Architect and engineer, recipient of the Grand National Architecture Prize in 2006 and the Gold Medal from the Academy of Architecture, Rudy Ricciotti represents this generation of architects who combine creative power with true construction culture.
A pioneer and ambassador of concrete, he sublimates innovative concretes in remarkable achievements such as the Vitrolles Stadium - 1994, the National Choreographic Center - Black Pavilion in Aix-en-Provence - 2006, the Jean Cocteau Museum in Menton - 2011, the Department of Islamic Arts at the Louvre Museum - 2012, the MuCEM - Museum of European and Mediterranean Civilizations in Marseille - 2013, the Jean Bouin Stadium in Paris - 2013, the Pont de la République in Montpellier - 2014, the Camp de Rivesaltes Memorial - 2015, the Bordeaux Métropole Arena and its parking lot in Floirac - 2017, the Humanist Library in Sélestat - 2018, the Salle des Musiques Actuelles et Contemporaines du pays d'Aix in Aix-en-Provence - 2019, the Gare-PEM in Nantes - 2020, Le19M, Manufacture des Métiers d'art de la mode Chanel in Paris - 2021.
He has also built abroad, including the Philharmonie Nikolaisaal in Potsdam, Germany - 2000, the Peace Footbridge in Seoul, South Korea - 2002, the "La Boverie" Museum International Center for Art and Culture in Liège, Belgium - 2016.
Rudy Ricciotti is also the author of several books and pamphlets.
Rudy Ricciotti envisioned the new construction of a 6-story office building with conference and event rooms. The AYA building is the first high-end office building in São Paulo, offered by the Rosewood São Paulo hotel. Designed amidst listed buildings, its facade made of UHPFRC (Ultra High-Performance Fiber Concrete), covered with natural vines, creates a lush landscape to interact with its historical context through nature. AYA was inaugurated on April 27, 2022.
The Aya values the building's structures designed by Rudy Ricciotti, with no addition of chemicals or degradable finishes, maximizing the circular economy through the use of demolition materials (floors, acoustic ceilings, etc.), giving new life to original antique furniture created by Brazilian designers, most of them dating back to the 1960s and 1970s. The entire building was responsibly and sustainably designed, without compromising on a unique design full of artistic and cultural expressions. The exterior facades of the building display lush vines with fascinating embraces, echoing Brazil's extravagant nature with the overlap of artificial and natural elements.
The architect writes
"Matarazzo? :
The praise of work, technology transfer, a distant anthropological memory, all contribute to shaping this project. Between algorithms, on-site molding in the forest, and skilled labor, this site prototype was born thanks to the passion of all involved. For the inauguration, I requested a mass celebrated by a Catholic priest in co-visibility with the chiefs of an indigenous tribe, in an attempt to evoke the memorial remembrance of the suffering of the indigenous people... bringing together paganism and Christianity."
Find out more at: rudyricciotti.com/en