MTApresentation

Oficina de Mosaicos’ application for approved mosaic fabricator
position at MTA
Over the past 40 years, Oficina de Mosaicos has produced artistic panels, focusing on a
continuous pursuit of quality and durability of materials and collaborating with the most
renowned Brazilian artists. The result is an extensive and recognized portfolio, featuring
original creations or mosaic interpretations of works by great artists such as Cândido Portinari,
Emiliano Di Cavalcanti, Vik Muniz, Claudio Tozzi, among others.
Based upon our experience in mosaic creation and mosaic restoration, we have gained profound
knowledge of material pathologies, leading us to develop innovative solutions for creating more
durable mosaics while anticipating and preventing recurring pathologies.
The capacities of our work that we would like to highlight are:
1 - Durability
Oficina de Mosaicos utilizes materials of extremely high durability, having produced artistic
panels in outdoor settings, in locations with high vibration such as a subway tunnel, in hightraffic
areas, on facades of large buildings, and in swimming pools. The main qualities we offer
are:
(a) High resistance to abrasion of mosaic materials
(b) Resistance to extreme weather conditions
(c) Resistance against vibration and movement
(d) Fixation of the mosaic with high-quality mortars
(e) Development of specific mortars and grouts for different situations
(f) Evaluation and technical consultancy in the creation of mosaic supports (structural
lightweight panels, expansion joints, details of junction between materials with different
mechanical behaviors, etc.)
We primarily use glass and porcelain tesserae manufactured in Brazil since the 1940s, which
have been widely applied in artistic panels and come with qualified technical reports. As for
mortars and grouts, we mostly rely on the technology and technical support of the German
company MC Bauchemie.
We have already developed highly flexible and adhesive mortars specifically for fixing to the
walls of subway tunnels, which are highly resistant to vibrations.
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In other cases, we use polyurethane or epoxy resins for setting on lightweight structural panels.
This method allows us to send mosaics worldwide and also remove and reinstall them in the
same location, also allowing them to be displayed in temporary exhibitions.
For weather resistance, we use specific acrylic grout for the joints or, in situations where the
panel is not directly exposed to sunlight, epoxy grout. Upon mosaic delivery, we provide a
maintenance and conservation manual.
2 - Language and Aesthetic Quality
In the mosaic interpretation of the original works by artists, we take care to select the material
that best translates the original into a larger scale. To achieve this, we conduct a thorough
analysis of the artist's work, understanding its plastic characteristics.
To respect the color of the original work, we have the ability to produce any necessary color,
whether in glass, porcelain, or high temperature ceramic.
Oficina de Mosaicos maintains a stock of many tons of Vidrotil glass tesserae (a historic factory
founded in 1947 that closed in 2018) with a wide range of tonalities and high plastic quality.
This is one of the main materials in our current production, also allowing us to restore important
modernist mosaics, both in Brazil and in other countries, and successfully execute our murals.
3 - Team
Within our team, we have a group of mosaic artists with over 20 years of experience, deeply
committed to both the artistic and technical aspects of our work.
Additionally, we have architects and designers specialized in color and pattern development
which are crucial in the pre-production phase of our mosaics.
The study of integrating art and architecture is led by our artistic director in dialogue with
artists, clients, and our production team.
Due to the development of large-scale mosaics, as showcased in the examples ahead, we have
been training a significant number of mosaic artists, thus increasing our production capacity
and ensuring timely delivery if needed.
4 - Mastery of the Entire Process
Oficina de Mosaicos handles all stages of mosaic creation, thus assuming full responsibility for
the outcome of the work, from the design phase and integration of the mosaic with architecture,
to the development and selection of colors and materials, mosaic assembly, and installation at
the chosen location.
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We primarily use the indirect method of mosaic production. This method is advantageous for
large panels because it allows:
(a) Real-time supervision by the artwork author (via webcam or in-person) with the possibility
of artistic creation throughout the assembly process, enabling direct aesthetic changes during
mosaic production. In contrast, the direct method of gluing onto a glass fiber mesh does not
allow for these alterations.
(b) The mosaic can be completely leveled, preventing accidents upon user contact with material
irregularities, even when using materials of different thicknesses, brands, and plastic
characteristics.
5 - Knowledge and Experience
Oficina de Mosaicos has been a pioneer in the creation and realization of mosaics since its
founding in 1982, researching innovative mosaic expressions while continuously deepening
technical expertise and the savoir-faire of artistic mosaic work. This ongoing study has resulted
in monumental and internationally recognized works of art produced not only in Brazil but also
in the United States, the Caribbean, France, and Portugal.
Our work has been the subject of various publications, awards, and conferences, some of which
include:
(a) A book written in 2014 by Isabel Ruas, founder of Oficina de Mosaicos, titled "Mosaics in
Architecture of the 1950s."
(b) A book about the restoration carried out by Oficina de Mosaicos about Emiliano Di
Cavalcanti's panel "Alegoria das Artes" at the Cultura Artística Theater in São Paulo, written
by Gioconda Bordon.
(c) A book about the reconstitution performed by the Oficina de Mosaicos of the seven panels
by Paulo Werneck in the rooftop garden of the Instituto de Resseguros do Brasil in Rio de
Janeiro, written by Gonçalo Ruas and Isabel Ruas, directors of the company.
(d) Our company has also received numerous mentions and publications in daily newspapers
and architecture magazines.
