In the experiment by the collective Mouraria 53, the spatial operation—unlike a typical architectural project—begins before construction is finished and is integral to its ongoing development. Exhibitions, presentations, concerts, workshops, and classes serve as a daily exchange in building the house. The process itself is of paramount value to this initiative, bringing together projects, materials, dialogues, execution, and collective dreams.

Bioconstruction refers to a building process utilizing materials and techniques with low environmental impact, alongside adapting architecture to local conditions and managing waste during the building's lifecycle. Consequently, building according to these principles does not necessarily mean using so-called sustainable materials—which often must be transported over long distances or undergo prefabrication before use—but rather utilizing local materials, techniques, and labor, drawing on vernacular strategies that address these very factors.

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Over the course of a building's history, it may take on functions other than those for which it was originally designed. This is the case, for example, with houses that have become museums—either because they became architectural icons or because they eventually lost their original purpose and underwent renovation to host an exhibition space.

Through their narrative forms, architecture exhibitions promote the dissemination of knowledge and inquiries within the theory and practice of the discipline. Beyond the direct appreciation of a specific object or architectural ensemble by experiencing that space, architecture exhibitions present content structured through narrative paths, classifications, associations, or juxtapositions. This expands architectural knowledge, if not through in-situ experience, then through the way graphic materials are displayed. In this light, curatorial and exhibition design practices can foster new questions in the field of architecture, encouraging visitors to engage in critical reflection.

Daniel Flavin was a key figure of the minimalist art movement of the 1960s and 1970s in the United States. The term was first coined by philosopher Richard Wollheim in his 1965 essay “Minimal Art” to categorize works that, like Duchamp's ready-mades, did not seek to represent an external reality; instead, the exhibited object was to be understood as a work in its own right, and the viewer's experience was not meant to rely on external associations.

Salvador is a city defined by a geological fault that divides it into two parts: the upper city (Cidade Alta) and the lower city (Cidade Baixa). Since the beginning of its colonization, this elevation change of approximately 80 meters has shaped distinct land-use patterns across the territory, which have evolved alongside the city's growth and expansion. The local landscape, however, is not only defined by this geological fault but also serves as an expression of different layers of history. Brazil's first capital, which celebrated its 470th anniversary this year, has historically embraced diverse architectural styles and movements, including Neocolonial, Baroque, Neoclassical, Eclectic, Modern, and Contemporary.

The global need to find more sustainable ways to meet new demands is one of the most compelling catalysts for the reuse of materials or structures in contemporary architecture. In the field of scenography, repurposing materials to construct stage sets has long been a reality. Professional practice in this field deals with the representation of a scene, using temporary elements designed to stimulate the spectator's imagination. In this context, the work of scenographer Renata Mota has paired repurposing with the reuse of materials—either discarded or donated—that have lost their original function, using them to craft sets for performances, exhibitions, and other events.

Architects, urbanists, and students in the field have much to learn from the construction models of the first inhabitants of the Brazilian territory, who have long built shelters adapted to their local contexts. Establishing a common set of characteristics for indigenous architectural solutions proves to be a highly superficial approach, as the shapes and dimensions of indigenous ocas or malocas vary depending on the community and the number of people living there. However, by studying the diverse examples of indigenous architecture, it is possible to rethink the notion of “advanced technology” and assimilate sustainable solutions adapted to environmental conditions.

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An alternative for students who choose to study away from their hometowns, student housing acts as an extension of educational institutions. Emerging almost concurrently with the first universities, these spaces have evolved over the years to adapt to societal shifts, such as the rise of co-ed dormitories.

Emerging in 1981 with the publication of the essay “The Grid and the Pathway” by Alexander Tzonis and Liane Lefaivre, it was Kenneth Frampton's 1983 essay “Towards a Critical Regionalism: six points for an architecture of resistance” that brought the term “critical regionalism” wider recognition. The essay was published in the anthology “The anti-aesthetic: essays on Postmodern culture,” edited by critic and historian Hal Foster, initiating a debate later revisited in "Prospects for a Critical Regionalism," also written by Frampton that same year for the journal Perspecta.

Blind walls, or facades without openings, are rarely the primary design concept in homes, but rather the result of a need for privacy in certain spaces, especially when the setback from neighboring buildings is minimal or nonexistent. However, blind walls can take center stage in a building's overall composition—whether through the contrast between solids and voids, the enhancement of the wall in other ways (such as the application of paint, texture, vertical gardens, etc.), or, finally, by positioning the blind wall on the front facade. This creates a "role reversal" between the side facades, usually resigned to a lack of openings, and the front and/or rear facades, which normally feature them.

In 1897, the City of Minas Gerais was founded, later renamed Belo Horizonte in 1901. Aarão Reis's urban plan for the capital of Minas Gerais gave rise to the first modern planned city in Brazil. The orthogonal grid defining blocks, major corridors, and distinct urban zones was inspired by other city models, such as Paris and Washington, reflecting modernizing and republican ideals that shaped the territory's spatial hierarchy.

There is something compelling about the way air—an incredibly fleeting and invisible medium—can shape a wide variety of forms. This fascination has captured our imagination since childhood, when we were first drawn to the lightness, color, playfulness, and variety of inflatables.

According to the 2016 report by the United Nations Human Settlements Programme (UN-Habitat), there are 881 million people living in slums in cities across the developing world, and it is estimated that by 2025, another 1.6 billion people will likely need adequate and affordable housing. In light of these projections, there has been much discussion about Social Interest Housing (referred to as HIS in Brazil) and how projects in this field can help address the housing deficit. But what, exactly, does this term mean?

It is essential that offices, workshops, and studios are attractive not only to clients but also to employees, who spend an average of one-third of their day in these environments. A poorly designed workspace can make the workday exhausting and discouraging. To prevent this, architectural design decisions can energize the space and promote team integration, even when the footprint is limited.

Featuring varied and flexible programs, cultural centers are public buildings that play a key role in promoting, as their name suggests, local culture. Designed to encourage daily and ongoing use by residents of a specific area, their architectural programs can be highly diverse, accommodating a library, cinema, auditorium, exhibition spaces, workshop rooms, and communal areas, among other facilities.

The concept of the margin implies the existence of a center. Consequently, anything that is not part of this central focus is deemed external or peripheral. This division between center and margin, or center and periphery, extends beyond the architectural sphere into political, social, and regional realms. Therefore, when we speak of practices on the margins of architecture, we are also discussing multidisciplinary approaches—efforts focused more on understanding the context of the work and less on merely answering pre-established questions. In cultures or contexts shaped by historical discontinuities and interruptions, there is a distinct effort to define identity through self-knowledge and discovery, ultimately designing projects to address specific needs. As a result, research, the dissemination of knowledge, and alternative methods of architectural production become essential steps in this process.

The processes of city planning and development are part of complex networks, often requiring the coordination of diverse tools addressing not only physical, but also social, economic, and political planning. The Master Plan is one of the primary instruments for this purpose, playing a fundamental role in regulating a city's territory.

According to the definition in NBR 12267, which establishes the standards for preparing Master Plans, they are the “basic instrument of a municipal planning process for the implementation of urban development policy, guiding the actions of public and private agents.”