Unoccupied spaces within the city are typically viewed as conditions lying somewhere between problem and potential. It is partly the role of architecture and urbanism to thoughtfully mobilize these spaces within the urban context. With these issues in mind, the firm Vazio S/A proposes the activation of spaces deemed residual in the urban landscape or in specific contexts, drawing on the potential that vacant spaces offer.
Environmental issues have been the defining theme in architecture for several years now. The imminent scarcity of natural resources and growing awareness of the environmental damage caused by the construction industry have forced the profession to take a stand and develop solutions that mitigate its impact on the planet. While developing new technologies that enable more sustainable materials is essential, this impetus can—and must—originate at the very beginning of architectural practice: the design phase.
Architecture is generally understood as a positive construction—that is, tectonics, volume, an object in the world. And indeed it is. However, shifting the observer's perspective—from the distant, aerial view to the interior experience of the occupant—transforms the notion of the object in the world into a "world" in itself. Furthermore, it can also act as a frame, capturing and directing the gaze. Indeed, the view is a key element of architectural value, highlighting a specific angle of the outdoors and inviting the occupant to contemplate. The projects of TETRO Arquitetura highlight this interplay between form and frame.
Environmental comfort is one of the aspects that contribute to the good performance of architecture. In project descriptions, the incidence of natural lighting and ventilation is often highlighted as advantageous characteristics that add to the aesthetics and functioning of the program. In a way, environmental comfort is part of the building's function, not necessarily linked to the activities that take place inside the construction but plays a role in its development.
Throughout the city's history, buildings have changed their use and function, which is inevitable, as each era presents unique issues and requirements. Factors such as housing types, population density in specific areas, and the emergence of new businesses and services reshape the cityscape, often outpacing the adaptability of existing structures. Therefore, revitalizing or rehabilitating buildings is logical but also necessary to meet the demands of a changing landscape.
Any historiography of architecture is inherently implicated and incomplete by definition: implicated because it demonstrates the interpretation and curation of examples by the one who writes it, and incomplete because, in this selection, divergent examples often fall outside the "official" timeline. However, the ability to trace forms, their application, and repetition over historical periods separated by centuries is always a good indication of genealogy. This lineage situates examples and broadens repertoire.
A historiography of architecture can bridge past-century elements and movements considered 'outdated' with contemporary forms and applications, establishing a nexus of relationships that offer conceptual and design insights. By categorizing specific styles, notable features are emphasized, often resonating with present-day scenarios as suggested by bibliographical sources, which holds even for seemingly distant connections, as exemplified by the Rococo.
The use and demand for natural materials in architecture and interior design have facilitated the revival of updated traditional construction systems for the contemporary context. What was once considered rustic is now being explored in more modern settings; therefore, the application of the material is also subject to new forms of fixation, coloring, and orientation (horizontal or vertical). While wood is the dominant material in traditional systems and environmentally sustainable materials, another material that has been used for centuries, equally sustainable and biodegradable, and has received less attention is straw.
Is it possible to assert the existence of a timeless material in architecture from an aesthetic standpoint? Undoubtedly, wood and concrete emerge as strong contenders, not only due to their representation of the solidity, volume, and mass of buildings but also because they provide a broad range of aesthetic possibilities in projects. Concrete, in particular, exhibits greater malleability in comparison to wood. While wood already offers flexible solutions, such as through CLT systems, concrete is derived from a blend of liquid, powder, and an aggregate—a paste that can be poured into a mold, spread over a surface and shaped into various forms.
As architectural theory undergoes a process of review and updating, there is a rejection of prevailing binary distinctions found both in common perception and in architectural education. Traditional dichotomies such as center versus periphery, the 'formal' versus 'informal' city, and design as a rigid technique versus construction as improvisation have been persistent architectural themes, with a history of ongoing debates. Despite the dominance of global northern perspectives on what constitutes good architecture or how it should be approached, reality consistently reveals itself to be more intricate, diverse, and multidimensional.
