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Thales de Azevedo and Leandro Cardoso




Leandro Cardoso and Tales de Azevedo



The idea is to stabilize and conserve the remains of the building – the ruins – and build a big cloud-cover made of clear plastic bottles, cups and all kinds of everyday polymer objects. This recycled structure is the ceiling painting of our days. It is a structural/material statement about the ‘postcontemporary’ condition.
In terms of architecture, we understand the notion of postcontemporary as something post-Herzog de Meuron-style, post- Liebeskind-style. In a way, the plastic cloud pavilion is the antithesis of the hegemonic museum/art institution architecture of the 2010’s, which has been progressively attuned with global corporativism. We want to oppose this trend by reconsidering architectural techno-primitivism; that is, the combination of high technology with ancient/popular technology of construction (for instance, in the use of ordinary everyday objects like bottles).



While the cloud-cover renders the building sculptural and intriguing from the outside, for the inside, we propose a system of movable floors to provide maximum flexibility. The floor of each gallery move vertically to create n possible configurations of temporary exhibition spaces.






Floor plans of the pavilion


A new flooring will allow for the whole hydraulic, electric and thermal infrastructure to be conditioned under the floor for flexible and practical installation of permanent and temporary equipments throughout the building.




The red rectangles show the independent systems of moving platforms (or lift-floors) installed in the temporary exhibition spaces. This lift-floor system permits a wide range of possible space-configurations within the same galleries. The different liftfloors can be vertically adjusted to divide the exhibition spaces into one or more storeys; and the connection between the different galleries also change in accordance with the lift-floors. The different spaces are connected by ramps and mobile steps adaptable to the multiple spaces to be explored by the curators/artists.



The fixed area of the second floor is destined to house a library, an archive, research facilities and study resource centre, studios as well as a gallery dedicated to the history of the house. The orange ring in the central patio indicates a pathway which serves as an auxiliary circulation structure in the second floor, apart from the movable lift-floors and their connecting ramps and steps that can be set for second floor use or any other combination of vertical/horizontal spaces.


Suuton Scarsdale hall floor plan


The fixed area of the third floor is destined to house a number of permanent facilities such as flats for artists and curators in residence, kitchen, research facilities, library, etc.


Juxtaposition of floor plans





A single concrete monobloc supported by an independent metal structure will cover the entire building, including the courtyard. Glass skylights of varying sizes will allow natural light in the common areas of the building such as toilets, circulation routes, offices, etc. From the inside of the building, the plastic cloud-cover can be seen through the different skylights. The monobloc also functions as a rain water collecting equipment.



On top of the monobloc and under the plastic cloud-cover (actually giving shape to the cloud-cover) these hive-like equipments will provide independent spaces for multiple uses. They can be used as flats for residents, multimedia projection rooms, meeting rooms, chill-out areas, and so on.



EXHIBITION SPACES: structural sketch of system of lift-floors for exhibition spaces



The ruins will remain practically untouched, with the exception of punctual interventions to allow the interconnection of the exhibiting spaces. A portable metallic structure will be built within the building to support all constructive elements such as cover, walls and flooring, independent from the actual structure of the remains of the building.
Once the metallic structure is in place, the impermeable monobloc is installed (grey cover), followed by the track-columns (in black) and their respective engines that will facilitate the operation of the moving gallery floors.



The image on the left shows the flooring, slightly elevated to allow electrical and hydraulic installation under it, and the support walls (anti-inflatable MDF or naval MDF) that will function as support for various works and acoustic insulation. The image on the right shows the lift-floor (red) which can be stationed in varying vertical levels to create multiple space configurations



This is one of the temporary exhibition spaces. The lift-floor is stationed at maximum height to create a single gallery.





Concept: Thales de Azevedo, architect; and Leandro Cardoso, artist Please see: and for examples of work