Romullo Baratto is an architect and urban planner, PhD candidate in Architecture and Cinema at FAU-USP. Since 2019, he has been the Managing Editor of ArchDaily Brasil, and he also works as an architectural photographer. In 2017, he was a member of the curatorial team for the 11th São Paulo Architecture Biennial. Follow him on Instagram: @romullobf.
The unfinished Tripoli International Fair, designed by Oscar Niemeyer for the Lebanese capital, could become a UNESCO's World Heritage Site. Conceived in the 1960s at the request of the then President Fouad Chéhab, the fair remained a symbol of projected modernity for the country.
The entertainment industry frequently captures unusual architecture from theme parks that explore bygone eras to remote locales in the hills of Las Vegas that often go unseen.
A two-hour drive from Rio de Janeiro's renowned beaches you can find a 20th century French Normandy building in the state's sierra region: The Palácio Quitandinha.
Few residential projects in recent years have attracted as much attention as Ricardo Bofill's Muralla Roja. Completed in 1968, the Mediterranean design has benefited from trends of millennial culture, having served as a backdrop for several photographic essays and even music videos.
With worldwide notoriety, it isn't surprising that residents of the famous pink estate have sought to bar access from the already fortified wall. This, however, was not enough to prevent the Lebanese photographer and architect Anthony Saroufim from venturing through the labyrinthine of corridors and staircases of the Bofill building.
One of the most influential 20th-century architecture schools, the Bauhaus experienced its glory days in the city of Dessau between 1925 and 1932. Under the direction of Walter Gropius, Hannes Meyer, and Ludwig Mies van der Rohe, the emblematic educational complex was a place for work and housing for some of the most renowned personalities of architecture, design, and art of the last century.
Although the school in Dessau operated for a limited time with few people having the opportunity to experience the prolific environment, it left a deep impact on the architectural production that followed. The buildings that are part of the complex - both in Dessau and Weimar - were added to the UNESCO World Heritage List in 1996 and are now open for visitation.
Brazil's National Museum, one of Latin America's most important museums, was completely destroyed by a fire that started at 7:30 pm on Sunday evening. It housed over 20 million items related to the history of the Americas, many if not all of which were lost.
A report in the Rio Times indicates that the museum had operated normally on Sunday and closed its doors at 5:00 pm, two and a half hours before the blaze began. The cause of the fire remains undetermined.
The concept and title Walls of Air was conceived as a response to the theme of Freespace proposed by curators Yvonne Farrell and Shelley McNamara in order to provoke questions about: 1. the different sorts of walls that construct, on multiple scales, the Brazilian territory; 2. the borders of architecture itself in relation to other disciplines.
Therefore, a reflection began on how much Brazilian architecture and its urban developments are, in fact, free. Without the ambition of reaching an answer, but hoping to open the conversation to a large and diverse public, we chose to shed light on processes that often go unnoticed due to their nature or scale. The immaterial barriers built between people or neighborhoods, and the processes of urbanization in Brazil on a continental scale are examples of questions we considered.
Portuguese architectural photographer João Morgado shared with us a series of images from Álvaro Siza's latest project, the Capela do Monte. This chapel is located in Barão de São João, in the Algarve region of Portugal. Part of the Monte da Charneca complex, Capela do Monte was commissioned in 2016 by a Swiss-American couple residing there.
Inaugurated in March of this year, the sandy colored, 10.34 x 6.34-meter structure was built at the highest point of a hill and can only be accessed by foot. Its monolithic geometry suggests, from outside, a serenity from the inner space. The wooden furniture within the chapel were all designed by Siza and manufactured by Serafim Pereira Simões Successors of Porto.
Brazilian contemporary artist Ernesto Neto recently realized a colorful sculpture made of hand-knotted cotton strips in the atrium of Zurich's Central Station. Titled Gaia Mother Tree, the installation resembles a giant tree and extends from the station's roof to its floor.
Exhibited by the Fondation Beyeler, Neto's sculpture is an immersive work of art, a space that one can enter into and walk around or remain and meditate. The Gaia Mother Tree will be on display until July 29th. A series of activities for adults and children, including musical concerts, workshops and debates, is scheduled to take place under the net of cotton.
The idea of a total work of art - Gesamtkunstwerk - guided several schools and movements in the 19th century, including the Bauhaus, which brought the term into the modern era. With the school's unstructured architecture and avant-garde furniture design came new ways of designing clothing, graphics and painting, etc. In the Bauhaus different fields influenced each other, diluting the border between art and industry as they evolved together. When the school was closed 1933 many projects were left unfinished.
