gold.
The famous slogan - Havaianas - the real ones
is launching its first nightclub, .br. The club conveys
the brands up-beat mood and magic exploring its
darker version. Its impossible to describe using
words... you need to see it with your own eyes!
RESEARCH

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39

USERS

WHOS
AROUND?
So Paulo is a city rich in culture and art.

The large scale program of the building in

With over two hundred art galleries, museums,

So Paulo, the brain of Brazil, will create new

and private and public art schools, the city

growth opportunities and momentum for the

thrives on art and encourages exploration. The

change in the national fashion industry. With

direct target users are professionals and me-

two of the highest-end design and fashion

dia; fashion admirers of all ages who wish to

shopping malls in the country less then one

see and experience something new and excit-

mile away, it is inevitable that Itaim Bibis trend

ing; students, affluent art collectors, tourists,

will be followed by international spotlights.

and free thinkers. The alliance with national

Beyond affecting career or educational direc-

designers and brands with the new school of

tion, one of the most significant and intangible

visionary fashion will support and encourage

impacts of studying at the visionary school is

new businesses and provide a high level of

the students increased confidence and vitality.

standard for the future. The museum and the

They will develop a more sophisticated and ma-

runway spaces will become the local point for

ture way of looking at the world. They will have

fashion conventions, bringing energy and life

the understanding and skills to navigate effec-

to an otherwise lack luster area in Brazil.

tively, humanely and positively across differ-

EXTERIOR VIEW

RESEARCH

PUBLIC

POWERFUL
SURPRISING
ATTRACTIVE

Y
Y

LAVIF

USERS

PRIVATE

SEMI-PRIVATE

ATTRACTIVE
SURPRISING
POWERFUL

40

PRIVACY X USER
RELATIONSHIP

PRIVATE
SEMI-PRIVATE
PUBLIC

ATTRACTIVE
SURPRISING
POWERFUL

INTERIOR VIEW

PRIVATE
SEMI-PRIVATE
PUBLIC

USER X SPECTACLE
RELATIONSHIP
RESEARCH

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41

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DESIGNERS

MEDIA

STUDENTS
FASHIONISTS

PUS=XYZ

SO PAULO

BR
AREA 3,287,000 SQ.MI.
POP
. 192 MILLION

BRAZIL

LANG. BRAZILIAN PORTUGUESE

ECON. 6th IN THE WORLD
AKA. NATURAL ENV., SOCCER, WILDLIFE, SAMBA.

SP
AREA 3,067 SQ.MI.
POP
. 20 MILLION
ECON. 1st IN THE COUNTRY
AKA. BUSINESS CITY, TERRA DA GAROA (Land of Drizzle).

SP
Brazil is comprised of twenty-six states and is

The country has a mixed economy with abundant

So Paulo (SP) is located in the Southeastern re-

the only Latin American nation that derives its lan-

natural resources. Its economic industries include

gion of Brazil, in southeastern So Paulo state and

guage and culture from Portugal. The native inhab-

textiles, shoes, chemicals, cement, lumber, iron ore,

it is also the states capital. SP state is surrounded

itants mostly consist of the nomadic Tup-Guarani

steel, aircraft, motor vehicles and barts. Its chief

by Minas Gerais in North, Parana in South, Rio de

Indians. It has a population of over 193 million peo-

crops are coffee, soybeans, wheat, rice, corn, sug-

Janeiro in East, and Mato Grosso do Sul in West.

ple. The early explores brought back a wood that

arcane, cocoa, and citrus.

The city is located on a plateau that is part of the

produced a red dye, called pau-brasil (brazil-wood),

from which the land received its name. Portugal began colonization in 1532 and made the area a royal
colony. The country is home to two of the worlds
twenty seven current megacities, So Paulo (the
9th largest with 21.1 million) and Rio de Janeiro
(12.7 million). Brazil covers nearly half of the South
America and is the continents largest nation. It ex-

In October 2010s second round of presidential

elections, Dilma Roussef became the countrys first
woman president. She is expected to follow through
with Luiz Inacios (aka Lula, he is the first workingclass president, 2002-2010) agenda, but faces the
task of improving the countrys education, health,
and sanitation systems.

