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Nino Ferrari Mathis-Mister Concrete

Nino Ferrari Mathis brings with his Instagram channel, Ninosbuildings, brutalist architecture to the social media audience. With his posts he shares his love for architecture, particularly brutalism. Nino is originally from Paris, he grew up in Brazil and lives at the moment in New York, where he studies architecture at Parsons School of Design. POM Magazine’s editor, Giulia Weyerman, interviewed him to find out about his passion for architecture, his love for brutalist buildings and what’s so special about concrete.

by Giulia Weyerman

Nino, what is your vision on concrete?
I love concrete, whether it is finished, whether it is polished, whether it is raw. It just has always been esthetically pleasing to me. Especially in the brutalist style of the 1960’s. Having visited places in different climates I would say that concrete looks best when it is near nature. Concrete has such a stark look to it. When it is contrasted with nature, it creates a lot of beauty.

On your Instagram channel you show a lot of brutalist architecture. Why does brutalism appeal to you so much?
Not necessarily because of its esthetic but because of its mentality. At the time when brutalism architecture was at its height in the 60s and 70s, its creativity was also at its height. So, I see brutalism rather as a means of expression than an architectural style. A lot of brutalist buildings have extremely experimental spaces and forms, that are just not present anymore. People tend to overlook that. They don’t allow themselves to actually experience what the architects designed for them. To be in a space like that is very special. That’s why I have fallen in love with brutalism.

I noticed several posts on Brazilian brutalism. What do you like about Brazilian brutalist architecture?
Most people think of Eastern Europe and Soviet architecture, when they think of brutalism. Perhaps that is why there is a preconceived notion of brutalism being dark, sad and covered in gray skies. But Brazil and Latin America as a whole have always had beautiful brutalist architecture surrounded by vegetation and natural light. Whenever I post videos about these buildings,  people alter their brain chemistry. They thought brutalist architecture dark and depressing, and now they are starting to like it. It’s funny, I have been seeing people slowly getting addicted to brutalism.

With your Instagram channel you bring brutalism to people who never heard about it before and who come to appreciate it. Why don’t you focus on other styles?
The Instagram channel didn’t start as a brutalist Instagram. Actually, I am a bit worried that brutalism is becoming my personality. As much as I love it, it’s a small scope of architecture. It’s such a niche. It didn’t last long but it caused such a ripple effect. When I started the Instagram channel I focused mainly on contemporary and modern architecture, especially modernism from the 1960s. What’s so interesting about the architecture of the 60s is its contrast in designs. Some building show nothing but concrete while others use a lot of glass. The posts vary back and forth between light, airy constructions like glass houses, and buildings with a lot of concrete. These posts seem like a conversation starter.

Do you have a favorite building?
One of my favorite buildings is Museu de Arte Contemporânea (MAC), near Rio de Janeiro. It was designed by Oscar Niemeyer. It is shaped like a UFO and when I’m in MAC, I  feel like I’m on another planet. It is the most beautiful building I have ever visited in my life. Every time when I am in Rio, I visit this building.

Do your followers influence your posts on Instagram? 
Whenever I visit a city, the first thing I do is post a story asking what do you guys want me to film. Quite often when I visit a building it is with one of the followers of my channel, who organized access to the building or gives me a tour. When I was in Brazil, all of the buildings I visited were referred to me by followers. So, I am not the only decision maker. Obviously, I like to prioritize the buildings because I only have so much time to film. But I always listen to what the people want.

Does brutalism influence your architectural designs?
It does, but it is quite controversial. Last semester I designed a building made out of concrete, inspired by my new found love for brutalism. When I was preparing the presentation, the professor came up to me and said: “Nino you can’t make this building out of concrete.”  I replied: “Why, that’s so sad.”  She explained: “Because it’s not sustainable.” Today’s architecture schools are teaching about sustainability. An important reason why brutalist architecture stopped in its prime is because it wasn’t sustainable. The buildings consist of a lot of concrete, they cost a lot and require a lot of carbon emission. However, architecture school is all about learning what you like and how to apply it. I explained that my design is just a concept, it is not going to be built. I just want to show my means of expression when it comes to architecture and style. Then I got the greenlight to do the presentation and everyone loved it. Concrete is still used everywhere. But in order for brutalism to come back they have to find a way to make it sustainable, which is a challenge.

