Announced in November by Minister of Economy Paulo Guedes, the Mais Brasil Plan includes three Constitutional Amendment Proposals (PEC) aimed at balancing fiscal accounts at the federal, state, and municipal levels. Among them is the dissolution of municipalities that are not financially self-sustaining.

Brasília has always been a subject of interest for architects worldwide. Proof of this is the vast volume of literature published on Brazil's new capital over the nearly six decades since its inauguration.

Regarding Brasília, several questions emerge[1]: Who spoke about the city? Who criticized its construction? How did Brazilians interpret the idea of a new capital? Surveying those who participated in these debates helps clarify the “state of the art” of architectural interpretation in Brazil. Looking ahead, this historiographical perspective aims to raise new questions and foster a critical stance toward the most common readings of Brazilian modern architecture.

Conceived as a large-scale residential development in an expansion zone of São Paulo, the Jardim Ana Rosa Residential Complex began its subdivision design in 1950, in the Vila Mariana neighborhood, facing Largo Ana Rosa. The development, carried out by the Banco Hipotecário Lar Brasileiro, featured the participation of several prominent São Paulo architects of the time, such as Abelardo de Souza, Plínio Croce, Roberto Aflalo, and Salvador Cândia. In its initial version, the project planned for a few buildings bordering Vergueiro Avenue, with most of the area designated for single-family homes.

Immaterial Heritage is a concept adopted in many countries and international forums as complementary to the concept of tangible heritage in the formulation and implementation of policies to protect and safeguard cultural heritage, from an anthropological and relativistic perspective of culture. Intangible heritage is also used as a synonymous term to designate the symbolic references of the sociocultural processes of invention, transmission, and continuous practice of traditions that are fundamental to the identities of groups, social segments, communities, peoples, and nations.

There is perhaps no concept so generic and comprehensive, yet at once so impersonal and difficult to reach consensus on, as that of the environment (focusing on the United Nations Conference's own definition of environment—the environment as the set of physical, chemical, biological, and social components capable of causing direct or indirect effects, in the short or long term, on living beings and human activities—we immediately find that establishing a stable, common, and assertive conceptual foundation is highly difficult to achieve, let alone universally recognize...)

Over the next 20 years, 45% of urban land should consist of public spaces (streets, parks, and plazas), according to UN-Habitat. What will be the quality of these spaces? Which stakeholders will assume responsibility for their management? The movement to reclaim public spaces by city dwellers is gaining momentum both in Brazil and globally. The right to the city is at the forefront of urban discourse, and at its core, many citizens are committing to actively participate in decisions regarding their cities, or even in everyday initiatives to improve public spaces.

When driving alongside a bike lane, it is hard to escape comments like “it’s always empty,” “it takes away space from cars,” or “businesses lose customers.” But is there any truth to these claims? Here are some of the most common myths about bike lanes – and the reality behind them.

In July 2019, the habita-cidade Platform [1] organized the "Ways of Dwelling: Traditional Architectures" Travel-Workshop, which brought students and professors to the Ypawu Village in Kamayurá territory, in the Upper Xingu. The general objective of the "Ways of Dwelling" Travel-Workshops is to foster constructive reflection on the diverse forms of human habitat across the planet. This year, responding to a request from Kamayurá master builders to produce a manual on local architecture, the Travel-Workshop was designed so that the visiting group could support this important endeavor. The idea for the Kamayurá Architecture Manual was first proposed by Kanawayuri L. Marcello Kamaiurá (a local leader) to architect Clarissa Morgenroth (a graduate of Escola da Cidade) and theater director Cibele Forjaz. Escola da Cidade was then invited to join the project, which was taken on by the habita-cidade Platform, an initiative linked to the *lato sensu* postgraduate program "Housing and City."

The Master Plan is the basic instrument for defining a municipality's development model. It establishes guidelines and strategies for executing plans, programs, and projects, seeking to emphasize public participation as well as economic, social, and environmental sustainability. Yet, its influence on the city goes far beyond what is commonly imagined: it ultimately dictates the volume and form of every new building.

As an escape from daily worries, nightclubs are often venues for physical expression and releasing stress. Designed specifically for dancing and aiming to craft bold atmospheres, architects around the world are increasingly being commissioned to design these venues, delivering innovative concepts that range from unique material selections to unconventional lighting designs.

The construction industry drives considerable economic activity worldwide, generating countless jobs and substantial revenue. At the same time, it also carries significant negative impacts, ranging from the depletion of natural resources to high levels of waste generation during both construction and demolition phases. To put this in perspective, in Brazil, Construction and Demolition Waste (CDW) is estimated to account for 61% of all waste generated, while household waste represents 28% [1].

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The word “gentrificação” is the Portuguese rendering of the English term gentrification, first used, in all likelihood, by British sociologist Ruth Glass in her book London: Aspects of Change (1964), where the author described and analyzed certain changes in the spatial organization of the city of London. The term gained popularity after its use in academic works on the subject, accompanying an urban phenomenon present across various periods and spaces: the gradual or sudden displacement of residents and users living in precarious conditions from a given street, urban area, or neighborhood to another location, making way for the appropriation by residents and users of higher economic and cultural status.