Serra do Mar (Portuguese for Sea Range), itself a

component of the vast region known as the Brazilian Highlands, with an average elevation of around
799 meters (2,621 ft) above sea level, though at a
distance of only about 70 kilometers (43 mi) from
the Atlantic Ocean. The city is rounded by two main
rivers, Tiete and Pinheiros rivers. Both were once
important sources of fresh water and leisure for the

tends 2,965 mi north-south, 2,691 mi east-west,

Brazil participants in well-kown international

and borders every nation on the south continent

organizations such as G-15, G-24, Interpol, Mer-

except Chile and Ecuador.

cosul, UN, UNESCO, and the most recent BRIC

The So Paulo metropolitan area has over 10

Brazil is the largest national economy in Latin

countries that are all deemed to be at a similar

million people within 3,000 sq. mi area and it is the

America, the worlds sixth largest economy at

stage of newly advanced economic development.

largest metropolitan zone in Latin America. As the

market exchange rates and the seventh largest in

The country has a 9.8% unemployment rate and

most ethnically diverse city of the country, hosting

purchasing power parity (PPP), according to the

22% of Brazils population lives below the nation

a large community of European, Asian, Arabian

International Monetary Fund and the World Bank.

poverty line.

and African descendants, all living peacefully. The

44

LAVIF

RESEARCH

city, only become grossly polluted by raw sewage

and industrial.

city has a monsoon-influenced humid subtropical

climate. In summer, temperatures are between 63
F and 82 F. In winter, are between 52F and 70 F.
Because of its elevation, however, SP enjoys a distinctly temperate climate.
So Paulo is the 10th richest city in the world,
and is expected to be the 6th in 2025. Its gross domestic product (GDP) in 2006 was over R$282 billion. The city is also unique among Brazilian cities
for its large number of foreign corporations. Many
analysts point to SP as an important global city,
even though this categorization can be criticized
considering its serious problems of social exclusion
and spacial segregation.
Despite being the most important financial centre of the country, SP also presents a high concentration of shopping centers. You can find practically
anything there. Imported goods can be expensive,
but look out for Brazilian-made bargains in all categories. Its not a hard task to spend some time in
one of the 50 shopping malls while in Brazil.

RESEARCH

LAVIF

45

DASLU

THE FASHION EMPIRE

Once upon a time there was a little shop

belonging to friends that grew to the size
of the world. This is neither a fairy tale,
nor an attack of folie de grandeur.
Daslu, description on the website.

aslu (pronounced daz-LOO) is a posh

multi-brand boutique store and its
known as the fashion designers Mecca

free espresso, biscotti and sparkling water at bars

of Brazil as it houses more than 60 fashion labels.

or spaces, vertical circulations and communication

It is the place where Brazilian socialites, ranging

between floors, which allows its form to be directed

from multi-millionaire soccer players to conglom-

by its new functions. Counting all seven floors (two

erate bigwigs shop for the latest accessories and

basements and five public floors) the total area

clothing. It is also a renowned shopping institution

of construction passes 600,000 sq. ft. and it has

in South America for being a purveyor in chic and

played an important role in the Brazilian fashion in-

exclusive couture.

dustry. Taking it in advantage, the implementation

When opened, you wouldnt plan on walking to

Daslu. Its against the rules to arrive on foot at So

46

LAVIF

RESEARCH

spread throughout the store. The building clearly

expresses its character through the immense interi-

of LAVIF will create an irony on a sense that the old

international empire is over and made in Brazil,

Paulos most over-the-top shopping emporium. A

perhaps by a foreign designer, can be high fashion.

taxi is one option, though a much chicer option is to

Daslu (now LAVIF) is part of the commercial

arrive by chopper at the rooftop heliport. The store

complex composed by the Santander tower, the JK

itself looks like an all-white Roman villa on steroids.

