The Colombian and Brazilian restaurants reinforce the neighborhood as a hotbed of global barbecue
If you buy something from an Eater link, Vox Media may earn a commission. See our ethics policy
Two AYCE barbecue joints — a Colombian piqueteadero and a Brazilian rodizio — have lit up Astoria. S-Meat & Hueso stands at 35-50 31st Street, near the corner of 36th Avenue, right at the steps of the 36th Avenue N/W subway stop. Just two blocks away, Rio Bonito Grill occupies 33-01 36th Avenue on the corner of 33rd Street
Included in the AYCE offer ($40 at S-Meat & Hueso; $35 at Rio Bonito Grill) are a variety of meats and sides
there is an overlap: They both offer sirloin
and picanha — seasoned with just salt and served still sizzling — at any desired doneness and quantity
Co-owners and cousins Andres Mosquera and Jaime Contreras (who are also behind Don Pancho Villa in Williamsburg) styled S-Meat & Hueso after the casual
countryside piqueteaderos of the Cundiboyacense region of Colombia
“There are a lot of traditional Colombian restaurants with rice and beans
“We’re bringing food from a completely different region.”
S-Meat & Hueso serves house-made morcilla
cuajada cheese-stuffed yellow arepa that’s sweet and savory
and tiny yellow potatoes fried until the inside is as soft as mashed potato
“I haven’t had this since I was in Colombia,” said Susana Huacuja
“This place is trending in the Colombian community
We’ve never heard of a Colombian all-you-can-eat place before.”
start with one piece of each meat to determine which you’d like to reload up on
While S-Meat & Hueso is a newcomer to the neighborhood
Rio Bonito Grill has roots that go back to 1994
when owner Ricardo Bastos launched Rio Market
a pioneer among the Brazilian community of Astoria
Customer Rafael De Marco Teixeira has been visiting the market for 12 years and has seen it grow with the installation of a buffet bar and dine-in seating
the sister restaurant dedicated to rodizio has opened
“This is just literally what I’ve been waiting for,” he said on a recent Wednesday evening
the AYCE offer at Rio Bonito Grill also includes unlimited baskets of hot pao de queijio
bread plucked hot out of the oven with cheesy dough pulls similar to mochi
A buffet bar in the back holds assorted hot dishes like rice
“It’s the enchantment of seeing a big skewer coming to the table and the guy slicing the meat in front of you,” said Bastos
Rio Bonito Grill is open Tuesday through Thursday from 5 p.m
S-Meat & Hueso is open Sunday through Thursday from 2 p.m
The AYCE option runs from Monday through Thursday
Caroline Shin is a Queens-raised food journalist and founder of the Cooking with Granny YouTube and workshop series starring immigrant grandmothers. Follow her on Instagram @CookingWGranny
We have used your information to see if you have a subscription with us
Please use the button below to verify an existing account or to purchase a new subscription
Your current subscription does not provide access to this content
Please use the button below to manage your account
or sign up for a new account to continue reading
We hope that you continue to enjoy our free content
no promotional deals were found matching that code
Submitted Photo Courtesy of the Dunnahoo collection
By Janice Dunnahoo Special to the Daily Record Following is an 1877 letter to the editor of The Mesilla Valley Independent newspaper by its co-editor John S
It also includes legal matters at hand during this time
noting Alexander McSween of the Billy the […]
Following is an 1877 letter to the editor of The Mesilla Valley Independent newspaper by its co-editor John S
noting Alexander McSween of the Billy the Kid faction as one of the attorneys in Lincoln
or by whatever means they sent mail in those days
took a while to reach the Mesilla Valley Independent newspaper
as it feels like a step back in time in some ways
“The Rio Bonito is properly named: certainly no prettier stream
Rising far up in the crowning peaks of the Sierra Blanco
it winds its way through dense pine forest and beautiful valleys for more than thirty miles before mingling its sparkling waters with those of the Ruidoso
Like most streams in Ruidoso that afford running water for any distance
yet there is hardly a rod in the stream from its source to its mouth that the angler cannot cross at a single stride
I have more than once seen the ‘representative of the people’ in this judicial district
endeavoring to coax the wary trout from his secure retreat
to say that not every fisherman is capable of thus bridging the Bonito without danger to the junction of his trouser legs
From Fort Stanton to its mouth the narrow valleys along the Bonito are well adapted to agriculture
and nearly every available food is under cultivation
and the close proximity to the lofty mountain ranges
About the first of this month Jack Frost put in an appearance along the Bonito
which resulted in some danger to unripe corn
“Above Fort Stanton the stream is narrowed into the limits of a canyon
but the speckled trout is found in all its glory
catch a basket full of trout and a six month supply of rheumatism at the same time
A few years since the White Mountain range was a fine hunting ground
but the tireless hunter has played havoc among them
and now game is only found in the highest mountains and most inaccessible places
Rynerson and myself accepted an invitation from our hospitable friend
and Saturday evening found us rattling over a fine road to Spring Ranch
Descending the Bonito the road winds through fine groves of stately walnut
ash and box elder whose spreading branches in places formed a complete canopy overhead
There is a continuous cornfield from Lincoln to Spring Ranch
broken only by the stream as it winds from side to side of the narrow valley
“Spring Ranch is three miles above the junction and is the most valuable farm on the Bonito
A fine spring of pure water rises at the base of a hill near the residence and plunges down through shady groves of walnut into the valley below
affording sufficient water to irrigate the entire ranch
and the improved breeds of cattle and hogs seen about the ranch shows that the enterprising proprietor understands the science of farming
The largest and finest flavored peaches we have ever seen in New Mexico we plucked from the orchard of Mr
The southern half of Lincoln County is well adapted to the growth of fruits and grapes
and the farmers would find it to their advantage to give it more attention than they have heretofore
There is no reason why the Hondo and the Pecos should not produce grapes and fruit of every kind equal to the Rio Grande
Lincoln County is however better adapted to stock raising than anything else
