The access of the project is mediated through a plaza and the internal spatial configuration includes a central atrium and smaller openings. The structure is organized as: concrete structure solution used on underground floors and also in the vertical circulation core; The upper floors are supported by a wooden structure. In larger spans, the trusses are supported by concrete pillars.
In smaller spans, traditional pillars and beams are used; The wooden roof is supported by wooden pillars and the facade is made of clay bricks. In the courtyard section, the weave is more open, in the exhibition areas it is practically closed.
The architecture of the Rio-Africa Cultural Center, a project for Pequena África in Rio de Janeiro (Brazil), seeks to establish connections between African ancestry, the legacy of Brazilian modern architecture, and its diversities. The space values orality and African influences in the city, highlighting the importance of historical memories.
The access plaza leads to a place of celebration and cultural expression. The proximity to the Valongo Wharf, a significant site of memory, connects the project to the city’s history and to cultural and heritage preservation.
The building is organized around a tree-filled courtyard, emphasizing the importance of trees for African culture and the biodiversity of the Atlantic Forest. The central void (atrium) and other smaller openings encourage visual relationships of internal and external contemplation. Symbolically, these voids act as intervals between the exhibition areas.
The facade functions as a light filter, inspired by braiding and muxarabi, ancestral solutions that gave rise to the Brazilian cobogó. This skin is created by clay bricks arranged in a specific pattern, generating diverse visual effects through its openings. In the exhibition areas, the walls become more opaque, controlling the light so it enters indirectly.
The relationship between sky and water, sun and earth, air and atmosphere is explored through skylights and reflecting pools, creating more intimate atmospheres. This reflects the African cosmovision, the gaze towards Kemet and Egyptian mythology, while also referencing the monumental nature of Brazilian modern architecture.
The deities of African matrix are invited to participate in this proposal, which seeks a political and poetic project. In its poetry, the diaspora: indeterminate, cyclical, infinite as the cosmos. In its politics, resistance.