IGUATEMI shopping and its two office buildings,

Servants in black-and-white uniforms dole out

the JK towers.
RESEARCH

LAVIF

47

DASLU

THE ORIGINAL PROJECT

SITE PLAN
NO SCALE

NORTH ELEVATION (FRONT)

NO SCALE

WEST ELEVATION (SIDE)

NO SCALE
48

LAVIF

RESEARCH

RESEARCH

LAVIF

49

DASLU
SECOND BASEMENT
NO SCALE

FIRST BASEMENT
NO SCALE

GROUND FLOOR
NO SCALE
50

LAVIF
IF

RESEARCH
RESE

RESEARCH

LAVIF

51

DASLU
FIRST FLOOR
NO SCALE

F
OR
FOURTH FLOOR
NO SCALE

SECOND FLOOR
NO SCALE

FIFTH FLOOR
NO SCALE

THIRD FLOOR
NO SCALE

ROOF TOP
NO SCALE

52

LAVIF
IF

RESEARCH
RESE

RESEARCH

LAVIF

53

JECT

PRO

PROGRAMMING
BUILDING ANALYSIS

DEFINE PROGRAM &

FIVE SPACES

ADAPT PROGRAM INTO

THE BUILDING

ROOF TOP

HLZ
STORAGE

EVENTS AND
AUDITORIUM

What we were really trying to do was

to make something that had the firmness,
the scale, the gravity, or the sense of gravity, that potentially a piece of architecture
does having those qualities that a building produces, of really challenging you
and pressurizing the space in such a way
that it would be a kind of an equivalent to
a building.
Michael Maltzan
56

LAVIF

PROJECT

MANUFACTURES
AND OFFICES

CREATE CIRCULATION &

VISUAL CONNECTIONS
RETAIL

LOBBY : 19,265
LIBRARY : 25,474
RETAIL : 52,456
RUNWAY : 13,561
NIGHTCLUB : 18,768

CLASSROOMS
NIGHTCLUB
ACCESS

LIBRARY AND
COMPUTER LABS
BOH AND
LOADING DOCK
PARKING

LOWER
LOBBY
PARKING

UNDERSTAND EACH
SPACE AND ITS NEEDS

PROJECT

LAVIF

57

Parking
Storage
Lobby Access

Lounge
Gift Shop
Caf
Parking Access
Loading dock
Concierge
Nightclub Access
General ADM
Restrooms
Storage rooms

Library
Workshop classromms
Lab rooms
Library ADM
Auditorium
Cafeteria
Library Lounge
Restrooms
Storage rooms

Shops
Seating area
Concierge
Personalite Sevices
VIP rooms
VIP Lounge
Manufactures
Designers offices
Retail ADM
Restrooms
Storage rooms

Shops
Seating area
Concierge
Personalite Sevices
VIP rooms
VIP Lounge
Manufactures
Designers offices
Retail ADM
Restrooms
Storage rooms

Events room I
Events room II
Events room III
Lounge
Coquetel room
Conference room
Backstage rooms
Restrooms
Storage rooms

Nightclub
Lounge
HLZ
VIP Access
Backstage rooms
Restrooms
Nightclub ADM
Storage rooms

