Bixiga Park project created by activists — Image: Courtesy
The city of São Paulo, characterized by its vastness and cultural diversity, is also frequently the stage for conflicts over the occupation of its urban space. Spanning more than four decades, the dispute over the plot adjacent to the Teatro Oficina, designed by Lina Bo Bardi in the Bixiga neighborhood, has finally culminated in the creation of a long-awaited public amenity: the Rio Bixiga Park. This milestone is not only a victory for the local and artistic community but also a remarkable achievement for the right to the city and public leisure in São Paulo, especially after years of confrontation with the Silvio Santos Group.
In Brazil, popular festivals share a deep spatial, historical, and symbolic connection with urban public spaces, providing a unique experience of collective occupation, appropriation, and reimagining of these sites during their occurrence. These events not only utilize urban spaces in ways that differ from their daily routines, but they also constitute the cultural and social landscape of cities, offering alternative ways of perceiving them. By appropriating the streets—in their full potential and broadest sense—these festivities imbue them with new uses, which often transcend and subvert their everyday functions.
A close look at the building facades in many Brazilian cities, such as São Paulo, Belo Horizonte, and Rio de Janeiro, reveals that the use of aluminum frames is highly common and popular in Brazil. Adopted across a wide range of building typologies, including residential and commercial projects, and in various formats such as doors, windows, and railings, these versatile structures are widely used in construction, representing about 80% of the total volume of aluminum consumed by the sector in the country. But why, after all, have aluminum frames become so widely used in Brazilian cities?
Urban intervention around the Anne Frank school in Belo Horizonte. Photo: Rafael Tavares / Octopus Filmes
Tactical urbanism is a type of urban intervention that has gained prominence and sparked widespread discussion in recent years. It is based on the premise that low-cost, small-scale civic actions can have a significant impact on the urban environment, improving its dynamics and people's daily lives. Yet, starting as localized, temporary, or small-scale interventions, once accepted and recognized, many of these initiatives have transcended their initial ambitions. They have become catalysts for broader urban processes, triggering new actions that involve other stakeholders, spheres, and even the public administration itself.
Color is fundamental to the dynamics and daily rhythm of urban life, but its impact goes far beyond appearance and aesthetics, especially for people with visual impairments. For this segment of the population, color plays an even more significant, yet often underestimated, role in shaping and improving the accessibility of public spaces. Architecture plays an important role in this inclusion, which involves the conscious choice of colors that have the power to improve urban accessibility and create a more welcoming environment for people of all abilities.
Stockholm Wood City. Courtesy of Atrium Ljungberg | White Arkitekter
With studies estimating that by 2050 nearly 70% of the global population will live in cities, planning for more sustainable and balanced urban development has become imperative for the coming decades. This discussion invariably hinges on a more assertive choice of construction materials that yield greater urban and environmental benefits. In this context, a material re-emerging as a more sustainable choice for urban infrastructure is wood, particularly when paired with new technological advancements, which is being reintroduced into cityscapes due to its versatile characteristics and its ability to align with the construction of tomorrow.
While high expectations build up during the development of an architectural project—which often represents the realization of a professional dream or a new home for a family—and even though, despite careful planning, countless unforeseen issues and headaches can arise during construction, after weathering endless estimates, schedules, and delays, once construction is complete and the property is occupied, it usually feels as though the journey has finally come to an end.
However, even with the work seemingly finished and a sense of accomplishment, architects and clients will likely still need to align on certain points or address issues that crop up along the way. In light of this, what are the architect's responsibilities once the owners occupy the property?
UN-Habitat, the United Nations Human Settlements Programme, is tasked with addressing housing and sustainable urban development issues worldwide. It plays a key role in tackling global urban challenges, working to improve quality of life, confront issues like rapid urbanization and housing shortages, and promote urban planning practices that are more socially inclusive and environmentally responsible. In 2022, it launched the project "Urban Connections - Public Space Planning for Inclusive Communities," a major initiative of the organization aimed at strengthening local governments through participatory urban planning and public space design.
"Maceió sinks in tears!" was painted on a street in the Pinheiro neighborhood, in Maceió. Photo: Mayra Costa
Since March 2018, when a 2.5-magnitude tremor on the Richter scale startled the residents of Maceió, the population of the Alagoas state capital has become aware of—and gradually had to grapple with—the consequences of a tragedy that would soon fully unfold. Following the appearance of a series of cracks and sinkholes across various neighborhoods, geological analyses identified the primary cause of the ground subsidence: the extraction of rock salt—a mineral used in the manufacturing of caustic soda and PVC—which had been carried out in Maceió for over 40 years by the petrochemical company Braskem.
