There is much discussion regarding ways to reduce the environmental impact of the construction industry, whether through the waste generated by traditional jobsite activities or the water consumption associated with the building processes of certain construction types. Driven by the ecological agenda, current efforts to revise these traditional construction parameters also—and perhaps primarily—respond to the potential for improving jobsite logistics and profitability, making construction faster and more economical for builders. Dry construction has emerged as a key alternative for the industry, offering a fast, clean, and efficient building process that generally requires fewer materials.
Despite the ongoing trend toward verticalization in major cities, houses remain traditional fixtures in many urban contexts, continually evolving over the years. Designing a house in the city involves a series of constraints specific to urban contexts, and the virtuosity of architecture in these cases lies in uncovering the opportunities that urban lots—typically restricted in size—can offer to their inhabitants. Some proposals counter the increasingly visible trend of walling off and isolating residential spaces within gated communities or large housing complexes. Instead, they set out to establish a direct and engaging relationship with the public realm, recognizing that the city has a wealth of possibilities to offer to architectural design, even within the private sphere.
We have selected a series of Brazilian residential projects that respond to urban constraints with diverse and effective solutions.
Few materials respond as well to a multiplicity of uses as wood. It ranges from the smallest decorative objects to the structural elements of high-rise buildings, bringing a distinctive character to architectural designs when left exposed. Its rich variety of tones, densities, and patterns, combined with its organic nature, make wood a unique and singular element that instantly lends warmth, coziness, and hospitality to any space.
Aerial view of the Tietê River Expressway in São Paulo. Photo by Fernando Stankuns via Flickr / CC BY-NC-SA
Every year, the rainy summer months bring a wave of media coverage detailing the devastating effects of floods on the lives of citizens and the urban territory of São Paulo. It is as if, during this period, public discourse platforms become a stage for reporting chaos and seemingly insurmountable challenges that urban centers must face in their daily relationship with water.
The concept of "truth to materials" is a maxim cultivated within architecture as a way to preserve the comprehensibility and function of the components that make up buildings. Although it dates back to when modernist discourse guided practical application, this approach persists in various contemporary projects for a wide range of reasons, from a nod to historical continuity to the expressive possibilities that raw materials bring to built environments.
Historically and today, one of the cornerstones of urban planning is the design of major transit facilities and infrastructure in cities. These projects address a diverse program that typically responds to collective demands within public space; consequently, they tend to be large-scale structures designed to accommodate heavy passenger flows and serve as vital coordinators of urban mobility.
Amid a period of restrictions and isolation, it is not only social life that has been subjected to distancing. The habit of visiting museums and exhibitions has also been disrupted. Although experiencing art in person always offers an unparalleled way to absorb the impact of an image, the opportunity to explore exhibitions and museum buildings online provides a way to keep this space alive in our daily routines. Virtual tours are also valuable because they democratize access to art and culture. Furthermore, they can engage those who do not typically participate in these activities, sparking a new interest that, once physical spaces reopen, will foster active engagement with the local museum and art scene.
While multidisciplinarity is one of the most compelling virtues of an architect and urban planner's education, it can lead to a certain imprecision and deviation regarding the practical possibilities of the profession when interpreted too generically. From time to time, it is crucial to reiterate the nuances of the broad spectrum that the word "design" encompasses in this field, as these specifics yield distinct bodies of knowledge and professional niches that can and should be occupied by architects.
When considering architecture as a tool of impact on public life, there is an extensive history of cases to draw from, which undoubtedly includes the relationship between architects and the State across various contexts. From landmark examples, such as the urban planning and architectural design of Brasília, to more contemporary demonstrations of the virtues of this collaboration, the civic vocation of design is expressed in its most explicit form through these types of programs. Designing projects with such implications also means confronting the fact that the client does not present the traditional demands of a typical commission, but rather represents collective interests and the effective stewardship of the public realm. This offers a major opportunity for professionals in the field to devise ways to foster and strengthen democratic values within society.
Since 1992, following the United Nations Conference on Environment and Development, World Oceans Day has been celebrated on June 8 as a tribute to the sea and everything it offers, from raw resources to its powerful presence as a landscape landmark. In architecture, projects that engage with this infinite expanse of water have the opportunity to dialogue directly with one of nature's most powerful and expressive elements.
