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Far from being in the shadow of the towering figure of Roberto Burle Marx , São Paulo ’s contemporary landscape painting designer have take for granted his prodigious , inventive legacy and moved on . Today , braving a new language that ’s altogether global in spirit , they uphold to compress forth with eminent - end designs as they wage in a cooking stove of twenty-first - century challenge , from urban re-formation to conservation and historic preservation .
Gilberto Elkis design this riveting , sustainable landscape as equal accompaniment to São Paulo ’s post - modernistic , fuzz - raiment Hotel Unique , by Brazil ’s foremost architect , Ruy Ohtake . Photo by : Jon Whittle . SEE MORE SÃO PAULO GARDENS
GILBERTO ELKIS
A trendsetter and one of the most well - known landscape painting architect in Brazil , Gilberto Elkis cut a suave figure in and out of town . He is justly renowned for creating outside - living environments at voguish country getaway , ambiance - setting indoor gardens for top eatery and park that address the red - hot architecture of São Paulo ’s dress shop hotels . His command landscape for the muscular architecture of Ruy Ohtake ’s Hotel Unique is one of the highlighting of São Paulo . Its landscape is dramatically unlike when take in from various perspectives , whether from the basis floor ’s wall bar , the shiplike hepatic portal vein of a suite or the rooftop pool deck — one of the best places to see and be witness in São Paulo . From above , the snaking pee channel lined with Cor - Ten brand propose an abstract drawing , but from the reason plane , where the course line is barely seeable , the architecturalPandanus utilistrees andAgave angustifoliaseem like outcroppings of the construction ’s commanding sculptural comportment .
decorate withPhoenixpalms , one of Rosa Kliass ’ rooftop garden for the Fleury Laboratory mathematical function as both a promenade and a seat country for employees . Photo by : Jon Whittle . SEE MORE SÃO PAULO GARDENS
ROSA KLIASS
A trailblazer for Brazil ’s 2nd coevals of landscape architect , Rosa Kliass was a student during the 1950s , when landscape architecture was just emerging as a battlefield of report . She was at once revolutionise by Burle Marx and influence by the “ other Roberto ” — Roberto Coelho Cardozo , who as a Californian of Lusitanian ancestry , play the melodic theme of California modernism to the University of São Paulo . Throughout her 50 - year vocation , she has get word by doing and has mildew the profession , spearheading the São Paulo parks department and co - founding the Brazilian Association of Landscape Architects , as well as designing the landscape painting plan for Curitiba ( perhaps the greenest city on the major planet ) , Brazil ’s early rooftop terraces and large - scale environmental conservation project throughout the country .
The gardens she design in 1996 - 97 for the Fleury Laboratory in São Paulo only soupcon at the tremendous range of her vision . Working in tandem with the building ’s architects , she requested that the architectural plan include a “ well , ” which became a rotund , several - stories - deep internal courtyard that could be seen , and at its undercoat floor entered , from within the building . Once indoors , the enclosed , circular space acts like a chapel , in which visitors sitting on its plaza steps are able-bodied to contemplate the profound presence and echoing resonance of its ever - flowing three - tiered fountain . For the laboratory ’s rooftop , she was devote the mission to plan a garden that would insulate the building from the noise of the nearby airport and behave as an employee recreational expanse . Its snakelike saunter look like an abstract hieroglyph when see from the planes flying above .
The modeled permanency of this dramatic outdoor elbow room is underlined by the pick of evergreen plant plants — screw pine utilis , Dracaena arborea , Phyllostachys pubescens , Buxus sempervirensand the natural spring - floweringNeomarica caerulea . photograph by : Jon Whittle . SEE MORE SÃO PAULO GARDENS
ALEX HANAZAKI
Almost since he first abound onto the scene in1998 as a certify architect , Alex Hanazaki has been counted among the untested Leo of Brazilian landscape architecture . The theatrical out-of-door rooms that he go on to debut at Brazil ’s annual Casa Cor , the country ’s most authoritative home - design , architecture and landscape - design showhouse , have paved the way for major commissions on four continent .
The grandson of Japanese immigrants , he often employs the traditional materials of Nipponese landscape design — rocks , piddle and flora — with a compressed poetic simplicity speak in an altogether contemporaneous idiom . determine as much by modern fine art as by the interweaving of cultures so integral to the Brazilian experience ( Brazil , for case , is household to the largest Japanese population outside of Japan ) , Hanazaki reflects that “ although I have n’t create specifically Nipponese gardens , Nipponese influences always appear in my garden in very subtle ways . ”
In a São Paulo residential courtyard , the esthetical balance inherent in Japanese artwork — the elusive interplay between interior and outside , between nature and culture — is suggested by quiet association . Both open to the aviation and incorporated inside the house , the garden is smother by methamphetamine - walled room on three side and a white quartz - backed jet on the 4th . The minimum palette of green , white and black , the spartan , geometric planting design and the pool ’s calm water , as still as mirrored methamphetamine hydrochloride , compose a sustainable , low-down - maintenance garden in which a singlePandanus utilisstands as the reflective focal point of the household .
For the entrance garden of this São Paulo abidance , Isabel Duprat counterpoints sculpt bamboo reaching toward the sky with river stone at balance in the puddle . Photo by : Jon Whittle . SEE MORE SÃO PAULO GARDENS
ISABEL DUPRAT
In the 1930s , Roberto Burle Marx was Brazil ’s first landscape designer to make a unobjectionable break with the colonial lyric of the past . cover Brazil ’s botanical plenty and demonstrating how absolutely possible it is to adopt a nonconfrontational attitude toward the natural world , Marx unfolded a vision of harmony between man and nature that became the base from which his garden - making evolved into art . This approach is very much animated in Brazil today , in particular in the work force of Isabel Duprat , who as a untested architect puzzle out alongside Marx to gather and study Brazil ’s autochthonous flora , limit the degree for their womb-to-tomb friendship . In the past 25 years , she has been fertile , designing task ranging from the restoration of Marx ’s garden at the Instituto Moreira Salles in Rio de Janeiro to a twenty-first - one C parkland rank as the centerpiece of , rather than as the accompaniment to , São Paulo ’s BankBoston construction .
Rather than adopt a style that is then superimposed on the landscape painting , Duprat takes a naturalist approach that conform to the unique motive of a particular space . “ I love to embrace unexpected situation and take reward of them , ” says Duprat . As an good example , her solution for the design of the entrance of São Paulo ’s embodied Torre Sul building was found in excess slabs of Brazilian green quartz used for a fountain construct at the same site . Placing the stones in careful harmony with each other , she produce a language and a rhythm between the ingredient so that each plays its own part in a form of melodious writing .
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