Women in architecture, contemporary production in the Global South, theory and history, buildtech, new materials, recycling in construction—2019 was a year rich in investigations and reflections that approached architecture from a variety of perspectives. Fulfilling our mission to make ArchDaily a source of tools and inspiration not only for professionals and students but also for anyone interested in architecture, we published hundreds of articles on topics as diverse as the perspectives on the built environment. 

This year, the Favela-Bairro Program marked 25 years since its creation. Several events and articles have reflected on the milestone, assessing the program's impact on urban housing in the participating cities. We at Arquicast also discuss the topic in episode 76, now available on our platforms.

The Walls of Air exhibition in the Brazilian pavilion at the 2018 Venice Biennale presented 17 projects from different regions of the country, selected from an open call, as well as a series of large cartographic drawings addressing different aspects of the country's urbanization through the lens of architecture. In this publication, we present the series of ten maps featured in the Walls of Air exhibition catalog as excerpts from the exhibition's maps—a study developed by Mapping-lab in collaboration with the curators of the Brazilian Pavilion (Gabriel Kozlowski, Laura González Fierro, Marcelo Maia Rosa, and Sol Camacho) and their team.

Designing a home is an experience that nearly all architects have either already had or will encounter over the course of their careers. However, balancing the future residents' requests with technical requirements brings daily challenges, whether due to tight budgets or limited space—both of which can serve as intriguing catalysts in architectural practice. As a result, architects are often challenged to maximize the residential program within a constrained footprint.

The cobogó is a widespread element in Brazilian architectural culture. Its origin and name trace back to the creators of this piece, which filters natural light and ventilation while providing rhythm and lightness to facades and interior partitions. Amadeu Oliveira Coimbra, Ernest August Boeckmann, and Antônio de Góis are the engineers who, working in Recife in the early 20th century, conceived this type of hollow block.

Urban planning goes far beyond the built environment itself. Every day, our choices, how we move around, how much we spend doing so, the opportunities we can access, the choices we make and those we forgo—all of this is shaped by urban planning. Professionals in the field, therefore, have a direct influence on life in cities. But what does the academic training of future urban planners look like today? What is essential for working in this field?

The use of shared e-scooters as a mode of transportation has emerged as one of the major revolutions in urban mobility in recent years. Since launching in September 2017 in the United States, e-scooters quickly became a phenomenon and, within less than two years, a reality in several major cities worldwide.

OUTROS BAIRROS, an initiative integrated into the PRRA – Rehabilitation, Requalification, and Accessibility Program and carried out in the city of Mindelo, Cape Verde, aimed to develop a methodological test for the rehabilitation of an informal settlement.

The adaptability of architectural professionals in Brazil is indisputable. Confronted in recent years with crises of various kinds that have hindered the execution of work and, perhaps even worse, immersed in a structure that systematically undervalues the profession, the professional, and the project, the vast diversity and high quality of current production is remarkable. 

Videos

Escola da Cidade has shared with us a lecture series on Japanese Architecture and Culture, which is part of the Estúdio Deriva program. This series features the following lectures: "Ambience Without Hierarchy: SANAA and Electronic Music" with Guilherme Wisnik, "Contemporary Japanese Culture" with Gabriel Kogan, "The Professional Practice of Japanese Architects" with Lourenço Gimenes, "A Graphical Analysis of Toyo Ito's Mediatheques" with Marina Lacerda, "Destroy to Build: The Impact of Tokyo's Reconstruction Plans in Akira" with Beatriz Oliveira, "Jidai no nagare, the Flow of Eras: Japanese Wood Joinery" with Heloisa Ikeda, and "The Tōkaidō Road: Travel, Woodblock Prints, and Cities of the Tokugawa Period (1603-1868)" with Fernanda Sakano. Watch all the lectures here.

Great ideas can change the destiny of cities forever when implemented in concrete, steel, and stone. When Saint Petersburg, Russia, was founded in 1703 by Peter the Great, he envisioned the new capital as an emblem of a modern Russian empire, inspired by Western European commercial hubs like Amsterdam. In the 20th century, Chandigarh, India, was shaped as an English "garden city" to demonstrate progress and aspirations of prosperity in post-partition India. Halfway across the world in the United States, Detroit transformed into one of the world's industrial megacities, shaped by the ideals of the American Dream and Henry Ford's visionary production.

When thinking of galleries, museums, and exhibition spaces in general, the image of an enclosed, well-lit room with white walls and a neutral floor—likely made of wood—commonly comes to mind. The notion of designing exhibition spaces as "pure" environments, whether to focus on the artwork itself or to facilitate the rotation of exhibitions, has perhaps been the dominant guiding principle in the creation of these spaces over the last few decades. However, just as art transforms space, space can also be a transformative agent for art. This shifting perspective gave rise to artistic productions conceived for specific venues, widely known as site-specific installations.

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