Designing residential projects constantly involves finding ways to enhance the daily lives of those who will occupy these spaces every day. The desire to radically subvert the housing program is bounded precisely by the realities of everyday life—domestic activities, practical dynamics, and the long-term presence of the residents. Consequently, innovation and creativity in these cases are usually manifested in details, spatial transitions, points of interest, furniture, and thoughtful approaches to interior design that are both pleasant and tailored to the inhabitants.
One way to create elements of surprise and break the monotony of standard residential layouts is the strategic, selective use of color in interior spaces. Pairing architectural elements such as beams, columns, floors, fireplaces, panels, and cabinetry with contrasting tones offers a fresh take on familiar components, innovatively transforming the perception of interior environments. Below, we have curated a selection of Brazilian projects that explore this approach in their interior designs.
Certain acclaimed architectural works are recognized by details or specific elements designed with such care and inventiveness that they become the immediate reference that comes to mind when we think of these projects.
One such element that frequently takes center stage is the staircase. This is evident in classics like Lina Bo Bardi's Solar do Unhão, featuring a singular wooden staircase that organizes the entire open space and defines the scale of the structure, or the iconic helical staircase of the Itamaraty Palace, designed by Oscar Niemeyer with the precise curves that characterize his work.
One of the most iconic selection tools for architecture and urban planning projects in Brazil is the design competition. Firmly established in the country's architectural culture, they provide, on the one hand, an environment of stimulation, opportunity, and revitalization for both practice and the debate of ideas—an important condition for reaffirming a democratic and horizontal approach to choosing winning proposals. On the other hand, they are the subject of heated debate due to how they have evolved, their evaluation methods, and, above all, because they frequently award proposals that reiterate a certain type of architecture linked to a modern formal vocabulary, neglecting proposals that seek some form of renewal of this formal imagery.
Concrete is a key symbol of a highly celebrated era in Brazilian architecture. To this day, it remains one of the preferred materials for architects and designers seeking to explore the flexibility and expressiveness it brings to their work. Although primarily associated with building structures, concrete can also take center stage due to its materiality, thermal feel, color, and other qualities that transcend its structural role. When left exposed, concrete imparts a striking character to interiors, establishing a dialogue with the other elements that shape the space.
The interfaces establishing the relationship between inside and outside in architectural design play a fundamental role in reinforcing or denying the potential degrees of this connection. To this end, a central factor in facade design is the opacity of its materials, which can create vastly different conditions regarding light, views, and atmospheric quality within a space. Translucent materials and elements offer a compelling strategy for mediating between interior and exterior. They evoke a diaphanous, ethereal effect, introducing a touch of mystery through surfaces that allow light to filter through while obscuring any sharp, distinct images for the observer.
Associated with the architectural imagery of the 1980s, glass bricks—or blocks—are building elements whose sculptural potential has once again been recognized and revisited by contemporary design. First patented in 1907, this product was developed to meet the demand for light in building interiors; however, it is sought after today primarily for the visual effects produced by its translucency and texture. Currently, it is being used in diverse contexts, from bathrooms to residential partitions, and even entire facades of bars, stores, and restaurants.
The transformations in the civil construction production model historically proposed by housing movements through self-managed *mutirões* (mutual-aid efforts) in Brazil, compared to market-driven production modes, are not limited to the labor force responsible for undertaking construction. That is, it is not merely a swap of wage labor for decommodified mutual-aid work. Instead, these innovations span various spheres, from architectural design—conceived from a collective perspective and as a common good that positions the mutual-aid builder as "author, producer, and future user"—to the production mode itself. Unlike the traditional model, in this framework "it is not possible to increase productivity through increased exploitation, precarization, overtime, and layoffs, but only through the invention of new procedures and construction techniques." This theme is a subject of debate for many architects, both in the theoretical arena and in practice and experimentation, where the construction site becomes the stage for efforts toward rationalization, optimization, and horizontal processes.
In the world of architecture, technical solutions designed for indoor comfort are frequently transformed into expressive features or unique design details. This is especially true of reflecting pools—features that significantly improve thermal comfort in buildings while simultaneously serving as elements of aesthetic interest, creating striking moments wherever they are implemented.
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