Inspired by the waters of Brazilian rivers and mangroves, the Brazil Pavilion at Expo 2020 Dubai invites visitors to an interactive experience immersed in an atmosphere of sounds, projections, temperatures, and textures that evoke Brazilian landscapes. Designed by architecture firms JPG.ARQ, MMBB Arquitetos, and Ben-Avid, and curated by Guilherme Wisnik and Alexandre Benoit, the project won the 2018 competition to represent the country at the event, which runs through March 2022.

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As another year comes to a close, the ArchDaily team gathers the highlights of architecture in a series of retrospectives reflecting on the content featured over the past twelve months. As part of this effort, our curation team turns its attention to one of the most popular categories among our readers, residential architecture, selecting the projects that represent the best of a vast global architectural production, as seen through the eyes of our audience.

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Videos

In developing architectural projects in favelas and peripheral areas, the work of Coletivo LEVANTE demonstrates immense sensitivity to the unique character and specificities of these environments. According to the group, "recognizing the values lived and realized by favela residents—landscape, architecture, identity, and relationships" is the very raw material they seek for their projects. This approach has gained recognition through works like the Lá da Favelinha Cultural Center and Casa no Pomar do Cafezal, winner of the ArchDaily 2023 Building of the Year Award.

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From figurative panels depicting historical scenes to modernist abstract geometric compositions, ceramic tiles have been a constant presence across different styles and eras of Brazilian architecture over the centuries. Today, composition possibilities are vast, stemming not only from how the pieces are arranged—be it randomly or in structured patterns—but also from the wide range of colors and designs offered by manufacturers.

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For many architects, the most instinctive way to put an idea onto paper is through drawing. From quick napkin sketches during a coffee break to elaborate diagrams systematizing architectural solutions, drawings are essential, recurring tools in the design process. Yet, lines alone cannot always convey a concept with the desired clarity.

Sounds, smells, feelings, and sensations are rarely captured through drawing alone. Human figures cannot always convey the scale of certain elements, requiring the aid of more precise numerical dimensions. Annotations and labels are commonly used to define spaces and specify architectural elements, and when a phone or calculator is out of reach, drawings may also share paper space with quick calculations. There are many situations where writing is combined with lines to create a hybrid communication tool, where the subjectivity or abstraction of drawing is grounded by the assertiveness of words and numbers.

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Like the cobogó and the brise-soleil, the muxarabi is an architectural element designed to reduce solar heat gain inside buildings, acting as a “filter” that allows air to circulate freely. Typically made of wooden lattices, muxarabi panels offer the advantage of being lighter and cleaner to install compared to cobogós, for example, since they do not require mortar for assembly.

As spaces that host various athletic activities, sports gymnasiums require designs that go beyond merely complying with standard dimensions and layouts for courts, tracks, pools, and other facilities. Challenges such as planning flexible, integrated spaces, calculating grandstands based on spectator capacity, and integration into the urban context are among the many design variables that shape diverse architectural concepts.

Waffle and ribbed slabs are highly efficient systems for spanning large distances. The T-shaped section formed by the flanges and ribs functions as a network of beams, reducing the number of support points required compared to a solid slab. Although lightweight or insulating materials can be used to fill the voids formed by the grid, these slabs are often left exposed and unfilled, lending a distinct aesthetic quality to the construction system.

During architectural training and practice, we encounter countless examples of works that, for a wide variety of reasons, have shaped the history of the discipline. These examples become major references in an architect's repertoire, shaping how they view and design architecture. However, understanding a place is incomplete without experiencing it in person; therefore, when traveling, we seek out iconic works to enrich our perspective.

Yet, these works are not always easily accessible or close to established itineraries, which can turn the quest to visit them into true pilgrimages.

One of the oldest building materials, stone has endured throughout architectural history due to its strength and durability. Frequently used in protective structures such as fortifications and walls, stone has also historically served as the foundation for a variety of buildings—including residential ones, where it has been employed since the earliest shelters.

The period between the 1950s and 1970s in Brazil was primarily characterized by the production and dissemination of Brutalist architecture. Despite the lack of a unanimous definition of what constitutes this offshoot of modern architecture, the term "Brutalism" is generally used to denote buildings from the era that share a common denominator: the exposed use of construction materials, particularly concrete.

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Traditionally made of wood, the pergola can also be constructed from materials such as concrete, bamboo, and metal sheets. The spacing and arrangement of its horizontal elements vary across different projects, providing shade tailored to the specific needs of the space without necessarily forming a fully covered roof.

Inverted beams, as the name suggests, differ from conventional ones due to a shift in position. Instead of the typical arrangement where the beam sits below the slab, the beam is positioned above it. In other words, its base, which usually hangs below the level of the slab, is aligned with the slab's underside. Formally, this strategy creates the illusion of a continuous, beam-free span when viewed from the building's interior.

Between 1928 and 1930, in the city of Prague, then the capital of Czechoslovakia, Adolf Loos, in collaboration with Karel Lhota, designed one of his most influential works: the Villa Müller. The house became not only a milestone in Loos's career and architectural history, but also a symbol of the expression of Raumplan, characterized by Loos as a sequence of spaces that, across different levels and varying ceiling heights, relate to and interact with one another.

Unlike standard doors, pivot door systems do not require conventional hinges. The pivots—the hardware that allows the door to rotate—are hidden from view, installed at both the top and bottom of the panel to create a vertical axis around which it swings. Because these pivots can be positioned near the frame or further toward the center of the panel, pivot doors are typically larger than average. This increased size compensates for the reduced clearance in the passageway, as the offset axis of rotation causes part of the door to swing inward, unlike traditional hinged doors.

Through exhibitions, the interior spaces of museums construct narratives that lend logic and meaning—which might otherwise not exist—to the objects on display. Indeed, the resources utilized in an exhibition are capable of shaping meaning by establishing connections not only among the displayed pieces, but also between the exhibition design and the artwork itself.

In times of pandemics, such as the one we currently face with COVID-19, quarantine is a vital measure to mitigate risks to the public and prevent overloading the healthcare system. During these periods of confinement, it is common to reassess our habits and question the way we live. As architects, one of our profession's key challenges is to design spaces that satisfy basic human needs while also catering to individual specificities, ensuring that homes can accommodate everything required for daily life for an indefinite period.

Considered landscape landmarks due to their imposing dimensions, gasometers emerged during the Industrial Revolution and were present in many cities around the world, accompanying their urbanization process. With shifts in gas generation and distribution during the second half of the 20th century and the emergence of new technologies, gasometers were gradually decommissioned. Although many have been condemned to demolition in recent years, many also still remain within the urban fabric, standing as testaments to an industrial past. Their potential for architectural, artistic, and landscape interventions prompts us to question what possibilities lie ahead for their future.