We have received several awards for our work, including:
1. Selection award for the creation of Claudio Tozzi's mosaic at the Exclusive Building,
the largest artistic panel in South America, covering 6,469.00 sq ft. (São Paulo, 2005)
2. Rodrigo Melo Franco de Andrade Award, the most important national award from
IPHAN, for the restoration of the "Alegoria das Artes" mosaic at the Cultura Artística
Theater. (São Paulo, 2012)
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3. Finalists for the Rodrigo Melo Franco de Andrade Award for the reconstitution of
Paulo Werneck's panels in the rooftop garden of the iconic IRB building. (Rio de
Janeiro, 2015)
4. Coverings Award for the artistic panel signed by Isabel Ruas, created by Oficina de
Mosaicos in Rio de Janeiro. (Orlando, USA, 2021)
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Masterpieces produced by Oficina de Mosaicos, representative of our capabilities:
1 - Mosaic signed by Claudio Tozzi, Av. Angélica, São Paulo, 2005.
This large-scale outdoor project has been well maintained since 2005 and showcases our ability
to deliver quality production within a three-month timeframe from the start of assembly.
Created with glass tesserae, it interprets the original painting's language through a blend of
small-sized tesserae (1x1,1x2, and 2x2 cm) in gradient tones. Area: 6,469.00 sq ft.
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2 - Mosaic "Jesus entre os Doutores," signed by Cândido Portinari, installed on the facade
of the Church of the Sacred Heart of Jesus, PUC - Rio de Janeiro, 2008.
Crafted with Orsoni Venetian smalti to express the work of one of the most important artists in
Brazilian art history. Installed with epoxy resin on a removable structural panel, it features a
large quantity of gold tesserae and was considered by João Portinari, the artist's son, as the
official version of the original painting. Area: 129.17 sq. ft.
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3 - Mosaic signed by Alberto Nicolau, Sacomã Metro Station, São Paulo, 2010.
This panel was crafted from cut ceramic pieces of different dimensions to faithfully reproduce
the artist's gestural and highly colorful language. Successful application of this mosaic involved
pull-out tests and the development of a special latex-based mortar with high adhesion. Area:
1,205.56 sq. ft.
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4 - Restoration of Emiliano Di Cavalcanti's mosaic "Alegoria das Artes," São Paulo, 2012.
Originally created in 1950 on the facade of the Cultura Artística Theater using Vidrotil tesserae,
this mosaic is one of the most representative panels of Brazilian modernism. Despite the theater
being completely destroyed by fire in 2008, Di Cavalcanti's mural survived. Oficina de
Mosaicos restored this panel using innovative techniques and manufactured colors similar to
the originals, earning us the Rodrigo Melo Franco de Andrade Award. Area: 4,305.00 sq. ft.
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5 - Recreation from original drawings of Paulo Werneck's seven panels on the garden
terrace of the IRB, Rio de Janeiro, 2015.
These panels, created in 1943, had been completely destroyed. Recreated with porcelain
tesserae according to the original paintings, five panels were installed outdoors alongside a
garden designed by Burle Marx, and two were installed inside the building. One panel is bolted
onto lightweight panels due to vibration from the nearby Santos Dumont airport. Despite
torrential rains and temperature fluctuations in Rio de Janeiro, the panels have endured well.
It's important to note that every two years, the panels receive a superficial treatment with waterbased
silicone. Area: 1184.03 sq. ft.
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6 - Mosaic panel by Isabel Ruas, Rio de Janeiro, 2017.
Created by Oficina de Mosaicos using Vidrotil tesserae of different dimensions and installed
on a Drywall support. Awarded the Coverings prize in 2021, in Orlando, USA. Area: 193.75
sq. ft.
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7 - Mosaic by Vik Muniz, terrace of the Alameda Jardins Building, São Paulo, 2020.
Twelve life-size human figures with a hyper-realistic language. Applied with a thin layer of
fiberglass resin, making them portable, they were installed on an outdoor wall in the building's
pool area. Smalti Orsoni, Vidrotil, Trend, and Bisazza tesserae were used, along with specially
fabricated glass paste colors to achieve human skin tone nuances. Area: 409.00 sq. ft.
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8 - Mosaic panels by Claudio Tozzi, Albert Einstein Teaching and Research Center, São
Paulo, 2021.
A set of four panels executed in Vidrotil tiles for a building designed by Safdie Architects. The
panels were installed on a Steel Frame structure, with executive design developed by Oficina
de Mosaicos in collaboration with Perkins and Will Architects. Area: 516 sq. ft.
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9 - Mosaic in the pool of the Rosewood Hotel, designed by Philippe Starck, São Paulo,
2022.
This mosaic entirely covers a ground-floor pool at the hotel and was made with high-resistance
industrial Gail ceramic shards, sea shells, patterned porcelain, and semi-precious stones.
Installation was done with a three-component epoxy-based mortar and acrylic grout in the
joints. Area: 4305 sq. ft.
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10 - Mosaic sculpture by Claudio Tozzi, Geminiani Momesso Park, Ibiporã, PR, 2023.
Standing 20 feet tall in a sculpture park within a large open-air art museum, this work was
created with glass tesserae from various countries, including Mexico, Spain, and Brazil. Several
special tonalities of glass paste were also produced. The color black alone has over 10 different
shades to achieve the artist's brush stroke effect. Area: 236 sq. ft.
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