Benítez writes poetry on the Beaubourg extension

Benítez stands out for placing clay at the heart of his architectural design

Nothing is more ancient than clay, the raw material that dyes the soil of Paraná red and which will be the foundation of an unprecedented cultural landmark: the extension of the Georges Pompidou Center (Beaubourg). This Brazilian museum will be built in Foz do Iguaçu, in the heart of the Triple Frontier between Brazil, Paraguay and Argentina, and is scheduled to open in 2026. The initiative is from the Secretariat of Culture of the State of Paraná, headed by Governor Carlos Massa Ratinho Junior and Secretary of Culture Luciana Casagrande Pereira.

The project, designed by renowned Paraguayan architect Solano Benítez, winner of international awards such as the Golden Lion at the 2016 Venice Architecture Biennale, breaks paradigms by valuing the use of clay, a simple and primal material rarely associated with prestigious museums. In a scenario where concrete, glass and other sophisticated and expensive materials predominate in the architecture of large cultural institutions, the choice of clay not only restores the connection with the land and local identity, but also proposes a reflection on sustainability and accessibility in construction. In an interview with ARTE!Brasileiros, Benítez shares the concepts behind this challenging undertaking, showing how tradition can combine with innovation to create something truly unique.

I begin my conversation with the architect by asking how the project is progressing. “I have a façade that is still under construction, so I would like to talk about the context in which this museum will emerge in an unprecedented way.” After a period of sophisticated art museum constructions all over the world, each one more daring than the last, it seems that now is the time for revision. Benítez comments that this project represents more than just a building. It explores all the possibilities that have always been available to us to build a better society. “Unlike projects that prioritize only speed and technique, here there is a concern with reviewing paths, questioning the direction that architecture is taking and, above all, reflecting on the role of human beings within these creations,” he says.

Benítez says that the legacy of this project transcends the architectural design. “It encompasses the materials, elements and stories that make up the museum, proposing an experience rich in meaning.” In fact, he is inviting us to rethink the legacy that will be left for the future, both as professionals and as a society. The architect discusses the privilege of this raw material that has so much to say to us. “It is fascinating to see how brick, perhaps the most universal material in the world, has traversed time and all geographies. Think of the first recorded brick, created in the Middle East by the Babylonians, when they began to imagine terraced gardens.” Since then, brick has traveled the entire world.

Benítez recalls the resilience and adversities experienced by the material. “Even in extreme conditions, such as at the North Pole, humans have found a way to adapt this concept. There, bricks were reinvented with frozen water, transformed into blocks of ice to build igloos and protect themselves from adverse weather conditions.” This adaptability of the material demonstrates its historical and cultural relevance, connecting different peoples and periods. Benítez recalls that, since the construction of the Pantheon until today, the size of the brick has remained unchanged. “It follows a universal pattern, designed to fit in the palm of the hand, maintaining its practicality and functionality over the centuries.”
Benítez is a student of history. “One interesting thing is that human life begins its great adventure in Africa. It is the first wave, the first turn that takes place, they go through Africa, go up to the North, split up to the Middle East, go to India,” he comments. “And in India something wonderful happens, everything mixes. And some of them return and go to Europe, some of them go to China.”

Then, he recalls, they finally cross Bering and begin to descend throughout the Americas. Always using the edges to relate to where they are. That relationship with the sea, etc. “So, finally, everyone crosses through that point in Colombia, between Colombia and Panama. And some go to the Atlantic, some continue to the Pacific. The part that goes to the Pacific goes all the way to the end, Chile. Those who go to the Atlantic arrive a little after the Amazon, continue the journey and some cross diagonally and reach the middle of the Continent.” So, Benítez concludes that the middle of the Continent and this entire journey was made understanding and searching for what resources were available, to transform them and improve people’s lives. “Now, this journey ends with us, the youngest in the world, those who arrive last on that wonderful journey, because everyone stays on the edge and someone enters and discovers, in the Triple Frontier, the last experiential place.”