and the greater part of the wealth of this country is in cattle and sheep
The advantages for grazing are superior: the Pecos and the numerous streams running down from the Sacramento and White Mountains afford water in abundance
while the plains are covered with the finest grass
Probably not less than one hundred thousand head of sheep and cattle graze in the county the year round
“Among the improvements worthy of notice is the introduction of finer breeds of stock — both sheep and cattle
the most extensive cattle raiser in New Mexico
has introduced many fine bulls from Kentucky and elsewhere
and the rapid improvement in his vast herds is said to be remarkable
as well as the most needed improvement is the introduction of the fine breeds of sheep
although hardy and well adapted to the country
so far as the production of wool is concerned
but little superior to a Newfoundland dog — the best of them only producing two or three pounds of wool at a clipping
The Cotswald is the fine blood mostly introduced
but the half breeds more than triple the yield of wool
“Business compelled me to decline an invitation to become one of the fishing party down the Hondo
Rynerson and Dick Brewer in company with the Misses Fritz boasted of having a most enjoyable trip
As the trout never find their way as far down as the Hondo the party were forced to be content with cat-fishing
and a fine lot of “bull heads” were the results of the day’s sport
and it is greatly to the credit of the county to say that litigation is too ‘few’ to be at all encouraging to the legal fraternity
The grand jury has found four indictments for murder; two of the parties Gallegos and Romero are in durance
These gentlemen pleaded ‘not guilty’ to murder
and at the same time confessed their inability to secure counseling in their defense
Gallegos was a little ‘riled’ at the continuance of his case; said
and wanted the ‘little difficulty off his hands.’
“If everything moves on smoothly I will again drink the waters of the Rio Grande on Saturday next
Historian Janice Dunnahoo can be reached at jdunna@hotmail.com.
Your browser is out of date and potentially vulnerable to security risks.We recommend switching to one of the following browsers:
2022 7:00 AM EDTIn the western Brazilian state of Rondônia
a swath of rainforest spans an area two and a half times the size of Delaware—a rich green oasis surrounded by pale farmland
Fewer than 200 people live here: the Uru-eu-wau-wau Indigenous people
just a fraction of the population of thousands the Brazilian government first made contact with in the 1980s
The Uru-eu-wau-wau—and their tireless fight against deforestation—are the subjects of the National Geographic documentary The Territory
After first contact, the Uru-eu-wau-wau’s population dropped drastically due to conflict and disease introduced by outsiders
a new external threat has reared its head: deforestation of Indigenous land
and the subsequent destruction of the natural resources that the Uru-eu-wau-wau depend on
This community is a fiercely independent one
But when the Uru-eu-wau-wau cautiously allowed the creators of The Territory in
Pritz and Brazilian producer Gabriel Uchida met with Bandeira
As they were driving together along the edge of the rainforest
it erupted into flames—a common tactic of guerrilla deforestation used by those who seek to illegally clear and farm Native land
Pritz asked Bandeira to stop the car and walked toward the fire
It was then that Bandeira knew the director was serious and courageous enough to make a film that would leave lasting change
“I told him I wanted that story,” says Bandeira through a translator
but that would be something more to the Indigenous people
that would see the point of view from both sides.”
an Indigenous leadership body that engages with the government
(Members of the Uru-eu-wau-wau use the word as their last name.)
The activist and the Jupaú president visited New York City for the New York premiere of the documentary on Wednesday and sat for an interview (through the translator Adélia Ramos de Almeida) in the lobby of an Upper West Side hotel
“There were several journalists,” he says of those coming to his community
And we trusted Alex to see if this would be different.”
sweeping shots of the forest itself and the life within it—focuses on Bandeira and Bitatè as its central characters
lenses through which to view the battle unfolding in the world’s largest forest
But two other groups are represented as well: the Association of Rio Bonito—a group of farmers at the very edge of the Uru-eu-wau-wau territory—and invaders or so-called “settlers” who illegally squat on Uru-eu-wau-wau land
The idea to include all angles came from Bandeira
“‘If we want to do something bigger and deeper and more honest
go talk to the people that are committing these acts of violence and destruction
because we’re not the cause of this conflict,’” Pritz
recalls Bandeira and Bitatè telling him early on
“‘Because it does a disservice to those people that are on the frontlines dealing with this messy
complex conflict to paint things in terms that are too reductionist or too simplistic.’’
The Territory team gives the farmers and the invaders enough rope to fully explain their perspectives
The former group states that the “Brazilian dream” is to own land and to make a living from it
The latter believes that that land belongs just as much to them as it does to its Indigenous inhabitants
he felt pressure from those who were interested in funding the film to expand its scope beyond the Uru-eu-wau-wau to include more Indigenous peoples across the Amazon
“We really wanted to keep a strict fidelity to this community
their own particular situation,” Pritz says in a Zoom interview
“That just meant spending a lot of time sitting and listening and talking.”
An invader rides his motorcycle through the rainforest fire blaze.Alex Pritz—Amazon Land DocumentaryWhen Pritz first arrived
a linguist from outside the community was hoping to embark on a project of documenting the native language of the older generations
The six villages of the Uru-eu-wau-wau got together to discuss and vote—their consensus was ultimately no
The linguist was not allowed to record their language
because the Uru-eu-wau-wau knew firsthand the exploitation that could unfold when outsiders recorded their knowledge
It was important “just to understand how much had been extracted from this community by people that looked like me
had similar ancestry as me,” Pritz says
“And then the flipside of that: how important agency and ownership over their narrative was going to be if we were going to do this together.”
