For several months, we have been publishing compilations of Brazilian residential projects across various themes in our Casas Brasileiras series. With this in mind, and considering the diverse challenges and scales that shape architectural practice—and, above all, contemporary living—we are launching our first article in the *Brazilian Apartments* series today. In it, we will explore the design challenges, innovative solutions, and new materialities of this housing typology.

Much like stone, wood, and other natural materials, straw and thatch have been used as building resources since the dawn of human history. However, with the advent of new technologies like concrete, and the concept of *Progress* driven by the Industrial Revolution—and subsequently by the rise of steel—many traditional materials fell out of favor, widely replaced by modern alternatives.

On Wednesday evening, October 9, the late Briane Panitz Bicca—an architect and urban planner from Rio Grande do Sul widely recognized as a leading figure in the preservation of Brazilian historical and cultural heritage—was honored during the opening ceremony of the 21st Brazilian Congress of Architects (CBA).

In recent years, we have witnessed a steady increase in the number of registered architects and urban planners across professional regulatory bodies. Within this significant pool, young architects and urban planners—meaning professionals up to 40 years old—represent a substantial share and hold a strong presence in the market. Against this backdrop, we have followed the creation of awards dedicated specifically to this demographic, and, most notably, their active participation in biennials and triennials—events aimed at driving discussions on the future of architecture.

Who hasn't wished to experience the settings of Tim Burton's Charlie and the Chocolate Factory up close? Adding layers of desire and enchantment, fiction seems to have inspired a series of projects designed specifically for the production, presentation, and sale of chocolate.

Architects are increasingly incorporating translucent materials into their facade designs to help control interior light levels, as options like polycarbonate and U-glass, for example, allow only a percentage of natural light to penetrate the building. At nightfall, however, these materials yield an entirely different, striking effect: when illuminated from within, the buildings transform into true lanterns in the urban landscape.

On Friday, October 11, we attended the panel discussion featuring MAPA—the practice based in Brazil and Uruguay, represented by partners Silvio Machado and Luciano Andrades—and Andrade Morettin Arquitetos Associados, represented by Vinicius Andrade. The event was part of the 21st Brazilian Congress of Architects (CBA) held in Porto Alegre. During the panel, the architects presented their respective work and discussed the role of prefabricated construction systems in design development. We also had the opportunity to interview Luciano Andrades, who shared details about the Minimod project. Read the interview below:

In Brazil, an increasing number of people are choosing to live in apartments rather than houses. Mirroring this trend, the supply of residential buildings with diverse floor plans and typologies has grown at a similar pace. In this context, and aiming to evoke the feeling of a standalone house, developers are increasingly offering lofts and duplex apartments. These layouts foster spatial openness, functional design, and enhanced natural light and ventilation through large openings and glass expanses. Additionally, double-height ceilings establish a visual connection between different floors, among other features that provide greater comfort to residents.

On Wednesday, October 9, the 21st Brazilian Congress of Architects (CBA) began. Organized by the Institute of Architects of Brazil (IAB) since 1945, this year's edition runs through October 12 in Porto Alegre, inviting professionals and the public to discuss its theme, Space and Democracy, through events held across various locations in the city's Historic Center.

Sculptural, elegant, and striking. Numerous adjectives can describe the stairs designed by Danish firm 3XN. With bold designs that challenge conventional vertical circulation, they add layers of inventiveness to the spatial experience, turning movement into a journey. 

Without a doubt, 2020 was a year defined by transformation and new paradigms. For the first time in more than a century since the Spanish Flu, we faced a pandemic that drove us into complete isolation inside our homes. Within the field of interior design, lockdowns forced millions of people worldwide to rethink their personal relationship with the home and its various spaces. In Brazil, despite a surge in renovations and furniture sales, the segment faced initial downturns. Nevertheless, the construction sector's Gross Domestic Product (GDP) is projected to grow by 3.8% in 2021, according to data from the Civil Construction Industry Syndicate (Sinduscon-SP) and the Getulio Vargas Foundation (FGV) published on the Época Negócios website.

