Including sustainable strategies in architectural projects is not just a trend, it is a necessity. Each day we become more aware of the importance of responsibly managing natural resources and understanding the environmental factors involved in designing a project.
Solar energy is one of the most commonly employed strategies in residential architecture, both active and passive. Many countries around the world offer incentives to encourage the use of solar systems, and the benefits of installing these systems can be seen in a short period of time, with a reduction of up to 95% in the monthly energy expenses, which makes this strategy one of the most attractive of all sustainable solutions. Furthermore, the average lifespan of a solar panel is 25 years, operating entirely on its own and requiring only basic cleaning once a year.
A home is a sacred realm, a place that embraces and honors a variety of emotions and sensations. As Gaston Bachelard asserts, it serves as our refuge in the world, our initial universe, a true cosmos in every sense of the term. Its intricate symbolism transcends mere functional aspects like room count or bathroom size. Entire universes find their place within its walls.
The term "rede" in Portuguese traditionally conveys the idea of an interweaving of wires. In a contemporary context, it takes on a broader meaning related to connection, collaboration, and integration, whether among ideas, people, or processes. Not coincidentally, these are the core principles of Rede Arquitetos, a collaborative architecture studio founded in 2011 in Fortaleza, Ceará, by architects Bruno Perdigão, Epifanio Almeida, Igor Ribeiro, and Bruno Braga. Presently, the team is led by Braga, Luiz Cattony, and João Torquato, with their main approach emphasizing collective work and valuing encounters over the domination of ideas as a strategy for achieving the best solutions.
UN Headquarters in New York. Photo by the blowup, via Unsplash
In 1945, the declaration of the end of World War II brought a wave of euphoria to the streets, and optimism permeated the atmosphere with the promise of brighter days. Inspired by this newfound hope, the United Nations Organization (UN) was established in the same year. The vibrant city of New York was chosen as the headquarters location, and an international team of carefully selected and invited architects was tasked with conceiving the project.
For this ambitious and truly international project, eleven renowned architects were brought together from various corners of the world. These architects, often known for their inflated egos, a common trait in their profession, were accustomed to exercising full control over their architectural designs and even their respective countries. They had to coexist in the same space and collaborate on a single project. The successful collaboration on this project would be a compelling demonstration of the possibility of achieving world peace.
Home is not just a physical structure defined by its materials and spatial characteristics. It is the result of everyday habits, routines, and fond memories blending into the very essence of the place through its walls, textures, and aromas. This is why a true home cannot be instantly created; it demands time, and a sense of continuity, as it reflects the ongoing adaptation of both the family and the individual within that space.
In 2019, as the world was on the brink of facing one of the most significant pandemics in recent history, Ailton Krenak, a Brazilian indigenous leader, environmentalist, and philosopher, published a book titled Ideas to Postpone the End of the World. This brief booklet, comprising slightly more than 80 pages, came into circulation at a critical juncture, providing both reassurance and a cautionary message to humanity during a time when it observed the rapid evolution of history.
Imagination and policy development go hand in hand. Before we can create policies that bring about a desirable future, we must first envision what that future looks like, which is particularly significant in Architecture because we see the future as an integral part of the design process. This familiarity with envisioning the future carries a responsibility for us to create guidelines and regulations that can either support or obstruct the direction our planet takes.
In this moment of climate change, resulting from centuries of irresponsible practices, the idea of the future has been invaded by fear, an alert that would determine the survival of our existence. Architecture, along with other disciplines, has begun to channel efforts toward reexamining, reconceptualizing, and reformulating its practices toward the future we need to achieve. Beyond statistics and projections, the approach of architecture in relation to climate action brings to light numerous concepts, among them, the need for a historical review for the creation of this future.
The research project that impressed the jury aims to explore the impact of highly successful informal settlement improvement initiatives implemented in various Latin American countries. Its primary objective is to uncover valuable design insights related to social and environmental sustainability. The research is founded on the recognition that Latin America is the most urbanized region globally, with approximately 80% of its population residing in cities. Nevertheless, nearly 15% of this urban population resides in informal settlements marked by inadequate infrastructure and a diminished quality of life. Various improvement programs have been implemented, and the active involvement of citizens has been a crucial factor in enhancing their effectiveness.