PARKING

PARKING
ACCESS
A

ACCESS

EDUCATIONAL

R
RETAIL
MANUFACTURE
M

RETAIL
MANUFACTURE

EVENTS

ENTERTAINMENT

2nd
BASEMENT
B

1st
BASEMENT

GROUND
G
FLOR
F

1st
F
FLOOR

2nd
FLOOR
F

3rd
FLOOR

4th
FLOOR

5th
FLOOR

176,418
1

176,418

76,992
7

7
73,464

73,464
7

73,464
7

6
62,129

47,168

LOWER

LOBBY

LIBRARY

RUNWAY

NIGHTCLUB

6,867
6

12,268

15,141

7,240

18,768

58

LAVIF

PROJECT

TOTAL PROJECT

DESIGN DEVELOPEMENT

759,517

60,284
PROJECT

LAVIF

PROGRAMMING

Parking
Storage

59

CONCEPT

CONCEPTUAL
THREAD

The project describes the architectures role in the formation of a Brazilian visionary fashion identity through exploring fashion and architecture. In a complex
matrix of experience and information, each interior space questions the relationship between fabric (fashion) and building (architecture) and works as a thread
from which they must gather and weave together all the strings relevant to this
project.
There is a significant relationship of promoting fashion exhibition, retail and
education through the architectural manipulation of the environment. During the
conceptual development, I was lead to an investigation of beauty and how it can
be translated in each discipline analyzed. The existing structure was adjusted to
receive the new design while scale, textures, and colors of the elements applied
were magnified when light intensity was added performing incredible effects,
impacting the final result.
When designing to host a fashion focused program, it is important to remember how fast the trends change. A simple collection developed and launched at
LAVIF, can hold an extensive impact onto the architectural decisions, such as
moving important walls or occupying unusual spaces. Therefore, the idea of creating a white canvas and flexible space was present in every move and in all
the spaces.
LAVIFs conceptual thread includes the literal, metaphorical and allegorical interpretations of fabric in different scenarios. Its used as a set of rules to discover
the warp and weft of each space based on the big idea and its programmatic
needs. The art of digital fabrication and parametric design were also tested to
include a deep meaning into the environment that will inspire clients, users and
provoke many visionary trends.
60

LAVIF

PROJECT

Its hard to beat a clever use of negative space

in logo design. Its no coincidence that the most
memorable logos are also the most simple in appearance. The intention is to create an identitiy to
be instantly recognisable, acting as a memorable
identifier and supporting LAVIFs philosophy.
LAVIFs logo design has influences from its
conceptual thread diagram and the citys sidewalk
pattern. Theres a deeper meaning behind the two
ribbons-like coming together to form the acronym.
One side is always black or white, the back side
of the ribbon allows the customization of the logo
according to the seasons campaign. In a place
where both national and international cultures colapse, the big idea of flexibility and a white canvas
of the project is extended to its brand logo.
PROJECT