With new tremors in November 2023 and the imminent risk of the mines collapsing, Maceió's crisis returned to the Brazilian headlines, shedding light on a range of complex urban issues tied to the tragedy. From physical damage to city infrastructure and forced displacement to inflation and real estate speculation, the unfolding disaster reveals painful scenes of what is already being called one of the worst urban tragedies in the world. Immersed in this crisis, the city's population suffers from incalculable damage: "The cracks weren't just in the buildings; they were in us, in our souls."
Lehrer Architects designs "tiny house" community for the homeless in Los Angeles. Image courtesy of Lehrer Architects
Adequate housing, and everything it encompasses in a broader sense, is one of the essential principles of humanity, established by the Universal Declaration of Human Rights. However, according to statistics from the United Nations (UN), 150 million people experience homelessness worldwide, and 1.6 billion live in inadequate housing conditions. The housing crisis is a multifaceted issue faced in different ways and on different scales by many cities across various countries and continents. One of its most difficult and complex aspects is precisely the deprivation of this basic right, affecting people in diverse ways and for different reasons.
Whether establishing greater fluidity between spaces, integrating distinct elements of an architectural design, or creating a more playful atmosphere, suspended structures in residential projects yield a wide range of spatial experiences.
The relationship between architecture and its various mediums of representation, reproduction, and publicity is nothing new. Drawings, blueprints, and photographs published in books, magazines, and newspapers have historically been an integral part of the profession's trajectory. Over the last decade, with the rise of social media—particularly platforms centered on visual communication—architects have adopted these tools in myriad ways, incorporating them into their professional practice. Yet while these networks can produce and popularize content for diverse audiences, does architecture risk becoming a hostage to its own representation in this era of engagement?
Às vésperas de embarcarmos, coletivamente, à bordo de mais uma aventura conhecida como carnaval, o primeiro propriamente dito após o longo e difícil período da pandemia de Covid-19, é importante falarmos sobre um outro aspecto da folia, menos abordado e visibilizado nas narrativas dominantes sobre o tema. Num recorte temporal mais recente, é possível perceber que em algumas cidades, com o aumento da escala, proporção e engajamento dos festejos carnavalescos, aliado ao grande interesse turístico e econômico disparado pela festa, o carnaval passou a mobilizar engendramentos cada vez mais amplos de logísticas, equipamentos e estruturas. Esses elementos passaram a tensionar uma série de espacialidades e outras dinâmicas urbanas existentes, incorporando-se, cada vez mais invasivamente, na relação entre essa importante festa popular e determinados espaços das cidades.
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Pelourinho in Salvador. Photo by Kunze, via Visualhunt
Pelourinho, located in the Historic Center of Salvador, Bahia, is one of the most well-known, publicized, and visited landmarks of the Bahian capital. With an urban and architectural colonial heritage of great cultural significance, it was designated a World Heritage Site by UNESCO in 1985. Spanning over four centuries of history, the district has hosted a wide range of activities, functions, and dynamics, its trajectory deeply intertwined with that of the city itself. Today, it is one of Salvador's primary tourist attractions, hosting a variety of tourism facilities such as hotels, restaurants, and museums in addition to its colonial architecture.
The lack of safe drinking water and adequate sanitation is an issue that still affects millions of people worldwide; even in the 21st century, a large portion of the population lacks full access to these basic resources. Data from the World Health Organization (WHO) and the United Nations Children's Fund (UNICEF) show that about 3 in 10 people—equivalent to 2.1 billion people globally—do not have access to safe drinking water at home, and approximately 60% of the global population lacks access to safely managed sanitation services, including many living in urbanized areas.
Throughout history, numerous cities worldwide have been settled and built on hillsides, where one can observe the myriad urban challenges they face due to their topographical conditions. However, beyond issues related to their urban infrastructure or transportation systems, which can become more complex due to the geography, hillside urban occupation typically involves various intersections of social, environmental, and economic issues.
These settlements are often inhabited by vulnerable and low-income communities, driven by a variety of motivations. Frequently, the lack of information about certain hazards, coupled with the scarcity of adequate housing policies, leads to decisions and actions that place these communities in high-risk situations, especially during the rainy season, resulting in a cycle that disproportionately affects the most marginalized residents.
