Corridor of the World
m.90º covered with green the gray areas of one of the most important and busy avenues of São Paulo. In nearly six kilometers, there are approximately 11,000 m2 of new vertical gardens to the city and thousands of seedlings planted along Avenue 23 de Maio, bringing benefits to the more than 1 million people who experience the region daily.
10.950 M² of new green areas to the city
recycling of 163.7 TONs of solid waste
capture of 66.8 TONs of pollutants per year
planting of over 250 thousand native seedlings
Green Corridor of Minhocão
Corridor of the World
The Minhocão region has more than 100 blind façades that could house 58,000 m2 of green area. With this number in mind, m.90º has been working since 2013 to implement the Green Corridor of Minhocão.
About 5,000 m2 of vertical gardens have been built, improving air quality and reducing noise pollution around this region. Formed by a sequence of vertical parks, the Green Corridor of Minhocão is the first project of its kind in the world!
Seeking to democratize contemporary art in the urban context, the compositions of all vertical parks are designed by artists, both national and international.
paulo monteiro | december 2016
The artist creates in his pictures delusional depths, with great formal freedom, joining elements of diverse densities in fabrics structured by excess of pictorial layers. In his studio in Barra Funda, in São Paulo, the walls are taken by small - some very small - screens and sculptures of iron, bronze, cloth and paper. He still works with large paintings and large sculptures, so in that sense Monteiro's relation with scale is free. He participated in the 22nd Biennial of São Paulo and had his works exhibited in shows in Portugal, Germany, France, United States, Cuba and Ecuador.
For the composition of the vertical garden installed in the Bonfim Building, Paulo Monteiro plays with the construction's margins, surpassing any usual pictorial scale of his production. He creates through the chosen plant species, several layers, colors and textures, which refer to traces of paint that run organically, as if the building functioned as an immense canvas inserted within the urban landscape.
Christopher Page | october 2016
The production of the English artist Christopher Page explores abstraction and representation, combining strategies of rigid composition with illusionist painting techniques to think of contemporary theories of vision alongside the flows of bodies and capitals. His focus is the complex interaction between the so-called "imaginary" and "symbolic" registers in architectural space.
For Minerva building's composition, the artist worked using the same principles applied in his painting, the sensitivity to architecture. Responding to the surroundings of the Minhocão, Christopher Page proposed the 'Formal Garden'. Playing with the formalities of composition, his main interest was to create a pictorial image through living species that marked the presence of the organic in the city.
GUIL BLANCHE | AUGUST 2016
Founder of m.90º, Blanche is a landscape artist focused on the rehabilitation of degraded or underutilized urban spaces through the identification of community use needs and the use of sustainable technologies that can bring improvements to environmental conditions. He has been working since 2009 with projects of different scales with the public and private sector.
For Guil Blanche, the composition of the vertical garden arises through artistic landscape thinking, where the result happens from the growth of the species and the relation between them. As Mackenzie building is the last one of the Minhocão in the direction of Consolação street, Blanche created a great dialogue of the garden with the elevated road, so that the garden visually relates to the emptiness of this content and the city. In order to imprint a pictorial character into the vertical garden and generate a light symbol, he inserted a focal point in the vertical garden, which reinforces the conduction to the emptiness, and refers to the eye of a bird that flies eastward.
PEDRO WIRZ | JULY 2016
The Swiss-Brazilian multimedia artist Pedro Wirz was invited to create the vegetation project of Santa Filomena building. Processes of collective and collaborative creation guide his artistic practice, often generated through group dynamics such as games. His most recent works, however, cover the subject indirectly and refer to the collective imaginary, represented by legends and myths existing in Brazilian culture, especially the Paraíba Valley.
SANTA FILOMENA BUILDING
For the project of Santa Filomena building, Pedro Wirz based his design in his studies on masks, exploring the universe of scowls as objects of protection and vigilance. His research revolves around the tradition of the riverside population, who attributed mystical characteristics to the scowls, believing that they remove bad spirits, help the boats not to sink, and attract many fish. The interpretation of this legend, which is cultivated and transmitted collectively orally, crystallizes with the desire to emanate concepts of protection and dedication, vigil and prosperity and presents itself to visitors of the Minhocão, in the form of a giant face of a scowl, being thus an appeal to the Minhocão’s care and respect.
RENATA DE BONIS | march 2016
rENATA DE BONIS
Since 2006, Renata De Bonis has developed her research into painting and three-dimensional works, such as sculptures and sound installations. Her research involves interests in different perceptions of time, such as the geological and the mundane, as well as contemporary man's relationships with nature and landscape. This reflects on her choice of materials, such as twigs and stones, plaster, concrete, lead and everyday objects and investigations perusing silence and noise. In her practice there is the need to pay attention to the seemingly invisible, forgotten and insignificant.
For vertical garden entitled ELEVATE YOURSELF FROM THE GROUND, the artist took as a starting point of its conception the architectural relations between the viaduct and the building, the positioning of the façade and the incidence of light on it, and the color palette of the vegetation and the surrounding buildings. The chromatic composition of the project, which uses exclusively red, magenta and purple vegetation, as well as a blue neon sign, also aims to stand out vibrantly amidst the predominantly gray landscape. The constant shade projected on the building inscribed meaning not only in the chromatic choice of vegetation but also in the concept of the garden itself that points to the cycles of day and night, light and shadow, noise and silence, soil and air. In this sense, the sign in blue neon appears as a luminous element, as in churches and other establishments so common in the center of the city, camouflaging itself in the language and visual history of the place itself. Combined with the title of the garden, the blue neon, like the luminous crosses of the churches, also proposes a state of suspension and contemplation amidst the chaotic context of the center. The sign superimposed on the garden suggests a state of transcendence through sublime contact with nature, distancing itself from the ground in search of a silent elevation.
DANIEL STEEGMAN MANGRANÉ | JANUARY 2015
daniel steegmann mangrané
Daniel Steegmann Mangrané was born in Barcelona in 1977; he lives and works between Rio de Janeiro and São Paulo since 2004. The artist’s work is composed of subtle poetics that question the relationship between language and the world. Although primarily conceptual, his installations engage with the imagination of the viewer and exhibit a strong concern with the existence and concrete features of the artworks, activating abstract language as a generative principle of thought, articulator of unstable meaning.
santa cruz bUILDING
Inspired by the Brazilian forests and the approach of their native indigenous people, Daniel Steegmann created the work "Kiti Ka 'Aeté" or "Forest Path". Using only native species, the artist creates a sense of space and time, giving back to a completely gray environment the idea and path of green.
matthew wood | september 2014
Matthew Wood moved to Brazil after finishing his studies in Paris. In 2010, together with Pedro Mendes, the American inaugurated Mendes Wood DM contemporary art gallery, with the aim of showing Brazilian and international artists in a context favorable to critical dialogue and cross-pollination. In addition to devoting himself to the gallery, he has a great knowledge and interest with landscaping projects.
For the first project of the Green Corridor of Minhocão , Matthew Wood used his knowledge of native plants, creating a great mosaic distributed in two large blind façades. The intention of the project was to include several plants that would grow, flourish, each according to the seasons, being thus a garden in constant mutation and novelty.