LAVIF

61

CONCEPTUAL THREAD

FABRIC
M E TA P H O R

CONNECTIONS

LOBBY

A N A L O G Y

GATHER
LAYER

L I T E R A L

P UBLIC
S PA C E

P RIVATE

EXPERIENCE

LIBRARY

MOVEMENT

WARP
CIRCULATION
FUNCTIONALITY
CURTAIN
PATTERNS

SKIN

RUNWAY
P RIVATE
S PA C E

P UBLIC

EXPERIENCE

WEFT
PEOPLE
FLOW
RUNWAY
MUSIC

NIGHTCLUB

PINHEIROS

FREEWAY
NACOES UNIDAS AVENUE

CONSTRUCTION

DOCUMENTS

LAVIF

SITE PLAN
0 5 10

25

50

100

GO

JUSCELINO KUBITSCHEK AVENUE

ME

SD

EC
AR
VAL
HO
STR

EE
T

SANTANDER
TOWER

JK TOWER
NORTH

JK IGUATEMI
SHOPPING

JK TOWER
SOUTH

Site Plan
1st Basement

LOWER LOBBY

Ground Floor

LOBBY

1st Floor

LIBRARY

2nd Floor
3rd Floor
4th Floor

RUNWAY

5th Floor

NIGHTCLUB

CHEDID JAFET STREET

6th Floor

64

LAVIF

PROJECT

PROJECT

LAVIF

65

2
3
4

GROUND FLOOR
LEVEL +0 - 0
0 5

66

LAVIF

PROJECT

10

25

50

100

PROJECT

LAVIF

67

1ST FLOOR

LEVEL +15 - 0
0 5

68

LAVIF

PROJECT

10

25

50

100

PROJECT

LAVIF

69

2ND FLOOR
LEVEL +27 - 0
0 5

70

LAVIF

PROJECT

10

25

50

100

PROJECT

LAVIF

71

3RD FLOOR
LEVEL +39 - 0
0 5

72

LAVIF

PROJECT

10

25

50

100

PROJECT

LAVIF

73

4TH FLOOR

LEVEL +51 - 0
0 5

74

LAVIF

PROJECT

10

25

50

100

PROJECT

LAVIF

75

5TH FLOOR

LEVEL +69 - 0
0 5

76

LAVIF

PROJECT

10

25

50

100

PROJECT

LAVIF

77

ROOF TOP

LEVEL +84 - 0
0 5

78

LAVIF

PROJECT

10

25

50

100

PROJECT

LAVIF

79

+ 84 - 0
+ 69 - 0

+ 51 - 0
+ 39 - 0
+ 27 - 0
+ 15 - 0
+ 0 - 0
- 9 - 0
- 18 - 0

SECTION A-A
0 5 10

25

50

100

NIGHTCLUB
RUNWAY
RETAIL

RETAIL

RETAIL

RETAIL

LIBRARY
SECTION A-A
SCHEMATIC CIRCULATION PROGRAM

LOBBY

LOBBY
LOWER LOBBY

RE-SKINNING

COMMERCIAL

COMPLEX

JK TOWERS

JK IGUATEMI SHOPPING

Sleek and asymmetrical, with gleaming white

side is constituted of the same bluish glass used

walls, media faade, and a soaring atrium, LAVIF

in all the buildings of the complex combined with

will be a beacon of white modernity amid the color-

a new technology called GraphExeter, a one-atom-

ful sprawl of So Paulo.

The new form ia an approach founded within
the harmonious balance of technology, materials,
and form of its context. The simplicity is dissolved
when, in a surprising hour of the day, the technol-

GraphExeter is the thinnest substance capable

of conducting electricity and it can be used for the
creation of smart mirrors or windows, with computerized interactive features. Since this material is

skin is structured by carbon fiber composite frames

also transparent over a wide light spectrum, it per-

to integrate the varied surface faade. The front

mits day lighting inside the building.

LAVIF

PROJECT

LAVIF

thick material, made of graphene.

ogy behind the glass curtain it is revealed. The new

84

SANTANDER TOWER

Its more interesting to have just a picture of a small detail - then you can
dream all the rest around it. Because
when you see the whole thing, what is
there to imagine?
Dries Van Noten
PROJECT

LAVIF

85

EXTERIOR

LOBBY

INTEGRATED

LOBBY

CIRCULATION
CONCEPT
Fabric: Connections
Warp: Circulation

FLOOR LEVEL

Weft: People

Besides the ground floor, the lobby is constructed with five different levels (including the
first basement) and it is conceived as a single
space. Without clear distinctions, the floors are
connected with the impact generated by the
oversized glass screen. The heart of the building is, in fact, represented by the catwalks and
staircases. Structured in steel and cladded in
a shiny metallic layer that highlights its exceptional sculptural presence, it is an entity that
is ambitious to convey in terms of any normal
geometric shape that originates from a vortex
with great dynamism, surrounded by the different surfaces that accommodate the LAVIF
world.
What is really important to a space as large
and dense as the lobby is that it has performances and exhibitions that are always active.
The lobby itself serves as a stage for the public,
the environment and the architecture. Theres a
choreography performed capable of creating
new understandings and, therefore, new realities. In this space, the metaphor is not merely
a matter of language; it is a matter of conceptual structure. And conceptual structure is not
merely a matter of the intellect -it involves all
the natural dimensions of our experience, including aspects of our sense experience: color,
shape, texture, sound, etc., according to Lakoff
and Johnson, authors of Metaphors We Live By.
The movement of the ribbons that constitutes the catwalks, skimming each floor, disenchants the possibility to recognize the geometry. The general layout of every floor develops
according to the different flexures of the ribbons, creating a space controlled by the vortex.
90

LAVIF

PROJECT

CHANGE & PATTERNS

NEW HEADQUARTERS OF THE IED, BARCELONA

by Franconi Gonzalez Architects

HARD SURFACES

CLEAN PARTITIONS

GEN SYS LABORATORIES, Sci-fi Movie

Concept Art of Rise of the Planet of the Apes

TRANSPARENCY
& DAYLIGHTING

SECURE ENTRANCE

ALICE TULLY HALL, NYC

by Diller Scofidio + Renfro

EXPOSED STRUCTURE

INTERESTING
CIRCULATION

PROJECT
MAXII MUSEUM, ROME
by Zaha Hadid Architects

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

The lobby is washed with natural light by day. The
clear glass wall offers a glorious view of the new
landscaped park along the Pinheiros River, and it