This agency was exercised in part by having the Uru-eu-wau-wau shoot certain scenes in the film
they closed off borders to their land to protect their people: no journalists in or out
So much trust had been established by that point
that the Uru-eu-wau-wau simply asked for more equipment to finish the filming themselves
“This is the first time that a movie made inside the Indigenous land brings resources to the Indigenous land
and I’m talking about financial resources,” Bandeira says
“That’s helping to protect the land
This makes a huge difference in our lives.”
many of the elders in the community had never seen a feature film
That became an important conversation: What goes into making a movie
trust—and the benefits—like the agency to control their own narrative and an impact campaign set up by the filmmakers
Bitatè, the young leader of the Indigenous Uru-eu-wau-wau, swims in a river near his village in the Amazon rainforest.Alex Pritz—Amazon Land DocumentaryMarianna Olinger
has been spearheading efforts to help build a multimedia and cultural center in the Uru-eu-wau-wau territory using both traditional architecture and modern designs
The center will include a production studio
and editing bays—designed for the Uru-eu-wau-wau to keep telling their own stories
Although the threat of deforestation persists
the Uru-eu-wau-wau have taken matters into their own hands
establishing a highly specialized security and vigilance team—showcased in action toward the end of the film—that uses technology like cameras and drones to document illegal infringement on Indigenous land
will become the first member of the Uru-eu-wau-wau to attend college this fall
He hopes The Territory reshapes how audiences view Native populations
and also see how us Indigenous people look at nature,” Bitatè says
“And also that they are able to see the reality of Indigenous people—not only people here in the United States
Contact us at letters@time.com
carla juaçaba‘s design for a weekend home in mountainous eastern region of rio de janeiro uses the load bearing properties of meter-thick stone walls to suspend the roof and floor joists
four steel beams puncture walls so as to allow a sliver of glazing to wash the interior of the stone walls with diffused light
the visual weight of the rustic stone counters the lightness of the horizontal planes
creating an effect that mirrors the nearby river where diaphanous space confronts stalwart earth
the home explores the architectonics of encounter; water and fire
the brazilian architect was awarded the 2013 ‘arcVision prize for women in architecture‘ for her ‘pavilion humanidade 2012‘
‘house in rio bonito’ by carla juaçaba
‘rio bonito house’ by carla juaçaba
AXOR presents three bathroom concepts that are not merely places of function
but destinations in themselves — sanctuaries of style
As longtime hunting partner
Gene Strei and I completed that last leg of our journey to the Rio Bonito Ranch for the Winter Rendezvous
my cell phone vibrated in the pocket of my jeans causing me to jump. When it was dug out and answered
the daughter of longtime friend and UFFDA hunting partner
Delmer Bentz. In a broken voice she informed me that her dad had passed away quietly in his sleep that morning.
Author pictured with Del on their last bowhunt at Ozark Mountain Outfitters in Missouri
Del had fought an arduous and futile battle against cancer and at last had been freed from his suffering. Knowing that Del was a devout Christian
I was unshaken and even grateful that he had finally been released from what had been a long and terrible struggle. I told Jody to be happy because at that very moment
strong and very much alive in heaven; and that knowing him like I did
he was probably already looking for a place to hang a treestand. She laughed and said that I was probably right. When the call ended
who had been on all of the previous hunts with Del at the Rio Bonito Ranch said with complete conviction
“Looks like Del will be joining us for this hunt after all.”
Del loved the Rio Bonito Ranch and he loved hunting the creatures that reside there
especially the majestic Aoudad. Gene and I started to relive the last year that Del hunted with us and how
after taking a great Aoudad early in the week
he had one even bigger walk out to his feeder the last night of the hunt. He struggled long and hard as he examined the trophy ram through his scope
it would be over and above his hunt package and would cost him an extra $1200 trophy fee. As he struggled with the facts and imagined how his wife would react over dropping the extra C-notes
oblivious to the moral struggle that was taking place just a hundred yards away. Del considered all of the pros and cons
then decided to do the right thing; he raised the scope to his eye
placed the crosshairs on the ram and dropped it. He so loved to hunt those Aoudads! And this big bruiser
was the Aoudad trophy of his lifetime. Geno and I reminisced about that hunt along with the others that we had shared with Del. Both of us believed
that Del would be with us on this hunt to bless our efforts. That
is what good hunting partners do for each other and as of today
Brother Del was back in the hunt.
One hundred and seventy yards looked like a country mile to me
Several days later
Jody called again and told me that the funeral would be on Saturday although she knew I was in Texas
she hoped I would pass the word along to my fellow UFFDA members so that they could attend the service. I thought about it long and hard and then approached Gene to see if he would not consider going home a day early so that we could attend. The hunt ended Friday morning
but if we left on Thursday morning we could be home in time barring any unforeseen traveling difficulties. Being the friend that Gene is
he compassionately agreed to the early departure. The last morning of the hunt
Gene wasn’t so sure. Neither of us had taken an animal. Lots of critters had been seen
circumstance or other negatives had left our coolers bare of bones. We both decided to use our rifles to bolster our odds as it moves us farther from the feeders and creates less of a scent problem. Most of the creatures of the Rio are hunted 365 days a year and that makes for a very smart and wary quarry.
I knew from the mass of the Aoudad’s horns that it was a wall-hanger
As the morning sun moved towards the horizon bringing dawn to the Rio
Gene began to see animals immediately. He sat and watched does and young bucks
none of which would make a respectable trophy. As he gazed upon the rejects
but the ewes are ready to lamb this time of year and Gene had no intentions of killing three Aoudads with a single shot. Close study showed no fat belly
but that was not good enough for seasoned hunter like Gene. As the animal moved around gobbling up the golden nuggets of corn
it finally gave him a clear view of its hind end. Gene studied the package of the critter and was delighted to see no teats. This was definitely a ram! He didn’t have to move the crosshairs too much to be right on the vitals and when he was there
he squeezed the trigger driving a 30.06 slug right though the goodie box of his first-ever trophy Aoudad. The stunned animal ran 75 yards and dropped in a pile.