Do you think there might be a material that could replace concrete but  still has the brutalist mentality?
Nothing compares to the way concrete can be used, because it makes such a fluid form. You can literally put it into a cast and it will create anything you want. It was such an expressive way of showing creativity way back in the 60s, whereas wood and brick are more rectilinear. But I think it’s possible to create the same forms with them. They will give a warmer feeling to the people because concrete always gives a cold look to a building.

Do you think we can still call it brutalism then?
No (laughs). Maybe the form, but that will be a stretch because brutalism is so associated with concrete and also with the 1960s. It’s hard to put it back on the map like that.

The building that cares

Dutch architect firm, Mecanoo, is internationally known for projects like the train station in Delft, the library in Birmingham and the Manchester Technical University campus. Until recently, healthcare buildings were not on Mecanoo’s list of successful projects. That changed when Mecanoo received the assignment to build a new medical centre in the Dutch city, Zaandam. For architect Ryan van Kanten it was an opportunity to put himself on the map with Mecanoo, as a non-typical hospital architect. Klaartje Til visited the Mecanoo office in Delft to interview Ryan van Kanten, the architect who thinks it is only logical that a building should have caring qualities.

by Klaartje Til

I will come straight to the point. Can a building have caring qualities?
Yes, I think so, but only when the building is seen as a whole. Mecanoo tries to do this. Right from the start of the design process we look for ways to give people in the building a better feeling. It turned out very well with our project for the Zaans Medical Centre. They did not want the new building to be a classic example of a hospital building. They didn’t decide to go for a typical hospital architect, and wanted something different. Mecanoo had not designed a hospital before. Still, they came to us, because they wanted something different.

What makes the Zaans Medical Centre so different from other hospitals?
Our idea was that this building should not have the appearance of a hospital. You should not have the feeling that you are entering a hospital. When designing a hospital you must take into account practical things like: easy to clean, and security first. For the Zaans Medical Centre it wasn’t any different, because those are the requirements. But in our design these appear not as obviously. We designed it more as a public building that rather gives visitors the feeling of standing in a theatre lobby, than in a hospital.

What makes a hospital building caring?
In our design for the Zaans Medical Centre we tried to avoid stress moments. People are reluctant to go the hospital. They have to because they are ill or need care. Just before entering the hospital they already have a certain level of stress. People also have a lot of stress when they sit in the waiting room, just before they are called in by a doctor. An architect can think of ways that positively distract them to reduce the stress. For the Zaans Medical Centre we choose to work with graphic art. Together with the designers of the Silo Studio in The Hague, a graphic art design was created that showed drawings on the walls. The drawings show people directions but they also add a feeling of astonishment to the building. The visitor enters a public hall that is three levels high and they experience surprise because of an enormous drawing of a human body. The drawing refers to medical science. But if you look closer, you will see things that characterise the Zaanstreek (the region that surrounds the city of Zaandam), like traditional houses and elements of shipbuilding. This is a funny distraction. The first impression is: “Look, what is this extraordinary drawing?” And not: “Oh, there is the bell and there is the waiting room where I have to be at a specified time.”

As an architect, do you think in terms of these themes?
I think strongly in terms of orientation and daylight. People must immediately understand where they are and where they have to go. I think it is important that an architect ensures that at the entrance of a building people see daylight, both at their right and left side. They should notice immediately where the elevator is, and understand immediately how the building is put together. Daylight is a must. My rule of thumb is: never create a waiting room that has no daylight. You must be able to experience the weather when you are inside the building. It reassures and eases the feeling of stress. Daylight also helps orientation. Sometimes we cannot avoid making an indoor hallway. Then we make sure that there will be an outside view at the end of the hallway, so people always walk towards daylight. If that is not possible, we will take care that at the end of the hallway there will be an orientation point with a lot of artificial light. There should always be a focal point at the destination towards which someone walks.

