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Far from being in the tincture of the towering figure of Roberto Burle Marx , São Paulo ’s contemporary landscape painting architect have assumed his exceptional , imaginative bequest and moved on . Today , endure a young language that ’s wholly global in liveliness , they continue to weight-lift forth with in high spirits - end design as they hire in a grasp of 21st - one C challenges , from urban regeneration to preservation and historical preservation .
Gilberto Elkis design this riveting , sustainable landscape as equal complement to São Paulo ’s post - modern , copper - clad Hotel Unique , by Brazil ’s foremost architect , Ruy Ohtake . picture by : Jon Whittle . SEE MORE SÃO PAULO GARDENS
GILBERTO ELKIS
A trendsetter and one of the most well - known landscape painting designer in Brazil , Gilberto Elkis cuts a suave chassis in and out of township . He is justly renowned for creating out-of-door - live environments at smart land getaways , ambiance - setting indoor gardens for top restaurants and parks that address the red - red-hot computer architecture of São Paulo ’s boutique hotels . His commanding landscape painting for the hefty computer architecture of Ruy Ohtake ’s Hotel Unique is one of the highlights of São Paulo . Its landscape is dramatically different when viewed from various perspectives , whether from the ground floor ’s wall bar , the shiplike portal site of a entourage or the rooftop kitty deck — one of the best place to see and be seen in São Paulo . From above , the snaking water television channel line with Cor - Ten steel suggest an nonfigurative draught , but from the earth plane , where the coursing pipeline is scarcely visible , the architecturalPandanus utilistrees andAgave angustifoliaseem like outcrop of the construction ’s commanding modeled presence .
ornament withPhoenixpalms , one of Rosa Kliass ’ rooftop garden for the Fleury Laboratory functions as both a promenade and a seat area for employees . pic by : Jon Whittle . SEE MORE SÃO PAULO GARDENS
ROSA KLIASS
A trailblazer for Brazil ’s second propagation of landscape architects , Rosa Kliass was a student during the fifties , when landscape painting architecture was just emerging as a field of survey . She was at once inspired by Burle Marx and influenced by the “ other Roberto ” — Roberto Coelho Cardozo , who as a Californian of Portuguese descent , brought the ideas of California modernism to the University of São Paulo . Throughout her 50 - year life history , she has learned by doing and has molded the profession , spearheading the São Paulo parks section and co - founding the Brazilian Association of Landscape Architects , as well as designing the landscape painting plan for Curitiba ( perhaps the green urban center on the planet ) , Brazil ’s early rooftop terraces and large - scale environmental saving projects throughout the country .
The garden she design in 1996 - 97 for the Fleury Laboratory in São Paulo only hint at the terrible range of her vision . Working in tandem with the construction ’s designer , she request that the architectural plan include a “ well , ” which became a round , several - stories - deep inner court that could be seen , and at its ground floor infix , from within the building . Once inside , the enclosed , round space bit like a chapel service , in which visitors sitting on its plaza footmark are capable to reflect the heavy comportment and echoing resonance of its ever - course three - tiered fountain . For the laboratory ’s rooftop , she was given the mission to design a garden that would isolate the building from the noise of the nearby airport and play as an employee recreational region . Its snakelike stroll looks like an abstract hieroglyphic when see from the planes flying above .
The sculpturesque permanency of this spectacular outdoor room is underlined by the selection of evergreen plant flora — screw pine utilis , Dracaena arborea , Phyllostachys pubescens , Buxus sempervirensand the give - floweringNeomarica caerulea . Photo by : Jon Whittle . SEE MORE SÃO PAULO GARDENS
ALEX HANAZAKI
Almost since he first burst onto the scene in1998 as a certify designer , Alex Hanazaki has been counted among the immature lions of Brazilian landscape architecture . The theatrical outdoor rooms that he continues to debut at Brazil ’s annual Casa Cor , the state ’s most important interior - intention , computer architecture and landscape - design showhouse , have pave the way for major commissions on four continents .
The grandson of Japanese immigrants , he often employ the traditional materials of Nipponese landscape design — rock , water and plants — with a compressed poetic simpleness spoken in an altogether contemporary idiom . Influenced as much by modern art as by the interweaving of cultures so integral to the Brazilian experience ( Brazil , for example , is home to the big Nipponese universe outside of Japan ) , Hanazaki reflects that “ although I have n’t created specifically Nipponese garden , Nipponese influences always come along in my gardens in very insidious slipway . ”
In a São Paulo residential courtyard , the aesthetic balance inherent in Japanese art — the subtle interplay between interior and outside , between nature and polish — is intimate by quiet association . Both open to the air and incorporated inside the home , the garden is surrounded by glass - wall rooms on three side and a blanched quartz - backed fountain on the 4th . The minimal pallette of greenish , white and black , the spartan , geometric planting design and the pool ’s unagitated water , as still as mirrored Methedrine , compile a sustainable , low - upkeep garden in which a singlePandanus utilisstands as the meditative focal head of the theater .
For the entrance garden of this São Paulo residence , Isabel Duprat counterpoint sculpted bamboo reach toward the sky with river Stone at rest in the pool . Photo by : Jon Whittle . SEE MORE SÃO PAULO GARDENS
ISABEL DUPRAT
In the thirties , Roberto Burle Marx was Brazil ’s first landscape interior decorator to make a uninfected break with the colonial terminology of the past tense . embrace Brazil ’s botanic muckle and demonstrating how perfectly potential it is to adopt a nonconfrontational attitude toward the natural world , Marx unfolded a vision of harmony between serviceman and nature that became the root from which his garden - making evolved into fine art . This approach is very much alive in Brazil today , particularly in the hands of Isabel Duprat , who as a young architect worked alongside Marx to gather and analyze Brazil ’s endemic flora , set the level for their lifelong friendship . In the retiring 25 twelvemonth , she has been prolific , designing project swan from the restoration of Marx ’s garden at the Instituto Moreira Salles in Rio de Janeiro to a twenty-first - C park placed as the centrepiece of , rather than as the complement to , São Paulo ’s BankBoston building .
Rather than adopt a style that is then superimposed on the landscape painting , Duprat takes a naturalist approach that adapt to the alone needs of a especial quad . “ I screw to embrace unexpected situations and take reward of them , ” suppose Duprat . As an model , her solution for the intention of the entrance of São Paulo ’s corporate Torre Sul building was come up in excess slabs of Brazilian green quartz used for a jet make at the same internet site . Placing the Harlan Fisk Stone in careful harmony with each other , she create a terminology and a rhythm method of birth control between the elements so that each plays its own part in a kind of musical penning .
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