The text below presents a brief summary of the past editions of the International Architecture Biennale of São Paulo, coinciding with the announcement of the curatorial team for the 12th edition. If you are looking for a research source on the first ten editions of the event, we suggest the book Arquitetura em Retrospectiva: 10 Bienais de São Paulo, by Elisabete França, which offers an excellent overview of the paths taken by the exhibitions and shows how the architecture biennials became the preferred venue for promoting Brazilian production, ultimately joining the official calendar of events for the city of São Paulo.

“Progress” is certainly a word that symbols what the 1940s represented for the city of São Paulo. As developments flourished in the fields of art and architecture, new landmarks materialized from the fusion of these two disciplines, such as the Museum of Modern Art of São Paulo (MAM)—an institution inaugurated in 1948 that showcased the height of what was then considered modern.

Architecture does not illustrate or imitate ideas born from philosophy, literature, painting, or any other form of artistic representation; rather, it constitutes a mode of thought in its own right: architectural thought. This way of thinking and making requires its own tools as the only means of translating these ideas into something concrete, something real, capable of communicating on its own. One of these tools—perhaps the most indispensable—is drawing.

Designing spaces intended for the exhibition of furniture pieces with high structural, ergonomic, artistic, and historical complexity requires a distinct design approach, as the goal is to showcase the product while persuading the viewer-client to purchase it. In Brazil, prime examples such as the Forma store (1987), Micasa (2004), Casa Matriz (2004), Micasa Volume B (2007), Ouvidor (2013), Dpot (2016), Líder (2016), and Micasa Volume C (2017) stand out for masterfully combining these principles. Generally speaking, they provide the “white box” required as a backdrop—akin to works of art within the neutrality of exhibition spaces—while arranging the pieces to evoke the desire to buy.

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São Paulo, like so many other Brazilian cities, has a standardized, monotonous, and gray architecture, with its aesthetic defined by real estate developers and builders, offering very little architectural value.

To be sure, there are highly significant buildings—including historical downtown classics like the Martinelli Building, modernist examples by Rino Levi and Artacho Jurado in Higienópolis, and contemporary experiments in Vila Madalena designed by Isay Weinfeld and Triptyque. Unfortunately, these examples are few, dwindling to almost zero as we move toward the outskirts.

I am obsessed with the idea that we can change this reality by hacking existing buildings, fostering a new urban identity, boosting civic pride, improving quality of life, and promoting innovation and sustainability at viable costs.

It was in Granada, specifically at the Alhambra Palace, where on October 14 and 15, 1952, a group of Spanish architects including Miguel Fisac, Secundino Zuazo, and Fernando Chueca met to reflect on and establish a new direction and foundation for modern Spanish architecture. The outcomes of that meeting were summarized in a document whose tenets remain remarkably relevant today, known as the Alhambra Manifesto [pdf].

Sixty-five years later, under vastly different historical, social, and cultural circumstances, architects from across Spain are gathering once again in Granada for the III National Congress on the Future of the Architect. Running from yesterday, Thursday, April 11, to tomorrow, Saturday, April 13, the event serves as a platform to share experiences, analyze the current state of the profession, and debate the future possibilities of this exciting field.

Fábrica Puigneró is a project by Santi Julià Xercavins and Bernat Pedro Planas, focusing on the adaptation of abandoned industrial infrastructure in towns that were once heavily dependent on industrial production.

For their final thesis project at the Universitat Politècnica de Catalunya, the authors designed a comprehensive intervention for the former Hilados y Tejidos Puigneró textile mill in the town of Sant Bartomeu, Spain. "This transformation and retrofitting of the factory aims to generate a new livable framework, utilizing selective demolition and the integration of public space as its primary strategies," the authors explain.

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This article was originally published on September 20, 2019.

At first glance, the outlook—both global and national—is not very encouraging; indeed, it seems as though the world is spinning out of control¹… simply turning on the news or checking social media brings us face-to-face daily with complex issues such as corruption, war, and violence. The truth is that the evidence is clear: among global afflictions, the consequences of natural disasters top the list. In this context, how society behaves as a whole in response to emergencies is well worth analyzing²…  this raises the question: how does the collective human consciousness respond when its survival is put to the test? Is it possible to find qualities like solidarity in this day and age? Let us examine two perspectives on this issue from globally renowned authors.