In order to revive some of the work begun at the Bauhaus, Adobe launched the Hidden Treasures project to revive five fonts inspired by the original designs of five of the school's masters: Joost Schmidt, Xanti Schawinsky, Reinhold Rossig, Carl Marx and Alfred Arndt.
Selected along with nine other architects by the Vatican, Carla Juaçaba has shared images of her proposed chapel design as part of the Venice Architecture Biennial, which marks the city-state's first time participating in the largest architectural event in the world.
The proposed chapel design seeks a harmonious integration between the water and trees that surround Venice, with the nearby vegetation outlining the interior space of the chapel. The space between the treetops - which offers a view of the sky - functions as the ceiling of the chapel.
Not all architects get the opportunity to design a museum. Between budget, scale and factors external to the field of architecture, designing a museum--and actually getting it built-- may mark the pinnacle of one's professional trajectory.
These public buildings provide an invaluable service to the communities in which they are located; from education to commemoration and (occasionally) the provision of public space, museums are "shining lights" in which architecture plays a fundamental role.
As part of our 2018 Venice Architecture Biennale coverage we present Public Without Rhetoric the proposal for the Portuguese Pavilion. Below, curators Nuno Brandão Costa and Sérgio Mah describe their contribution in their own words.
Public Without Rhetoric is the project selected to represent Portugal at the 16th International Architecture Exhibition of La Biennale di Venezia. The curators Nuno Brandão Costa and Sérgio Mah propose a tour of the “Public Building” of Portuguese origin through 12 works created at a time when Western Europe is confronted with its limits and possibilities and as architecture manifests its nonconformist nature in reinforcing its role in political and social intervention.
The well-known saying “all roads lead to Rome” seems to be true--at least, that’s what Moovel Lab, a team from Stuttgart dedicated to urban mobility research, points out. Titled "Roads to Rome," the project has mapped out over-land routes across Europe that converge to the city.
From a grid of 26,503,452 square kilometers covering all of Europe, the researchers defined 486,713 starting points that were superimposed on the continent's street map. Then an algorithm was developed for the project that calculated the shortest route between each of the points and the Italian capital.
Modern architecture has had many faces and developments, ranging from post-war reconstruction strategies in Europe to the International Style in the United States. One of these facets - perhaps the least glorious - are the social housing buildings of the eastern part of Europe, the results of initiatives by the Soviet regime to offer low-cost housing to the population.
Often associated with unsuccessful programs, these buildings were generally very similar to each other, presenting very simple prismatic geometries with little chromatic variation. Blocks, so to speak, that in the hands and imagination of designer Lukas Valiauga take on a ludic aspect that has never been natural to them.
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It's not uncommon to happen upon works of architecture that resemble everyday objects. Sou Fujimoto even created an entire exhibition of "architecture" made of ashtrays, potato chips and matchboxes. Cheese graters, beehives and bottle openers appear to have been enlarged and given an architectural program (given the resemblance to their smaller counterparts).
Architect Filipe Vasconcelos goes beyond obvious alikeness and explores, through digital collage, the similarity between architectures and objects. He creates scenes in which the works are reimagined in displaced situations, with nothing to do with original context or use.
It is rare to find artists who can instigate critical reflection on architecture by combining references such as 'The Red Wall' (La Muralla Roja) by Ricardo Boffil, with the complex illustrations of Giovanni Battista Piranesi and pop culture icons. But Tishk Barzanji, a London artist, is one who does.
Through his digital illustrations, he explores elements of modern architecture from a filtered view by using references that create a dreamlike and surreal universe, producing compositions that express an austere and somewhat disturbing atmosphere.
This year, ArchDaily marks our 10th anniversary as a global platform for architecture. In the past 10 years, we have democratized access to architecture and brought a daily dose of information, knowledge and inspiration to students and professionals.
To celebrate this important milestone, we have compiled a series of projects that recall our iconic logo: the blue three-story, prismatic house. We've curated over 33,543 built projects so far, including classics and flashbacks. We went through this enormous archive of projects and made a note of the ones that amused us and delighted us with their rectangular prism shapes and oddly occurring windows. They remind us of the beloved ArchDaily logo, and we're pleased to see that this shape can take on so many forms, all over the world.