1st BASEMENT + Gd FLOOR

NO SCALE

becomes a window to promote interior and exterior

interactions. Although its an angular space, nobody
walks turning at 90 degrees. The dynamic design of
the ceiling, floor patterns, and the fluidity of the vertical circulations smooth that transition and create
contrast with the regular structural system.
92

LAVIF

PROJECT

PROJECT

LAVIF

93

LOBBY

As a tribute to the traditional Sao Paulo sidewalk,

the black and white pattern is made of Portuguese
mosaic. At some moments, it is interrupted by a
caf and gift shop entrance, a futuristic concierge
zone or elevator lounges, which can be confused
as special exhibition of classic Brazilian furniture.
Names like Sergio Rodrigues, the Campana brothers, and the architect Paulo Mendes da Rocha,
represent the modern and contemporary Brazilian
current collection.

LOBBY
96

LAVIF

PROJECT

PROJECT

LAVIF

97

LOBBY
98

LAVIF

PROJECT

PROJECT

LAVIF

99

LOBBY
100

LAVIF

PROJECT

PROJECT

LAVIF

101

LOBBY
102

LAVIF

PROJECT

PROJECT

LAVIF

103

LIBRARY

INTERACTIVE &

LIBRARY

INFORMATIVE
TRANSPARENCY

CONCEPT

& LIGHTNESS

Fabric: Gathering
Warp: Functionality
Weft: Flow

Libraries have been around in various forms

for thousands of years and have become a
cornerstone of activities for the communities
in which they exist. Even though the function
of whats happening inside will change, the library itself will remain a powerful entity around
which the communities will rally. An important
role of LAVIFs library is the unique archive of all
the in-house art. It is necessary to clarify that
as a digital library, the only physical elements
archived are samples of materials used in collections developed by in-house designers.
The recessed entrance showcases a floor to
ceiling LED screen that welcomes passersby a
hint of what they can discover inside. A sculptural black volume gathers both sides of the library, serving as a contrasting background to
the gallery and the bright spaces. Visitors are
taken to a short exhibition exploring an exclusive range of that seasons designers work.***
Members are allowed to enter into the hightech research and workspace room. The metal and cool look tends to read very futuristic.
Bright whites, shades of gray and rich blue accents, create a special atmosphere with sleek
materials. A wide clear glass wall separates the
archive from the noisy area. If activated, it turns
into a human sized touchscreen wall that allows
several people to work at the same time, providing high level of interaction between them. The
same feature is found in the stations. A robotic
system delivers the material to a common point
provoking users to communicate and collaborate with each other.
106

LAVIF

PROJECT

INTERACTIVE DIGITAL WALL, SCI-FI MOVIE

Iron Man Movie

PUBLIC USE

SOFT MATERIAL

PICNURBIA, VANCOUVER
by Loose Affiliates

MATERIAL
SUPRIMENT

WORKSPACE

LAPA TEXTILE MANUFACTURE, SAO PAULO

Founded in 1855

ROBOTIC SYSTEM

SPACE
PERCEPTION

PROJECT
LAVIF
107
JOE AND RIKA MANSUETO LIBRARY, CHICAGO
by Helmut Jahn

1st FLOOR

NO SCALE

Inspired by the antique textile manufactures, the

and intensities. In the quiet reading and cafe zone,

material transporting path is suspended above the

a flexible nano-porous blanket covers the chill out

stations, working as an extension of the workspace.

niche facing the city. Silica-based aerogel particles

The ceilings are covered in recycled aluminum pan-

are incorporated into a high value blanket that is

els, originally developed as parts for cars.