The clay used in the museum will be extracted from the red earth that characterizes the region that unites Brazil, Argentina and Paraguay. It is a material closely linked to the local identity. Its choice is emblematic, since this ancient technique, which dates back more than 3.000 years, carries with it a legacy of wisdom and tradition. “Although the brick construction technique is widely known and mastered, the great challenge lies in applying it in an innovative way, generating new meanings and consequences.” The land in the region was considered by the Jesuits to be one of the most productive in the world, thanks to its unique quality. The natural wealth sustains the exuberant vegetation that surrounds the Triple Frontier, with the imposing Iguaçu forest reserve in Brazil, the Missions in Argentina, and the Saltos del Monday, in Paraguay. “This set of biomes reflects the vitality of the Atlantic Forest, which extends to the interior of the continent, being capable of facing and overcoming the most diverse natural challenges.”

Benítez emphasizes that we are witnessing a growing awareness of the importance of preserving the ecosystem. “It is not just about exploiting the resources of the territory to improve our lives, but about rebuilding and returning to the Earth the essential elements as a source of life for the entire planet.” He also proposes that we abandon the view of the territory as a mere repository of resources to be extracted. “We, human beings, are also a resource, an inseparable part of nature,” he concludes.
Benítez’s name has been circulating among Brazilian architects for years, especially due to his friendship with Paulo Mendes da Rocha, who invited him to give a lecture at FAU/USP in 2012. Today, he expresses great honor at the invitation from Brazilians to take on the project for the extension of the Pompidou. “It was an incredibly generous gesture, a bold invitation that will be talked about for generations. This demonstrates, in an admirable way, that Brazil seeks to unite our continent, within the same culture,” says Benítez.

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During the time he worked with Paulo Mendes da Rocha, Benítez would often speak in Guarani and ask Paulo to translate for him. “And he would translate, making everything up. It was really funny to see how we managed to communicate,” says Benítez, laughing at the situation. He says he is happy to be part of the community of Brazilian architects. “Imagine being in the company of Lina, Reidy, Paulo and Oscar. My God! I still can’t believe I had the opportunity to talk to Paulo about the need to rebuild and maintain the Experimental Paraguay School, designed by Eduardo Reidy, which was a preview of what he would do at the Museum of Modern Art (MAM) in Rio de Janeiro.”

The conversation goes on and I ask when the next phase of the project will be ready. “Right now, the situation is as follows: the first part has been delivered, and I have until June to complete the process. We are currently in the months of December, January, February, March, April and May. In other words, we will have more than five or six months of work,” concludes Benítez. Considering that the project was contracted with the criterion of inextinguishability, it cannot be discontinued, which prevents the maintenance of an associated partnership. Benítez assures that everything will be developed with the highest technical quality, in collaboration with engineer Rui Furtado, a professor at USP. “I intend to present a preliminary design that can be used in a public tender, so that construction can begin in 2025 and be inaugurated before the end of 2026.”

The total area of ​​the complex in Foz do Iguaçu will be 25 square meters, of which 10 square meters will be used for the museum, with another 5 square meters reserved for logistics, parking and cargo area. “The idea is that the museum will also function as a sort of waiting room for airport visitors. The idea is that tourists who visit the Falls in the morning or afternoon will head to Itaipu and, upon returning, find a new destination in the region, extending their stay for another day.” Benítez emphasizes that the Museum in Foz do Iguaçu aims to become a true cultural center, not only a space for artistic appreciation, but also a catalyst for diverse cultural forms. The museum will seek to enrich knowledge about art and, at the same time, promote cultural diversity, including aspects such as gastronomy, clothing and other cultural manifestations.

Regarding the openwork façade, which creates the impression that the wind could enter the museum, Benítez observes: “We must learn to respect and understand our proximity to nature, which is not idyllic like the Luxembourg Gardens imagined for Marie Antoinette. In Foz, the reality is quite different, with the possibility of encountering snakes, spiders and several other natural elements with which we need to learn to live, developing strategies for this.”

Benítez also emphasizes that there is great concern with the landscape design. “So far, my approach has been to follow God’s example: not to interfere, to allow nature to find its own way.” This concept aligns with the vision of urban planner and landscaper Roberto Burle Marx, who advocated harmonious integration between the built environment and nature.

At the end of our conversation, Benítez promised to send me a lecture he gave in Boston, United States. “The person who introduced me that day was Hashim Sarkis, a member of the Pritzker Prize jury. I’m going to send you the text so you can understand how the world is starting to hate what I do,” Benítez concluded, with his characteristic humor. ✱