I bagged the largest Aoudad of my hunting tenure
I had been dropped off about a mile from Gene in a gun tower that was 170 yards from the feeder. I ranged the distance and silently prayed that I would be able to see an animal if it came out that far away. The old eye isn’t as good as it once was and of course my left one has been blind since birth. Even before daylight
I picked out the forms of three fallow deer around the feeder
but in the low light was unable to determine if they were buck or does. The animals moved on before it got light enough for me to detect antlers. Once the light was strong enough for my binoculars to be effective I had little to do but wait. Suddenly the heavy brush burped out an Aoudad. Study with the glasses confirmed that this was a really nice ram. Its dark color and heavy mass of the horns screamed out
“Wall Hanger!” The big ram
turned and moved back towards the dense underbrush and then stopped for one last look around. I found the front leg of the Aoudad
centered my scope there and squeezed the trigger. The .270 barked as it spit out the 150 grain slug out faster than sound; the ram bucked into the air lashing out with its hind legs at the invisible foe that had stung it and then was gulped up by the dense cover. I knew the shot was true and that I had just taken the biggest aoudad of my Rio Bonito tenure.
I settled into wait for the coach to come
taking the time to thank God for one heck of a last inning Aoudad and wondering just how much of a role Del had played in the score. When we picked up Gene and I discovered that he had also bagged one of the wily rams
I really began to grin. We were headed home a day early
but we both had great Aoudad trophies to show for our efforts. There was a lot of discussion on the long two-day return trip to Minnesota about that last morning’s hunt and in the end
but you will never convince either of us that our dearly
departed Delmer hadn’t pulled some heavenly strings to help us bag a couple of Aoudads for the road. Until the day I die and join Del on the other side
I will refer to that particular Rio trophy as Del’s Aoudad.
Both Gene and I knew that Del was smiling down upon us
Δdocument.getElementById( "ak_js_1" ).setAttribute( "value"
' + scriptOptions._localizedStrings.webview_notification_text + '
" + scriptOptions._localizedStrings.redirect_overlay_title + "
" + scriptOptions._localizedStrings.redirect_overlay_text + "
near the Nocatee and Beachwalk communities
has nearly reached completion for its first of three phases
including having multiple retail sites already leased and open
Located on nearly 100 acres at the northeast intersection of County Road 210 West and Interstate 95 in St
Johns is near one of the fastest growing corridors in Northeast Florida — Northern St
Johns County — where 5,000 new homes are planned or under development
announced a few new businesses opening soon at The Fountains
Johns are among the most recent additions to the area
all either newly opened or opening later in July
Johns is a mixed-use medical and retail development that includes Ascension St
Vincent’s Health Center on 34 acres of property
Cross Regions Group COO Doug Smith said seeing all of these buildings leased with new retail and restaurant businesses opening is a point of pride for his organization
Among future plans at The Fountains are renderings for a 141-room Home2Suites by Hilton; 174 upscale apartments with 25,000 square feet of retail on the first floor; 276 apartments from Madison Capital; a 13,000-square-foot facility for Chappell Schools; and a town square with 35,000 square feet of retail and restaurants
The whole area is divided into three unique sections:
Johns is strategically located at one of the most sought-after sites in Northeast Florida,” said David Ergisi
“Our team’s reputation for excellence and our development’s best-in-class design and construction has resulted in significant demand for The Fountains at St
Fountains SouthThe southern part of The Fountains at St
Smith said Fountains South is "100% leased," with some spots already open despite one last plot being under construction still for this section
Johns County Hospital opened a 150,000-square-foot hospital and 82,500-square-foot medical office building on about 34 acres in 2022
Vincent’s also has an approximate additional 6 acres for further expansion and the ability to expand the current hospital building on the site
Fountains EastThe road to Fountains East also is under construction still but
will lead to the final phase of the complex with school
housing and hotel amenities to make it "truly a live
In process or under construction in Fountains East are the Hilton hotel
luxury apartments and workforce housing apartments
This area will also house a private pre-school learning center
Businesses opening later this summer include H2 Health St
Salon Honey + Sage and 4Ever Young Anti-Aging Solutions
Fountains South also will include a Zaxby’s
Anejo Cocina Mexicana is targeting a winter 2023 opening
Opening dates have not been set for Jax Fish Fry
Rio Bonito Grill & Empanadas and Bur Trans Euro Deli and Bakery
Florida Eye Specialists and ENT Specialists of North Florida are under construction with plans to open in 2024
Construction also is underway on Jacksonville University’s location at The Fountains at St
will be used as an educational facility for Jacksonville University’s healthcare sciences programs
Future plans also include an assisted living facility and wellness center but no details are available for those developments yet
Anna and I love the Petroglyph Trail in the Fort Stanton area
It is not easy to get to but that makes it more of an adventure
and headed out towards Fort Stanton and the Sierra Blanca Regional Airport
On Highway 220 before the airport you will see an Elk Valley Trailhead sign on the right side of the road
The dirt road is rough so directly before the significant descent we park and camp
The camping at the Rio Bonito and the petroglyph area would be awesome but a high clearance 4x4 is needed to achieve the entire forest road
We found a nice level spot with endless views and made camp for the evening
The stars were grand and we were far enough off the highway to hear the silence of nature
we sipped coffee as the sun peaked over the mountains
We never get tired of a good sunset or sunrise
I pre-packed our new Cotopaxi Del Dia Batac16 backpack with our hiking essentials then headed down the dirt road to the Petroglyph Trailhead
The rocky road from our campsite to the trailhead is a touch over a mile
The Petroglyph Trail which loops around the Rio Bonito was full of noisy water after our many Ruidoso afternoon summer rains
The trail to the rock is just a few hundred feet off the main path and is well marked
we crossed the bridge into the Upper Bonito Recreation Area and ventured onto Elk Meadow Trail
This trail is more of a jeep road than a hiking trail but the vastness and views made it well worth the effort
After 1.2 miles on the road we found Skyline Trail
The first few hundred yards of Skyline Trail is not well defined then the path appears and it amazingly turns into a well-marked beautiful trail
Skyline Trail is a mile of gradual ascent until you reach the summit
We could have spent an entire afternoon at this point
The Taos Mountain Bars were great but this would have been a great place to pack avocados and crackers for a picnic
Anna and I would have liked to spend a few hours exploring but we had a note on our Happy Hiker Ruidoso store that said
“Hiking this morning – opening at noon.” We really enjoyed Skyline Trail but needed to return to Midtown