When developing an architectural project, regardless of scale or program, architects face a series of decisions regarding the construction method to adopt, considering various aspects—structural, economic, available labor, aesthetics, among others—in pursuit of the best solution.

To address the many questions that arise during design development regarding the choice of structural systems, we have prepared a practical guide to the main types of cast-in-place and precast concrete slabs that designers should know, highlighting the advantages and disadvantages of each.

Learn more below:

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The news spread quickly that Wednesday afternoon. Chilean architect Eduardo Castillo, a partner of Smiljan Radic, was in critical condition following a car accident earlier that day in Santiago. The local architectural community barely had time to react before his unexpected passing at the age of 45 was confirmed the following morning, Thursday, October 5, 2017.

Originally titled "FairBnB or how to prevent Amsterdam from becoming a hotel," in this article, City Makers co-founder and member of Amsterdam's Fair City platform, Sito Veracruz, delves into the urban dilemma facing the Dutch city due to tourist pressure driven by platforms like Airbnb and the subsequent rise in housing costs for actual residents.

Amsterdam is one of the few cities where renting apartments through Airbnb and similar platforms is legal and regulated. Here, it is possible to rent an entire apartment for up to 60 days a year without registration. It is also legal to rent out one or two rooms in a home with no time limit, which only requires meeting certain conditions and notifying City Hall.

Amsterdam ranks in the top ten cities with the most listings on Airbnb, with 17,000 apartments, and can boast of being one of the few cities in the world that derives a direct financial return from these rentals. The agreement signed between Amsterdam and Airbnb in 2014 obliges the company to collect a tourist tax (5% of the total booking amount), which generated 5.5 million euros in revenue for City Hall last year.

Over his thirty-nine-year career, Chilean architect and landscape architect Juan Grimm has distinguished himself by creating over 1,000 hectares of gardens and parks across Argentina, Peru, Uruguay, and Chile.

In partnership with publisher Hatje Cantz, Ediciones Puro Chile has compiled his South American works in the monograph "Juan Grimm." This art book offers insight into the development of his creations through interviews, essays, and an extensive inventory of his works, design processes, projects, and sources of inspiration.

Part of the Eixão Sul, in downtown Brasília, collapsed this morning. Two of the three northbound lanes gave way and plummeted near the Galeria dos Estados, about one kilometer from the Plano Piloto bus station.

According to a report by the news outlet G1, the collapse buried two cars reportedly parked under the overpass, as well as tables from a restaurant. While the Civil Defense reported no casualties so far, there is still a risk that other parts of the concrete slab could collapse.

En Reserva, Peru's pavilion at the Venice Biennale 2018, aims to reveal an ancient layer hidden within the city of Lima, showcasing its urban and architectural generosity across different scales.

The exhibition, curated by architects Marianela Castro de la Borda and Janeth Boza, and journalist Javier Lizarzaburu, presents a large volume with a perimeter path, inviting visitors to reconstruct the links between past and present, before imagining the future.

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In recent decades, architecture and the built environment professions have maintained an insular attitude, separating them from relevant conversations and preventing them from identifying opportunities and new territories to conquer. The future will require leaders with a broad and refreshing vision of our field: leaders, both men and women, with the sharpness and skills to identify real problems across a wider spectrum of fields than ever before, capable of transforming them into innovative, high-impact business opportunities that connect better with society and generate greater value.

The omnipresence of technology, demographic pressure, exponential urban growth, and various environmental threats are transforming how we plan, understand, and interact with space—in short, our way of life. To face this landscape, we must evolve faster than our context. As architecture and design professionals, we possess exceptional talent as a group. We have the capacity to think in systems, naturally combining creative and proactive approaches with strong analytical skills, and we are capable of integrating highly disparate factors into a long-term vision, making us excellent strategists. Leveraging this talent from a much broader professional perspective does not mean discarding our traditional roles, but it does require questioning the status quo: like a tree, the higher we aim to reach, the deeper our roots must grow.