With the ambience of a laboratory, information
and functionality come together in different ways
108

LAVIF

PROJECT

non-toxic, supple, low dusting, and waterproof,

making it ideal to perform in a space where people
react in distinctive ways.
PROJECT

LAVIF

109

LIBRARY

LIBRARY
112

LAVIF

PROJECT

PROJECT

LAVIF

113

LIBRARY
114

LAVIF

PROJECT

PROJECT

LAVIF

115

LIBRARY
116

LAVIF

PROJECT

PROJECT

LAVIF

117

LIBRARY
118

LAVIF

PROJECT

PROJECT

LAVIF

119

RUNWAY

RUNWAY

CONCEPT
Fabric: Layering

LAYERING OF

Warp: Curtain (history)

Weft: Runway

THREADS

In fashion, presentation matters. Show venues these days are every bit as important as the
collections to the statement a designer makes.
It is a prime opportunity to flex their creative
muscles and stand out from the crowd. Fashion
shows are all about a heterogeneous army being thrown together for a short time in a small
space. In this setting, people expect something
different. Theres potential to take them a little
outside of their comfort zone. As a leasing
space for events, this show takes place in the
first half of the room, leaving the other for backstage. Layering is the concept that questions
the peculiar spectacle of the catwalk. Who is
the spectator and who is part of the spectacle?
By dressing the void, a fabric is a layer between body and space. Here, the present audience is seated between past and future. Bradley
Quinn explains that reconstructed architecture
is in part a monument to the antecedent style it
preserves, highlighting the role of architecture
as a repository for collective memory. As both
garments and buildings convey these abstract
messages within specific spatial frameworks,
they forge new links between memory and
space.
The existing faade and crown moldings are
maintained as a curtain to the corridor that gives
access to the space. Bright colors and lights tie
these trends together and is alternately covered
to create different moods. The dramatic blue
lighting guides the crowd between three seating
sessions. Fashion space is a synthesis between
fiction and realism. In the fusion between them,
the act of forming an illusion is performed by
a repetition of the catwalk structure projected
onto the panel that covers the runway.

122

LAVIF

NEEDLE BOX

SEWING ROOM OF MOVIE COCO AVANT CHANEL

by Anne Fontaine

EXPOSED STRUCTURE
AND RAW FINISHES

HIGHER CATWALK

A/W PRADA MENSWEAR 2008

by OMA / AMO colaboration

MODELS & RUNWAYS

INTERACTION

BLACK & WHITE

PICNURBIA, VANCOUVER
by Loose Affiliates

SEE THROUGH

SECURE AND FAST

SET UP STRUCTURE

PROJECT
CHRIST THE REDEEMER STATUE, RIO DE JANEIRO
by engineer Heitor Costa & sculpter Paul Landowski

When the show starts this panel retracts, fol-

the human psyche, revealing that the mood creat-

lowed by the walk of the first model. The double lev-

ed by fashion photography often relies more on the

el scaffolding-like structure surprises the audience

backdrop context than the models or the clothes

when they realize that the starting point is located

themselves. Following this, light tubes are layered

on the upper level of the runway. Behind the two

along the catwalk structure that creates an optical

LED screens, the models make their way down giv-

illusion effect. The scaffolding inspiration comes

ing the spectators time to catch every detail of the

from an idea to (re)construct an architectural tool

show. Architecture often works as an analogy for

that is used when a change is made in buildings.

124

LAVIF

PROJECT

4th FLOOR

NO SCALE

PROJECT

LAVIF

125

RUNWAY
By layering several metallic towers,
the configuration of the room is adapted
according to the tenants needs. The
runway is broken down into individual
8x8 feet pieces that slide through the
suspended track, making it easier for
storage and to create a wide variety of