The trek back was just as fun as the summit hike
Our guest hikers to the area often ask us for a trail that loops
I understand the interest in not hiking on the same trail twice
Sometimes hikes in and out are even better than loops
You get a different perspective on in and out hikes
get a better and more complete feel for the trail
I love the experience of a good in and out hike
Elk Valley and Summit Trails were just as good the second time as we headed back to Frosty
Anna and I are experiencing less and less misadventures with each of our adventures
Our planning and packing continues to improve
Anna is keeping me on the trail more as I will always let my mind wander to absorb the experience of nature
When the trail crossed a wash on Elk Valley Trail
Our Fort Stanton adventure totaled 8.02 miles
We hiked it in 3 hours and 4 minutes with 992 calories burned
The lowest elevation at the Rio Bonito was 6,125 feet and the highest point on Skyline Trail was 6,669 feet
The three trails combined had 2.25 miles of ascent and 2.21 of descent
The lesson I learned on this hike is that I am going to start carrying extra emergency ponchos and water for trekkers that may not have packed the proper hiking essentials
We passed some tourists that may have chosen a trail more aggressive than their skills
I hope they had a good petroglyph experience
A Happy Hiker shout out to our Ruidoso visitors that appreciate that we are hiking store owners that hike
We especially value the tourists that share with us their positive feedback
camped and played in most of the western region of the United States
They also have had escapades in eight different countries
New Mexico is their favorite place in the entire world so they settled down and opened Happy Hiker Ruidoso
Juaçaba met up with the New Museum’s Deputy Director Karen Wong to talk about art
and why she distrusts the hyper-reality of 3D renderings
Portraits by Javier Agustin Rojas
Taken from PIN–UP 17 Fall Winter 2014/15
Slide "+(i+1)+" of "+$(set).length+": "+$(this).find("figcaption")[0].innerHTML+"
Charles Renfro discusses how to build nothingness with Rio's rising architect Carla Juaçaba
Charles Renfro: Brazil has been on my mind a lot—there’s so much happening there
I’ve been impressed with your work since seeing you speak at the Latitudes conference at the University of Texas in Austin
It made me think about the challenges and opportunities of working as a woman architect in Latin America
awarded annually to notable female practitioners in architecture
You were selected from an outstanding field of international applicants by an all-female jury
who applauded the courage and creativity of your work
The pavilion was beautifully conceived and executed—elegant and ephemeral—and reminded me of some of my studio’s temporary work
especially the Blur building in Switzerland
Carla Juaçaba: I actually didn’t originally receive the commission for the Pavilion project
in between the Copacabana and Ipanema beaches in Rio
is a place where they’re always building temporary structures
The organizers of the Rio+20 sustainability conference wanted to build something there for the convention
and invited the theater director Bia Lessa to be the designer
They invited her because of her work in exhibition design
and asked her to do that sort of thing in the interior of a temporary building—essentially just a plastic tent with an air conditioner
because it has nothing to do with the content of the conference
I want to work on this with an architect.” The first person she called to do the project was Paulo Mendes da Rocha
who had worked with her on some theater design in the past
So she called me—not to invite me to participate
but to ask if I knew an architect who works in sustainability
where one of the plastic tent structures was starting to go up over some scaffolding
I got rid of the plastic and continued the construction of the scaffolding walls from five meters to 20 meters high—five walls
So much of the design was already there from the start—the scaffolding
It was already so beautiful; you saw straight to the sea through a massive
We needed the ramps and exhibition rooms to complete the building and to support and strengthen the walls
We kind of designed as the project was being constructed
But it worked because it was a modular structure
only a proposal of how to fit everything in
After the project was completed and published
I received emails comparing the project another unique architecture—to your Blur building
I was more fascinated by building the scaffolding—by constructing a huge wall with no physical density
“So much of the design was already there from the start: the scaffolding
Charles: I’m not suggesting a premeditated connection
but that’s partly what happened with Blur—space as ephemeral
architecture as atmosphere rather than object
the atmosphere develops from the aggregation of thousands and thousands of pieces of pre-manufactured scaffolding
an unglamorous material that you turned into something much more significant
Charles: I wasn’t able to see it in person
that’s the charm of the temporary structure: it disappears into the archives of disciplinary memory and becomes something of a myth
this myth lives a fuller life than a permanent building
including that of the architect who designed it—you don’t have to be exactly true to it in the end
You can carry the ideas of its conception even as your work changes
Sustainability is a central tenet of your practice
in particular the sensitive use of materials
You design projects to use just the right amount of material; to be just big enough to do what they need to do
This idea of judiciousness—of doing just enough—seems to have a long heritage in Brazil
in particular—a brilliantly judicious architect
one of the greatest architects of her generation
who also used salvaged materials in her work
This understanding of sustainability is so different than the buzzword-version that often gets talked about
“how to make your air conditioning system greener,” “tips to harvest solar energy from the 10,000 square-foot roof of your single-family home,” that sort of thing
is encouraging people to live in a sustainable way—not just consume in a “sustainable” fashion
Carla: I think that Lina arrived as a foreigner
She knew how to adapt to the conditions of her work—of site
She had ideas that came from the Italian Arte Povera movement
With my work as well as hers there is a perception of economic conditions and embracing of the possibilities that I have in hand
I’m not going to think about something that I don’t have in hand
for example: with Copacabana as the stage of Brazil
there is constantly scaffolding being built and dismantled
“I’m going to build this out of scaffolding
there was the same sense of economy—the client didn’t have any money
Charles: One of the things that’s beautiful about your work is the sourcing of materials from the site itself—the stone
the brick was made locally and the building was constructed by local craftspeople
This sensibility is at once rugged and sophisticated
an extension of Modernism but with a poetic overlay
I find Brazil a place that is humble in spirit and deeply cosmopolitan at the same time
your work can be read as a metaphor for this dialectical cultural condition
on the outskirts of Rio: building with steel seems antithetical to building in the jungle
but in calling for the least amount of material
this choice allowed for a design that was least impactful on the site