The unique language employed by each architect serves as the foundation for analyzing their work. Over time, this distinctive style becomes more evident, allowing for the identification of past influences and references. Simultaneously, it showcases a continuous evolution of this language, manifesting as a formal progression that aligns with the contemporary context. The projects by Studio Guilherme Torres serve as exemplary instances of this developmental journey, spanning from its inception to the present day.
Within a city, various factors are taken into account when it comes to housing, such as location, proximity to services, mobility, access to natural light, view, and noise levels. These considerations are particularly crucial in densely populated areas, with a stronger relevance to apartments in high-rise buildings. In contrast, when designing a house, specific factors are inherently addressed. It is assumed that a single-family residence is situated away from busy city centers, leading to longer commutes for services. The availability of natural light is influenced by the location of the building on the land, and noise is minimized because residential areas are usually away from bustling urban environments.
A considerable part of architectural innovation involves the use of materials. Technical development and new formal languages utilize them to "announce" the "next" architectural era. Of course, materials are essential for construction and significant for the consolidation of languages. Glass, steel, concrete, or brick convey messages about buildings. However, like any language, the meaning of words can vary according to the prevailing social organization; there is a dispute over the meaning of certain expressions, or there is pressure for the abolition—or at least the dissociation—of certain senses associated with some words. It would not be any different in architecture.
The historical journey of construction also tells the story of humanity. The enduring examples from the past reveal insights into their specific contexts, and the remnants that have survived the elements and decay narrate the development of human technology. In the early days of construction, the common (and often the only) practice available to humans was to use locally available raw materials. For many, this meant building with clay.
The flow of architectural values throughout the centuries demonstrates the prevalence of some parameters over others in each historical period. In terms of composition, one of the most fundamental considerations revolves around issues of symmetry and balance. Indeed, a design does not necessarily have to be symmetrical to convey the notion of compositional balance. Its elements do not have to be repeated side by side for the whole to convey a sense of completeness, stability, and... paradoxically, symmetry. Many contemporary projects achieve a balanced compositional whole without repeating their elements side by side.
When it comes to contemporary Portuguese architecture, the initial association often leans towards tradition. The historical significance of the program, the importance of typologies for the locals, and the construction methods all play a role. These associations are not unfounded, but they are not limiting either. In this context, Portugal boasts a prominent figure who exemplifies this balance: Álvaro Siza Vieira.
Siza is the foremost representative of Portuguese architecture. There are many reasons for this distinction. It is not only because he was the first Portuguese architect to receive a Pritzker Prize in 1992 or for the Golden Lion at the Venice Biennale in 2012. It is not solely due to his extensive and prolific career. Above all, his unique and simultaneously universal approach to architecture sets him apart. His involvement on national and international fronts highlights a characteristic likely intrinsic to his nature: the ability to embody many facets within a singular entity, just like his compatriot Fernando Pessoa.
A needs program precedes every project. In certain typologies, specific activities are inherently linked to them. A meeting room in a corporate office, a collection in a museum, and bedrooms in a residence: the latter has a relatively well-defined basic needs program: bedrooms, living room, bathrooms, and kitchen. The size and arrangement of these elements in the space depend on various factors, but a house typically includes some combination of these essential components.
Some materials change the course of architecture from the moment they begin to be employed. The initial materials used in construction certainly did so: clay, stone, and wood. The ability to build is the origin of the discipline. With technological development, techniques were also refined, and in the 19th century, industrialization spread the use of other materials, transforming and expanding the realm of construction: iron and glass.
In the study of architectural history, one noticeable pattern is the apparent oscillation between different styles and languages. When a more restrained trend dominates, the subsequent one often reverts to more ornate motifs, and vice versa. It's crucial to acknowledge that this perceived 'flow' is only an impression; historical reality is invariably more intricate than records suggest, and the dominance of one style over another is an interpretation made by historians looking back from a future perspective. The Baroque style is a notable example of this phenomenon.