Multifaceted and full of complexities, the scenario of architecture and urbanism in Latin America reveals nuances and specific challenges in the face of the issues faced by the various countries, such as social inequality, violence, and rapid urban growth. In this context, architectural practice plays a relevant role in the construction of possible and adequate solutions for each reality, highlighting the importance of reaffirming local references and narratives in this process. In the face of the hegemony established especially by North America and Europe, which often marginalizes Latin American architectural and urban achievements, especially those that are not even considered as such, the appreciation of this diversity and complexity becomes imperative for any thought and intervention regarding the region. Below, we have selected six interviews that help us understand the architecture of Latin America, and that contribute to a more contextualized and sensitive approach to its needs, potential, and richness. Emilio Lopez: Latin American architecture is experimenting with geography and resources Emilio López is an architect from the Pontifical Catholic University of Ecuador and holds a master's degree in the History and Theory of Architecture from the Polytechnic University of Catalonia. He affirms that he still lives in Ecuador, a territory with one of the world's greatest biodiversities. He points out that the geography, plants, climates, and cultures of the country are great stimuli, and he sustains that with architecture comes the possibility of immersion and blending with the environment, allowing oneself to be transformed by the other. He says that the strength of architecture lies in being a product of the immersive affection that implies rethinking its relationship with resources and the world in which it lives. Gabriela de Matos and Paulo Tavares: We seek to expand architecture from other stories and cultures Questioning the canonical history of architecture and shedding light on spatial practices long invisibilized is what Gabriela de Matos and Paulo Tavares propose. "It is our way of shaking things up," comment the curators, who turn their attention to ancestral ways of dealing with the earth, aiming at fairer and more comprehensive present and future possibilities. Addressing the earth in all the meanings that the word carries, the curators superimpose issues related to soil and territory with planetary issues, proposing an approach between reparations and decoloniality - emerging in the Brazilian context - with broad topics such as decarbonization and the environment, decisive in the contemporary global debate. Sergio Ferro: In our construction field, the only way out would perhaps be to "brush history against the grain" Sergio Ferro is a Brazilian architect, artist, historian, and architecture critic who, due to his political activism during the military dictatorship, was imprisoned and exiled to France in the 1970s. Throughout his career, he observed and intervened in the spaces of civil construction production, developing a critique of the production of plastic arts and architecture based on the construction process and its agents: the construction site, technologies, materials, and the builder. Taller General: Our definition of architecture is collectively shaped Taller General is a meeting point where Martín Real and Florencia Sobrero, among other members and collaborators, gather daily to do what they are passionate about: channeling their creativity through architecture, merging all aspects that shape their lives, from activism to teaching. Based in Ecuador, the team undergoes changes according to the needs of the projects and, most of the time, expands, with a collaborative work that allows sharing different perspectives, opinions, and practices, enriching the environment and generating results that would be unimaginable individually. EseColectivo: The minimum we consider in our exercise is not to waste ESEColectivo is an architecture studio composed of Belén Argudo, José de la Torre, Santiago Granda, and Pablo Silva based in Quito, Ecuador. Their interests focus on experimenting with alternative building materials, with an emphasis on technologies and logic. In their conception process, they seek to reconcile sustainable low-impact strategies with the specific needs and limitations of each project so that their results are heterogeneous and different in terms of the type of methodological and technical approach. Coletivo Levante: We experience a coexistence that brings forth affections, dialogues, values, and aspirations for an inclusive and participatory transformation Focused on the development of architecture projects in slums and outskirts, the action of Coletivo LEVANTE has shown great sensitivity to the characteristics and particularities of these contexts. According to the group, "the recognition of what already exists and is attributed with values lived and conquered by the residents of the favelas - landscape, constructions, identities, and relationships" is what they seek as the raw material of the projects. The Coletivo team is currently formed by Alan Franca, Amanda Castilho, Anna Lobato, Fernando Maculan, Marcos Franchinni, Nattalia Bom Conselho, Giovanna Camisassa, Helder Machado, Kdu dos Anjos, Maria Soalheiro, Marina Vilela, Matheus Angel, Pedro Assis, Rafael Yanni, and Ricardo Lobato. However, as the works of LEVANTE have shown, the network of professionals, suppliers, partners, and collaborators is extensive and expands beyond the collective itself, proving to be a valuable factor for the realization of their projects.
Living in cities built on geographical slopes is a unique and challenging experience. While these areas can offer panoramic views and impressive landscapes, the steep topography presents a series of challenges in terms of urban planning, structural safety, and socio-environmental risks. These cities require special care and solutions in the design of streets, buildings, and infrastructure, as well as an understanding that, for reasons of environmental safety and population well-being, not all areas should be occupied.