Keeping the following ideas in mind can serve as a valuable guide in this compelling process of redefinition:

We are witnessing a historic moment, standing at the dawn of an inevitable epochal shift. The economic, social, energy, and ecological crises in which we are immersed are some of its most evident symptoms. However, we must confront this bleak context from an optimistic perspective, viewing it as an opportunity to subvert the old paradigms that have led us to this dramatic situation.

But how do we prepare to face the urban challenges of a future that begins today? We certainly cannot do so by relying on outdated frameworks and tools; as Einstein famously said, “We need new ways of thinking to solve the problems created by old ways of thinking.”

The waters of the Gowanus Canal in Brooklyn, New York, still do not smell good, although the problem was once much worse. They carry the remnants of years of industrial pollution and untreated sewage.

The area, which in the 19th and 20th centuries was primarily industrial, has undergone revitalization in recent years through federal investment (see here). New green spaces were created, and service-oriented businesses moved into the neighborhood. Residential property prices also rose, ultimately displacing long-time residents.

Today, companies seek to connect different generations and leverage their unique contributions to the workplace. They aim to maximize innovation through the synergy generated by combining the drive of younger generations with the experience of older workers. Given the specific characteristics of each age group—including differing values, experiences, styles, activities, and expectations—both the workspace and the way we work are being rapidly redefined.

Exorcity presents itself as the treatise on millennial architecture. It features 35 radical and subversive projects by daring students, all set within the urban context of Madrid. These are 35 projects in which the city is understood as a testing ground and a playground for thought. Elegance, violence, reason, seduction, chance, desire, emotion, power, dreams, and love come together here to challenge, alter, and stimulate the reader both visually and intellectually. It offers a fascinating, fresh vision from the young architects who will design the future of Madrid and Spain. 

As such, Exorcity represents an effort to give visibility to the necessary transformation that architecture has been undergoing in academia in recent years. This transformation is driven by a new generation of architects—defined as digital natives—who are responding and providing disruptive, intelligent solutions to the complex, difficult challenges of the urban context. 

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Urban form can be understood as the physical “face” of a city. The organization of public and built spaces is what determines a city's urban form. Consequently, a city can be sprawling – characterized by low population densities, a reliance on private transport, and long commutes –, or compact, featuring balanced densities and multiple centralities. Achieving this latter model requires robust land-use management closely integrated with public transit planning.

São Paulo, a megacity of over 12 million people, hides many mysteries beneath the feet of those passing through its streets, despite the frantic hustle and bustle of daily commuters.

Unlike our guide to lookout points for experiencing São Paulo from above, we now present a selection of underground sites that are largely unknown to the general public, each preserving a piece of the city's history. Theaters, an aquarium, an unfinished subway station, and artistic and cultural institutions are among these semi-secret spaces. Explore our selection below:

Today, August 24, architect Oswaldo Arthur Bratke would have celebrated his 111th birthday. As one of the leading figures of São Paulo's modernist architecture, he stands out alongside prominent names such as Affonso Eduardo Reidy and the Roberto brothers, among many others. He entered the School of Engineering at Mackenzie University in 1926, graduating in 1931 as an engineer-architect. Two years after graduating, he established a solid partnership with architect Carlos Botti, with whom he designed a series of collaborative projects, most notably the Grande Hotel in Campos do Jordão.

The future of a city is intimately linked to its open and public spaces, which serve a distinct social function. Open spaces in Caracas are rebel spaces hosting emerging and insurgent uses: reoccupied, reclaimed, and reinhabited for the enjoyment of local communities.

In CCS - Espacio Rebelde, the city is not a matter for expert urban planners, designers, or architects, nor is it a matter for the elites: it is a process of inclusive consensus, collective construction, and community agreements.

A few weeks ago, we invited our readers to imagine a scenario: if the next Pritzker laureate were Portuguese-speaking, who would you bet on?

The formal exploration of architecture offers several avenues for experimentation within design practice. Designing diverse forms, site layouts, and compositions is a strategy that gains significant depth when paired with material investigation. Glass, as a material, allows architects to engage with some of the core elements of architectural theory: natural light, the transparency and opacity of surfaces, the suspension of spatial boundaries, and the visual relationships established between different parts of a building.

When freed from its conventional role as a window, glass can be used strategically to address complex project conditions, enrich spatial quality, or serve as a balancing element between weight and lightness when combined with other materials such as steel, wood, and concrete.