There’s a compelling dialogue between the tectonic—the machine—and the natural—the site—that gives your work a particular position that I think is distinct from a lot of global practice
Does the idea of architecture as metaphor for country resonate with you at all
for instance: they are constructed and dismantled
Maybe it’s true that design methodology is determined by the country itself—in Paraguay
the architects all work with what’s at hand
Charles: I want to go back to the question of women in architecture
I asked colleagues in Brazil to name a few of the most promising female architects; your name was at the top of the list
along with Marta Moreira of MMBB and Carolina Bueno of Triptyque
Are you all close as a group of female architects
She works with a generation of architects who are more connected to São Paulo than to Rio
The question of women— it’s a difficult question to answer
is wonderful—a celebration and remembrance of the history of unrecognized women
But the truth is that I am always amazed by how women still hide themselves in what society expects
It is true that it is hard to find our own voice
Charles: Maybe that was my romantic misreading—I thought there might be a greater sense of bonding
a shared dedication to advancing women in architecture
but others have also told me that this doesn’t really exist in Brazil
There are lots of female architects in the U.S.
but so often they’re attached to male partners or working under all-male management
It’s encouraging that even in Brazil—a place with perceived gender inequality in the workplace—women can have thriving practices
itself a discourse traditionally dominated by men from the Global North
seem woven into the material and tectonic methodology of your work
Do you feel connected to the Modernist tradition
Carla: I really like the work of the Modernist Sergio Bernardes
He’s from an older generation of Brazilian Modernism
and his work— his houses as well as his public buildings—is very strong
There’s an environmental aspect to all of his projects: he would fabricate beams
but he’s more interested in site and materials than the Rio Modernists
more of a vernacular of Modernism—something that came out of local conditions
As architects practicing within an international canon
it’s a way of understanding ourselves that reconciles the idea of working locally and sustainably with the social and formal imperatives of the discipline as a whole
I want to talk about Brazil in a broader context
The country’s middle class has been growing rapidly
Charles: Did architecture play a role in establishing that
is relatively inexpensive but also incredibly thoughtful
It engages a new kind of client who normally wouldn’t have considered commissioning an architect
Carla: There are some architects in São Paolo that make large
working solely for the upper crust of society
There was a client who tried to commission one of these architects for a project
go to Carla,” because he didn’t know how to work with less
I’ve been working on different types of projects—a hospice and a palliative care facility
The hospice will be the first of its kind here
I had to go to England to visit similar facilities there because Brazil just doesn’t have any legislation for creating these places
It’s a well-funded project—they have the money to construct everything
But I want to have the same position on materials and the working site that I normally do in my other projects
But I don’t want it to feel as if I had too much money to construct this
I know it’s not cheap to construct a hospice
but I’m sure they’re looking for it to be simple
“[The favelas] are constructed and dismantled
constructed and dismantled…You see a gorgeous staircase
to almost trick yourself into thinking you have less to work with than you do
It focuses your work on the judiciousness of the practice
on making choices that are simply executed without being devoid of poetry and design
It makes sense that you would be chosen to make a hospice because they are places where people need to feel calm
where it’s helpful to feel a connection to nature
It’s an excellent opportunity to expand the reach of your practice—to help others through the simplicity and elegance of your design work
You also have work outside your firm: you teach
Charles: Our work at DS+R is also multidisciplinary
Do you consider this work necessary for money
or necessary to expose yourself and others to a wide range of critical thought
Carla: It’s necessary because building a house is never enough
I like working in exhibition design because it has the same budget and it’s faster
I never worked in an office because I hated creating CAD drawings
so I found this woman who came from a generation where she could be an artist and only work on design exhibitions
I really never thought I would work in architecture—it just happened
Charles: Where do you see yourself and your practice going in the next few years
Carla: I hope that this hospice project generates similar commissions
It’s the first time I’ve worked at such a large scale
The Pavilion Humanidade was a project with no details
This is the first time I’ve suffered with so many drawings and details
But I also hope to continue building houses
This article originally appeared in Document’s Spring/Summer 2014 issue
By Steve BrownReal Estate Editor
Dallas businessman and inventor Lynn Northrup Jr.'s 5,000-acre Pipe Creek Ranch near Bandera is on the market for $49.9 million
Northrup, who died in 2016
created the Central Texas spread in the 1920s
Northrup made his fortune designing devices for the aviation
solar energy and air conditioning industries
His ranch stretches along more than 4 miles of Pipe Creek in Bandera
D-FW Real Estate NewsGet the latest real estate news you need to know
GoogleFacebookBy signing up you agree to our Terms of Service and Privacy Policy
The main ranch house has five bedrooms and six baths — each with a veranda
a 500-bottle wine room and a freshwater grotto
and has three three bedrooms and 2.5 baths with views of the entire ranch
There's a 1,700-square-foot foreman's house and an events pavilion overlooking a lake
Several barns and outbuildings are also on the ranch
The Hill Country ranch is the latest in a series of recent rural Texas property sales by Dallas-based Icon Global Group
"A bunch of these family-owned ranches have decided to sell," said Icon Global's Bernard Uechtritz
Last year, Icon Global sold the Moody family's 15,000-acre Rio Bonito Ranch in nearby Kerrville
The property was purchased by an affiliate of JL Bar Kimble County Properties Ltd
The new owners also operate the nearby 13,000-acre JL Bar Ranch & Resort in Sonora
Icon Global is associated with Dallas' Briggs Freeman Sotheby's International
It's not just the huge Texas spreads that are changing hands
The Texas Association of Realtors says small ranch and land sales in the state topped $1 billion in volume last year
Texas' small land sales volume rose 8.5 percent in 2017
Last year was the first time annual sales volumes of these properties topped $1 billion
according to the Texas Association of Realtors
small land sales have been a strong indicator of a healthy overall real estate market," said Kaki Lybbert
"With land sales increasing and price-per-acre declining slightly
we're seeing a solid market for small land purchases for a wide range of uses
Northeast Texas saw the largest increase in prices for these types of properties
with average sales price per acre up 5 percent from 2016
and we continue to see the market for acreage almost as competitive as the residential housing market," Lybbert said
we expect to see the demand for rural land continue to increase."
