Whether it is the landscape and nature surrounding a plot of land or the desires and needs of his clients, for São Paulo architect Gui Mattos, the development of an architectural project is always a process of dialogue and exchange, built together with a series of other elements. After graduating in 1986 from the Faculty of Architecture and Urbanism of Santos (FAU Santos), he has led his architecture firm since 1987, which today has more than 40 employees.
Vernacular architecture is a complex concept that has different meanings depending on where we are, and it is present in various architectural typologies. It is connected to its roots and place of origin, elements that define many of its characteristics based on specific aspects such as culture, climate, topography, vegetation, and the availability of materials and resources in each region. Its constructions are also often linked to traditional building techniques from each place. These techniques were developed by populations in a broader historical context based on available resources.
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.
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.
The use of light in religious constructions as an element of association with the divine has been present throughout the history of humanity. Historically, a series of temples from various religions have used this technique as an attempt to visually and perceptibly approach humans to a sacred and intangible dimension. Light is often given a spiritual connotation and significant symbolic force, capable of modifying people's relationships, perceptions, and experiences with their surroundings. Thus, it is an element that has been, and still is, used by architecture to create scenarios and effects in many religious spaces, especially churches.
The city block is a typically urban element that, historically, has appeared in different forms and designs, structurally shaping city planning guidelines. When observing urban fabrics in cities such as Barcelona, Paris and Copenhagen, one can see significant variation between block models. This defines their landscapes and dynamics in countless ways. Style and format alterations, volumetric changes in the relationship between full and empty spaces, and modifications in connections to the surroundings are some examples of typological particularities that differentiate them. Blocks, therefore, are often emblematic and representative not only of certain urban planning models developed throughout history but also of their cities.
Gender is an undeniable layer of inequality in cities, which distinctly and effectively marks the experience and daily life of men and women in urban environments. Public lighting is crucial to ensure more inclusive and equal spaces, and often it is not planned from a gender perspective.
Poorly lit public spaces reinforce feelings of fear in these environments and must be rethought to promote safer cities, especially for women. With more than half of the world's population living in urban areas – a scenario expected to increase – how can we make public spaces safer and more comfortable so that they can be fully enjoyed and accessed by everyone?
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?
The ramp is one of the architectural elements that, besides facilitating movement between different heights and floors, provide greater accessibility to spaces. In Brazil, a series of decrees and regulations seek to ensure citizenship rights and promote equality and social inclusion of people with disabilities, which permeates issues related to their mobility and freedom to come and go. Architecture plays a key role in this inclusion, by devising strategies to ensure that these people can transit, participate and interact in any environment, whether public or private.
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.