If you follow BIG, you have probably already seen Bjarke Ingels talk about hedonistic sustainability and how this concept permeates the most daring projects of the Danish office.
However, sexism doesn't end there. In addition to the discrimination experienced in professional contexts, one can observe the objectification of women in architectural images and concepts.
After years of dominance, orthogonal lines and right angles are giving way to organic designs and rounded shapes within interior design projects. This profound shift in formal language has led to the infiltration of gentle curves and amorphous volumes into design pieces, furniture, and decorative elements, a transformation that's becoming increasingly evident. Some argue that this change may be indirectly linked to the growing interest in sustainability and the pursuit of strategies that reconnect people with nature, as seen in the consistent presence of biophilia across projects of various scales. The period of social isolation during the COVID-19 pandemic further heightened this inclination, prompting individuals to devise ways to incorporate nature into their living spaces, thereby enhancing well-being in day-to-day life.
Increasingly, the concept of social sustainability has become a central theme in contemporary architecture discussions as users' subjective and non-static needs become paramount in the design process. Social sustainability in architecture aims to design and construct buildings and urban spaces that promote well-being, inclusion, and community cohesion. It focuses on creating environments that enable positive human interactions, support diverse needs, and improve the overall quality of life for people who inhabit and use these spaces. Socially sustainable architecture considers the social, cultural, economic, and health aspects of a community to address societal challenges and provide long-term benefits to residents.
Urban blocks can be defined as the space within the street pattern of a city that is subdivided into land lots for the construction of buildings. This morphological element has been shaped according to the current views on urban design and its expectations over the centuries. It may consist of a single building structure or an area with several buildings that vary in size, detached structures surrounded by nature, or intricate labyrinths. Regardless of the composition, an urban block is the basic unit of a city's urban fabric and plays an important role in mediating between the public and private spheres.
Barcelona Pavilion. @ Flickr Renato Saboya. Used under Creative Commons
The idea of integration between art and architecture dates back to the very origin of the discipline, however, it took on a new meaning and social purpose during the Avant-Garde movement of the early twentieth century, becoming one of the most defining characteristics of Modernism. This close relationship is evident in the works of some of the greatest modern architects, such as Mies van der Rohe, Le Corbusier, and Oscar Niemeyer, to name a few.
In a world of extravagant textures, colors, and flavors, who would have thought that a substance that has no color, no smell, and no taste is precisely the most essential for human existence? Antagonistic in itself, water carries an ambiguity of values and meanings that confer a high degree of complexity sustained by the versatile and soluble profile that distinguishes it in a complex simplicity. In this sense, water, as a source of life, has become an object of devotion and study over time. This has fostered a continuous effort focused on understanding, transporting, and controlling this element.
When asked about his memories of the house where he spent part of his childhood, Finnish architect Juhani Pallasmaa says that more than sight, his memories are based on the smell of the house. According to him, each house has its own smell, which we do not always perceive when we are in it, but immediately recognize upon returning.
The circular economy concept became more defined in 1990 when it appeared in the article Economics of Natural Resources and the Environment, by British economists and environmentalists David W. Pearce and R. Kerry Turner. At the time, the main purpose of the research was to demonstrate that the traditional economy did not incorporate recycling. In this way, the environment assumed a secondary role, just like a simple waste reservoir. Therefore, the circular economy would gain strength as an opposition to the linear (or traditional) economy, in which the production chain motto is “extract, produce and discard”. A model deeply rooted in our economy that has become unsustainable for several reasons, like the depletion of natural resources and the contamination of the environment resulting from production and disposal.
“The first man wanted to build a shelter that would cover him without burying him.” With some logs found in the forest, he built a square covered with straw so that neither the sun nor the rain could enter, and thus, he felt safe. The description above refers, in a simplified way, to the theory of the primitive hut developed by the abbot Marc-Antoine Laugier in the mid-1700s. The small rustic hut described by Laugier is a model upon which he imagined the magnificence of architecture. It provides an important reference point for all speculation about construction foundations and represents the first architectural idea."
