The hands hold the weight of the entire body, feeling the rough texture of unplastered mortar on its thin membrane. Even with the whole body stretched out against the wall, it still was not possible to see what was behind it. Sweat, in a mixture of adrenaline and heat, ran down his temples, indicating the movement for a final effort, a last impulse before the imminent fall that, for a few seconds, allowed him to overcome the last row. The field of vision was then opened to a fragmented, disconnected and oddly free world. An urban power that allowed itself to be strangled by the breath of tropical vegetation while being consumed by abandonment amidst an active and dynamic city.
The hammock swaying on the balcony, the sunlight passing through the pierced elements in a dance of light and shadow, the vibrant color marking the spaces and bringing life, these are some of the characteristics present in the daily life of the works of the quartet that form Lins Arquitetos Associados.
Nothing is more representative for an office than carrying the name of the country on its identity. Far from seeming banal, the architecture of Brazil in Brasil Arquitetura undergoes a thorough analysis that highlights aspects of Brazilian culture and society.
Technical precision combined with environmental concern and exploratory and investigative character make Carla Juaçaba one of the great representatives of Latin American architecture today. Carioca, born in 1976, Carla Juaçaba attended the University of Santa Úrsula and attributes much of her experimental and interdisciplinary style to this educational institution. It is not by chance that during her academic training her great inspiring masters were the architect Sergio Bernardes and the visual artist Lygia Pape, insinuating her interest in the multiple disciplinary branches that can compose architecture. In this sense, while still at graduation, Carla worked together with architect Gisela Magalhães, from Oscar Niemeyer’s generation, in scenography and expography projects.
Seen as one of the great promises for the future of construction, carbon concrete mixes strength, lightness and flexibility. In addition, at a time marked by a serious environmental crisis that puts the construction methods of the industry in check, carbon concrete emerges as an alternative that approaches the guidelines of sustainability.
You may have heard an architect colleague say that he chose to study architecture because of the numerous possibilities of action that this degree allows. The field of architecture is, in fact, very extensive, through which it is possible to embark not only on the most “traditional” attributions, but also to venture into various specificities that comprehend the role of the architect and urban planner.
Nowadays everything is “painted” green. It's green packaging, green technologies, green materials, green cars and, of course, green architecture. A “green wave”, stimulated by the environmental and energy crisis we are facing, with emphasis on climate change and all the consequences linked to global warming. This calamitous situation is confirmed by the second part of the report entitled Climate Change 2022: Impacts, Adaptation and Vulnerability prepared by the Intergovernmental Panel on Climate Change (IPCC) and presented in recent weeks. It reveals that, although adaptation efforts are being observed in all sectors, the progress implemented so far is very low, as the actions taken are not enough.
According to the architect and researcher Patrícia Akinaga, ecological urbanism emerged at the end of the 20th century as a strategy to create a paradigm shift with regard to the design of cities. With this, urban projects should be designed from the potential and limitations of existing natural resources. Unlike other previous movements, in ecological urbanism architecture is not the structuring element of the city — the landscape itself is. In other words, green areas should not only exist to beautify spaces, but as true engineering artifacts with the potential to dampen, retain and treat rainwater, for example. With ecological urbanism, urban design becomes defined by the natural elements intrinsic to its fabric.
The strategy of raising houses off the ground gained popularity in the 1920s when Le Corbusier announced structures on pilotis as one of the 5 points of modern architecture. A great contribution, especially in the urban issue, as it enables the creation of a free space with greater connection between the public sphere of the street and the private sphere of the building. His iconic Villa Savoye is a paradigmatic example of the use of pilotis that preserves the natural terrain and, as Le Corbusier himself said, places the house on the grass like an object, without disturbing anything. In addition, the pilotis also served as a strategy for the flow of vehicles, which can be seen in Lina Bo Bardi’s equally emblematic Casa de Vidro and its slender steel tubes. Arranged in a modulation of four modules in width by five in depth, they maintain the house as a transparent floating box in the midst of nature, respecting the terrain and assisting in the building's thermal comfort by allowing air circulation.
Compact city refers to the urban model associated with a more densified occupation, with consequent overlapping of its uses (homes, shops and services) and promotion of the movement of pedestrians, cyclists and public transport users. Amsterdam and Copenhagen are known examples of such a model.
The elaboration of an architectural project is a complex process that involves different scales, from structure to small refinements, such as the choice of coatings, paint colors, baseboards, metals, ware and, of course, lighting.
In addition to the issues of power and shade of lamps, the design of the luminaires is also essential in the project process. It can contribute to the appreciation of spaces and the comfort of the inhabitants.
In the early 1920s, a time when women could not even work without their husband's authorization, Carmen Portinho started an engineering course at the Polytechnic School of the University of Brazil. At the vanguard of the profession, as one of the first three women to graduate as engineers in Brazil, she was opening up a field in a space dominated entirely by men.
Unusual materials, vibrant colors and daring compositions are some adjectives that can be applied when talking about Superlimão's work. It all started in 2002 when Antonio Carlos Figueira de Mello, Lula Gouveia, Thiago Rodrigues and former partner Sergio Cabral founded the firm, naming it in honor of the Super Lemon candy – “sour at the beginning and sweet at the end”. Since then, this hint of humor - present even in the name itself - permeates all of the team's creations, hinting at new experiences and arousing curiosity as well as the taste of the candy.
Emerged in a period marked by the development of the industry and the experimentation of new materials, the Art Nouveau artistic movement was opposed to historicism, favoring originality and a return to handicrafts. In this context, it is portrayed as an attempt at dialogue between art and industry, revaluing beauty and making it available to everyone through series production.
Intense integration between the built environment and its natural context: this is the premise that surrounds the projects of Jacobsen Arquitetura, from Rio de Janeiro. Founded 45 years ago, the office emerged from the union between architects Paulo Jacobsen and Cláudio Bernardes, who worked together until Bernardes' death in 2001. After that, Paulo joined forces with Thiago, Cláudio's son, starting a new office. The partnership with Thiago Bernardes fell apart in 2012, giving rise to the formation of Jacobsen Arquitetura, whose partners are Paulo and Bernardo Jacobsen (Paulo’s son) and Edgar Murata.
Born in the corridors of FAU-USP, FGMF Arquitetos began as a wish of Lourenço Gimenes, Rodrigo Marcondes Ferraz and Fernando Forte, three young friends. It became a reality in 1999, when they formalized the office and began the award-winning career they have established.
Ms. Dalva's house in Vila Matilde has certainly helped put the four architects of Terra e Tuma, Danilo Terra, Pedro Tuma, Fernanda Sakano, and Juliana Terra, on the architectural spotlight worldwide. With simple and smart solutions, this project has already received six awards, both national and international. The office based in São Paulo, Brazil, has since managed to share their experiences by presenting a new way of designing good and affordable architecture for the underprivileged social classes. However, despite the great impact of this project, the office is not limited to just one type of client and solution, as can be seen in their extensive body of work developed over almost 15 years of practice.