As an architect, how do you explore these aspects, when designing a building like the Zaans Medical Centre?
By talking a lot with the people who will work in the new hospital: the nurses, the doctors, the social workers, the volunteers. They are all experts who have a lot of information from their experience. During the design process we talked very intensively for two years, with different user groups. For healthcare projects, it is especially important to listen to the users.

Does colour play an important role in the design of a health care building?
When choosing a colour, for example when finishing floors, walls and ceilings, you have to consider a good balance of stimulants. It should not be too boring, so not only white. But too exuberant is not good either. When designing a nursing home for elderly people, these are pitfalls to be aware of.

What pitfalls?
For a large floor with a rubber or marmoleum finish, it is better to create an even-colour. Not a finish with a dark patch suddenly popping up. People who cannot see well, or people who have difficulties interpreting stimulants, would think that they are about to fall into a hole. People who suffer from dementia are also quite sensitive to that. With bright primary colours you can make mistakes. People who suffer from dementia do not know how to deal with those colours.

So be careful with bright primary colours?
That is correct. In nursing homes you often see a lot of pastel colours. They are softer and easier for people to understand. Furthermore, creating contrast in the design is important. A white door in a white frame in a white wall, is difficult for people suffering from dementia. They often have difficulty in understanding that it is a door. It is better to have the frame in a darker colour so that they know: “That’s where I need to walk.”

Does location play an important role in the caring qualities of a building? Zaans Medical Centre is near a busy motorway.
The Zaans Medical Centre is at the end of the A7 motorway from Purmerend to Zaandam. The location was a given. They own the ground there and we can’t change that. The original commission was to create a hospital on the location that is exactly opposite where the new centre is located now. Plus, a parking facility was to be created at the front side of the hospital, facing the city. During the competition we immediately told them: “We want to turn it around.” The hospital should face the city so you immediately enter the hospital coming from the city and not from the motorway. The hospital building presents itself to Zaandam and looks away, so to speak, from the motorway.

Was it important for you and your team to turn the hospital away from the noise?
Certainly. Our design also has a clear kink. It has a simple form. Strictly speaking it is a long-drawn indoor street surrounded with building space. This makes it an all-sided building. It doesn’t have a front or a backside. By creating a kink facing the city, we tried to create a feeling of welcome, a gesture showing that this is where I have to be. It is simple in structure but it works.

And what happened to the surroundings of the new hospital building?
The current hospital was demolished. A new residential area will be built on that spot. That will transform the hospital from an institution at the skirts of the city, to a building that is integrated in a residential quarter. It will be integrated in society so to speak. The ultimate goal for a hospital is no longer to be seen as an institutional building, a fortress where you have to pass through a gate to get there. No, the hospital is just part of society.

What trends are expected regarding the caring qualities of a building?
I expect the institutional character of a hospital will disappear. I think we will see less and less of the large hospital, where you first have to drive to a parking place and then enter the building. Healthcare will be integrated more in the normal street scene. The healthcare building will develop into a sort of shop. There will always be a central building with operating rooms and intensive care. These don’t fit in a shop. But around these central rooms is a layer with nursing rooms and out-patient clinics. Why create all this into a large institute? For the caring character of a building you need to make the building easily accessible so that entering a hospital is less stressful. It is not about individual colours or materials, but about the whole appearance of the building. If you look at a nursing home from the sixties for example, you will immediately notice that it is a nursing home. I don’t think that is a good thing. You shouldn’t have the feeling that you live in a nursing home, but in a residential building, that happens to have the care that you need.

Photography: Mecanoo/Thijs Wolzak

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