Join the conversation
Thank you for reading. We welcome your thoughts on this topic. Comments are moderated for adherence to our
Please read the guidelines before participating
completely invisible from the adjacent street
the dwelling sits within an area densely populated with trees — all of which had to be maintained as part of the project
the house’s internal programs are split between two floors image by federico cairoli (also main image)
the first challenge for carla juaçaba was to design a home that could be built on a relatively low budget
with repeated elements that ensured the project’s affordability
considered to be the most important element of the design
the partially translucent roof comprises four different inclination lines and two different materials
the home is immersed within its forest setting image by federico cairoli
developed as a pavilion that runs parallel to the site’s contour lines
the house’s internal programs are split between two floors
while the lower level contains the living room
the two storeys are connected by a glazed gallery that fills the residence with natural light
the roof is considered to be the most important element of the design image by federico cairoli
the home’s opacity projects silhouettes
which can be seen from both inside and outside
the shadows of the trees and their leaves remain visible
while the shadows of those walking across the elevated gallery can be viewed externally
artificial light from inside the house changes its appearance
transforming the residence into an illuminated lantern
the shadows of the trees and their leaves remain visible image by federico cairoli
the home had to be built on a relatively low budget image by federico cairoli
artificial light from inside the house changes its appearance image by clovis cunha
a hilly neighborhood in central rio de janeiro image by clovis cunha
name: santa teresa hosue author: carla juaçaba trainee: carlos zebulun engineer: cerne engenharia photography: federico cairoli
brazil year of the project: 2017 total area: 140 sqm / 1,507 sqf
designboom recently spoke with the architect who told us about what shapes her design principles
which contemporary designers she particularly admires and her plans for the future
juaçaba worked on casa atelier (2000) in her first year after college
designboom: what originally made you want to study architecture and become an architect
carla juaçaba: I was fascinated by my grandmother who was an artist
and her library of architecture and art was always a good vacation
architecture was occasional and circumstantial: I heard of a chaotic and experimental school of architecture nearby and I immediately decided to go
casa rio bonito was completed in 2005 / see more of this project on designboom herephoto by nelson kon
DB: what particular aspects of your background and upbringing have shaped your design principles and philosophies
also by a continuous attempt to understand the japanese zen culture with all the paths that may exist: anthropology
and those paths are never enough — there is still an immense boundary between us
octavio paz, claude lévi-strauss and roland barthes are an important path for that
casa mínima (2008) presents sweeping views across the rural brazilian landscape
DB: who or what has been the biggest influence on your work to date
CJ: I think it is made of different parts: nordic architecture is always part of my studies — the work of sverre fehn
jørn utzon and sigurd lewerentz — and at the same time brazilian architects such as paulo mendes da rocha and sérgio bernardes
also a few artists in brazil such as waltercio caldas
I am beginning to appreciate john hejduk and realize that kazuyo sejima may have an immense admiration for him
pavilion humanidade (2012) / see more of this project on designboom herephoto by leonardo finotti
what would you say is your strongest asset and how have you developed that skill over time
CJ: (to be able to) observe the possibilities
at copacabana (for the pavilion humanidade project) the scaffolding was there
I think there is a desire hidden somewhere
casa varanda (2007) is set within an area of woodlandphoto by fran parente
DB: now that computer generated visualizations are so commonplace
is there still a place for physical model making or sketching designs by hand
CJ: I think we (in the west) spent a long time to be able to communicate abstractly
and suddenly our discipline is held hostage to hyper-realism
I use drawings in a very abstract way: a representation of ideas
it is an invitation to the imagination of others
an interior view of casa varanda photo by fran parente
DB: is it the job of an architect to satisfy the general public
DB: which architects or designers working today do you most admire
CJ: I think solano benitez in paraguay for his innovation and particular experiences with brick, angelo bucci‘s refreshing of são paulo’s school, grafton in ireland, eduardo souto de moura and kazuyo sejima always
casa posse is currently under construction
DB: can you tell us about any projects you are currently working on that you are especially excited about
CJ: I am working on a few housing projects
and for the first time I am participating on an invited competition for an institute in rio
I am especially excited about a small home named ‘casa posse’
where the foundation is the structure that supports the entire construction
and also a children’s hospice for palliative care
model illustrating the layout of casa posse
DB: what is the best advice you have received
and what advice would you give to young architects and designers
CJ: I wouldn’t recommend this profession in brazil unless you are completely passionate about it
the best advice I received is to not give up
juaçaba’s practice also includes exhibition design
comprised of a variety of women professionals in the top of their fields
unanimously chose the architect as the recipient of the inaugural award
the adjudication body was made of shaikha al maskari
member of the steering committee of the arab international women’s forum-aiwf; vera baboun
head of the odbc architectural firm; victoire de margerie
chairman of rondol technology; yvonne farrell