Option A

Option B

Option C

INTERIOR ELEVATION
RUNWAY OPTION A
126

LAVIF

PROJECT

PROJECT

LAVIF

127

RUNWAY

RUNWAY

PROJECT

LAVIF

131

RUNWAY
132

LAVIF

PROJECT

PROJECT

LAVIF

133

RUNWAY
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NIGHTCLUB

TROPICAL
ATMOSPHERE

NIGHTCLUB

CONCEPT
Fabric: Movement

UNIQUE

Warp: Patterns & Forms

ILLUMINATION

Weft: Music

In a nation with new venues springing up

left, right, and center to channel the cash spilling out the pockets of its young, hedonistic upper class. It is refreshing to come across a club
thats been designed to deliver the rhythmic
pulse its people are so innately in tuned with,
for all the right reasons. Its not a new idea to
find nightclubs at hotels or commercial buildings, but as stated by Roger Thomas, a secret
it-club is described by drama, mystery, and
memories. After all, what designers have to
make is an experience. If the users dont go out
with a memory, it is all down the drain.
A cross-discipline team was recruited to
brainstorm this space and the goal is to show
design in action, not on a pedestal. The elegant
and futuristic style is combined with the sponsors culture. Havaianas, the Brazilian most famous flip-flop brand in the world, has the ability
to create experiences and invest in a brand that
works both globally and locally. The company
steps into a new market with the same consum-

MARINE BIOLUMINESCENCE, ATLANTIC OCEAN

by a phytoplankton known as dinoflagellates

PARTY EXPERIENCE &

EXCLUSIVE ELEMENTS

URBAN BEACH
LIFSTYLE
NEW YEARS EVE, RIO DE JANEIRO
by Copacabana Palace Hotel

TRADITIONAL
ELEMENTS

BRANDING

ers, launching its first nightclub .br.

The name comes from Internet country code
top-level domain (ccTLD) for Brazil. It emphasizes good product technology mixed with art
and design to promote the strong brand that
touches consumers hearts. It also shows how
creativity, innovative thinking and perseverance can create a buzz that transcends ones
initial territory. There are several positive cultural meanings that users around the club associate with the brand and Brazilian cultures,
such as vibrant colors, sensuality, joy, fun, nature and sense of humor.
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HAVAIANAS STORE, SAO PAULO

by Isay Weinfeld

SOUND & LIGHT

SYSTEM

INTERIOR x EXTERIOR
RELATIONSHIP

PROJECT

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D.EDGE, SAO PAULO

by Muti Randolph (lighting) and Renato Ratier

It all starts at the ground level, where an elevator tower takes clubbers to the highest level of the
building. When stepping out, theyre surprised with
the movement generated by a wave of lights that
morphs into the entry hall. It was developed based
on the data captured by a strange sound of the water movement named bloop, produced towards the
ocean bottom. The wave motion spreads throughout ceilings and walls that sweep up enclosing the
spaces with a unifying gesture.

5th FLOOR

NO SCALE

Many inspirations were carefully picked for each

area developed. From under the sea creatures, to
the traditional fireworks at the beach on New Years
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NIGHTCLUB
INTERIOR ELEVATION
RUNWAY OPTION A
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eve, to Muti Radolphs explorations of time and

indoors provide a unique experience fusing stimu-

space relationship through music and interactive

lating and conceptual lighting, polished materials

generative videos. It is all synchronized with the

and customized furniture with a state of art. An ex-

movement of the users.

clusive VIP lounge faces the exotic jellyfish tank,

Two main lounges, a fifty feet long bar, an out-

and is available for the elegant and sophisticated,

door deck, and a breath taking dance floor emit a

to truly indulge, at the most fashionable experience

unique glow and energy, giving guests priceless

in Brazil. The legacy of .br is not about today, to-

views of the linear park along Pinheiros river. The

morrow or next year. Its about the century ahead.

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NIGHTCLUB
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FINAL

THOUGHTS

For decades Brazils tropical chic has enchanted

the outside world in a variety of forms; from the
white concrete sweeps of Oscar Niemeyers architecture, inspired by Rios undulating mountains, to
the rubber Havaianas flip-flops. But not everybody
in the industry accepts the notion that there is a
typically Brazilian style of design. It is important
to mention the significance of the idea of Brazilian-ness. A global exchange of influences means
Brazilian designers find their inspiration as much
abroad as at home. I believe there is no such thing
as typically Brazilian or typically London design.
There are Americans doing excellent oriental art,
and Brazilians making European designs.
The interesting thing about Brazilian designers
is that they concentrate less on technique and focus more on artistic freedom. I think that all professions here are more based on creativity and the
natural intensity of our people and less on studies
and rules, says Julia Bolliger, head of journalism at
magazine Zupi.
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SELECT

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