Analyzing the Brazilian interior design projects published in recent months, combined with our daily curatorial experience, we have mapped out 22 trends pointing toward the future of interior design in Brazil for 2021 and beyond. To provide a coherent overview, we have divided our selection into five major conceptual categories: Colors; Finishes and Surfaces; Spatial Integration; Efficiency and Space Saving; and Repurposed Construction Materials in Interiors. Read on below:

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Videos

Over the last few weeks, the editorial team at ArchDaily Brasil has conducted a series of interviews with various Brazilian architects and firms to understand their respective work and creative processes, as well as their use of specific materials, construction techniques, and the unique aspects of developing key projects within their portfolios. In light of the quarantine resulting from the coronavirus pandemic, we have gathered these recent interviews so you can make the most of your days at home. See them below:

As an exemplary figure in the production of modern architecture, Lúcio Costa worked on several fronts—from building design to urban planning, as in the case of Brasília. Among his many facets, his role in promoting and establishing policies to protect the country's historical heritage represents a milestone both in his career and for the nation's cultural assets.

Celebrated globally every year, World Car-Free Day was established to encourage reflection on the excessive use of private cars for daily commutes and its environmental impact. The initiative encourages drivers to leave their vehicles behind for a day, improving air quality and urban life while promoting walking and non-polluting modes of transportation, such as cycling.

The event was officially launched in France in 1997 under the title "Car-Free Day," later spreading across Europe and, eventually, the world. Building on this momentum, European Mobility Week was launched in 2002, featuring an agenda dedicated to discussions and activities aimed at raising public awareness about the negative impacts of car dependency on air quality, the environment, human health, and cities. Urbanists and researchers such as Jane Jacobs, Jan Gehl, and Jeff Speck, among many others, have long demonstrated that the indiscriminate use of automobiles has severe consequences for urban environments.

Located on São Paulo's most iconic avenue, after eight years of construction, the new Sesc São Paulo unit will open its doors on April 29. With programming based on the triad of “Art, Body, and Technology,” the institution expects to welcome approximately 18,000 visitors per week.

An icon of Rio de Janeiro's landscape and a must-see destination for tourists from around the world, the fascination surrounding Christ the Redeemer conceals a compelling construction history. Standing 38 meters tall atop Mount Corcovado and weighing nearly one thousand tons, the monumental project was designed by engineer Heitor da Costa Silva and took approximately five years to build (1926–1931). Based on Silva's initial drawings, the project was finalized with contributions from artist Carlos Oswald and French sculptor Paul Landowski, who was responsible for modeling all the components that make up the statue.

The concept for the project began to take shape in 1921, following discussions among Rio de Janeiro's government officials. In 1923, a design competition was held, which was won by Costa Silva. Construction did not begin until 1926, after full funding had been raised to bring the monumental project to life, which was finally completed in October 1931.

Just like the architectural elements that compose and shape built space—floors, walls, and ceilings—vegetative elements are also capable of shaping open spaces across large, medium, and small scales, from parks to residential gardens, acting as spatial organizers. According to Benedito Abbud, “Landscape design is the only artistic expression in which all five human senses participate. While architecture, painting, sculpture, and other visual arts rely heavily on sight alone, landscaping also involves smell, hearing, taste, and touch. This provides a rich sensory experience by combining the most diverse and complete perceptual experiences. The more a garden can heighten all the senses, the better it fulfills its role” [1].

In this second part of our series, we will demonstrate through practical examples how visual landmarks, axes, scales, views, and sensory experiences are conceptualized and applied in landscape design.

With a professional career marked by prolific production and research, not only in architecture but across a range of other interrelated fields, Sérgio Bernardes began working at a very young age, founding his first model-making workshop at thirteen. At fifteen—even before entering architecture school—he designed his first project, the Eduardo Baouth residence in Itaipava, Rio de Janeiro, for family friends. Beyond architecture, he also ventured into other fields, such as woodworking.

In 1948, he graduated from the School of Architecture at the University of Rio de Janeiro, at a time when Brazilian modernism was gaining prominent international recognition, following the country's participation in the 1939 New York World's Fair and after Brazilian modernist works were exhibited at MoMA in 1943. Even before completing his degree, Sérgio secured his first architectural publication, featuring his Petrópolis Country Club project in the magazine L’Architecture d’Aujourd’hui.