head of the grafton architects architectural firm with shelley mcnamara ; samia nkrumah
president of the kwame nk rumah pan african center; kazuyo sejima
head of the sanaa architectural firm with ryue nishizawa; benedetta tagliabue
co-founder of the embt architectural firm with enric miralles; martha thorne
see carla’s reaction up receiving news of the prize here
the building is made entirely of recycled scaffoldingimage © leonardo finotti
‘varanda house’ by carla juaçabaimage © nelson kon
‘casa em rio bonito’ by carla juaçabaimage © nelson kon
MST surgiu após encontro de camponeses em Cascavel
Forty years ago, in the city of Cascavel, in the west region of Paraná state, peasants from all over Brazil came together to form a national movement to fight for agrarian reform. Then, the Landless Workers' Movement (MST) was born
"I participated in the meeting with the certainty that we were going to form a steady and strong organization
agrarian reform and social organization – and the principles – it was going to be an independent people’s movement,” says Jaime Calegari
a historic militant from the MST-Paraná state
who was at that First National Meeting and is now camped in the Herdeiros da Terra community
The year was 1984. Democracy was a novelty in Brazil, and people’s movements were on the rise
the struggle for land was taking place regionally
through movements such as the Landless Farmers of Western Paraná (Mastro
in Portuguese) and the Landless Farmers of Southwestern Paraná (Mastes
"The mechanization of the countryside was advancing strongly and was excluding young people," he says
"They were young people who wanted to stay on the land
We held meetings in each city and town and the young people said they wanted to work," he recalls
Calegari says it was necessary to overcome prejudices that existed even among some peasants
"Then we explained to them that we were occupying [the land] to show the government that there is land and there are people's demands," he says
The first occupation Calegari took part in was in June 1984
in the southwest area of Paraná state
he has spent 34 years working on the MST's so-called mass front and has participated in many occupations in different parts of the state
"We went on walks and did grassroots work showing what the MST was about: a struggle for land
the activist says he has seen the movement adapt to the needs of each era
In addition to the peasants who needed land to work and live on
the movement also expanded into the cities
with the aim of recovering workers who had left the countryside and wanted to return
From that 1984 meeting of around 100 people
with around 400,000 settled families and another 70,000 encamped families organized in 24 states across Brazil
As a result of the landless families' work
1,900 associations and 120 agro-industries
he hoped that a national peasant movement would emerge in Cascavel and "overcome governments" and escape the elimination attempts that would come from the right wing and the co-optation that would come from center political groups
he says MST's emergence was a victory for the whole country
"Society has gained thousands of landless families who are no longer hungry and are producing food for everyone
The movement has taken many people out of illiteracy," Calegari said
referring to over 100,000 adults who have been taught to read and write by the MST in Youth and Adult Education (EJA) campaigns
based on the Cuban literacy method "Yes
All original content produced and editorially authored by Brasil de Fato may be reproduced
provided it is not altered and proper credit is given
All original content produced and editorially authored by Brasil de Fato may be reproduced
imagined a layered and translucent space exposed to the elements so as to remind users of their frailty in the face of nature
the five structural walls measuring 120 meters by 20 meters create a suspended walkway over rio’s landscape
interjected with spaces for the exhibition program as well as reflection and thought
the rooms additionally act as a type of sheathing
their stiffness helping brace the pavilion in critical moments
in keeping with visions of a sustainable future posited in the showcase and conference
the architecture is primarily comprised of previously used scaffolding and is fully recyclable
the structure makes use of the strong wind and ocean views with exposed scaffoldingimage © leonardo finotti
the site is an old fort flanked by two legendary beaches
copacabana and ipanemaimage © leonardo finotti
rooms both brace the structure and create conference spacesimage © leonardo finotti
entrance view image © leonardo finotti
exhibit spaces are set far apart to blur notions of interior and exteriorimage © leonardo finotti
understanding that the cornerstone of architecture is geography
the material speaks to a rapidly developing world while specifically making use of the cooling wind and sonorous ocean afforded by the copacabana site
the pavilion is an extension of it’s interior dialogue
namely informed musings and forward-thinking solutions on the interaction between man
nature and the tenuous bridge of technology
the form frees conventional exhibit styles and converts the space into information
a system of ramps allows the feeling of suspension and ease of circulation
the sloped walkways implicate the visitor in the built form
adorned with rows of flags from around the world
the grand flow of the public emphasized how exigent this time in human history is and how very appropriate and responsive architecture can be
man and nature meet in the pavilionimage © leonardo finotti
a series of ramps connect the spacesimage © leonardo finotti
views of the informal auditorium dubbed ‘cafe cultural’image © leonardo finotti
the greenery bolsters the impressive pavilionimage © leonardo finotti
the project took four months from conception to completionimage courtesy of carla juaçaba
main passageways installed image courtesy of carla juaçaba
the elevated hall image courtesy of carla juaçaba
construction workers seem to float in the scaffolding image courtesy of carla juaçaba
auditorium image courtesy of carla juaçaba
view from the auditorium image courtesy of carla juaçaba