Victor Delaqua holds a Master's degree from FAUUSP (São Paulo). He is an architect and urban planner from UFSC (Florianópolis) and studied at the Polytechnic University of Valencia. A contributor to ArchDaily since 2012, he is the Head of Newsletters. Professionally, he also works in exhibition and set design.
Nowadays, architecture museums, galleries, publishing houses, foundations, and experimental laboratories all have rooms to show their backstage, bringing about debates and proposals of the future of architecture. This is all part of Future Architecture Rooms, a project launched early this week on the Future Architecture Platform which showcases a collection of online spaces, each hosted by one institution and one member of the platform. We talked with the concept curator, Anastassia Smirnova (SVESMI) to better understand how the idea behind this project emerged, and what innovations it can present in the way of working on exhibitions and architecture.
Inspired by vernacular architecture, Kathryn Larsen is a bio-based designer working with seaweed. Throughout her career, she has been doing an intensive investigation into eel-grass, a material that has been used for centuries around the world. Larsen wants to apply all the benefits of this material (rot resistance, fire resistance, non-toxic, insulation characteristics comparable to mineral wool, and its ability to create carbon negative buildings) into prefabrication development and other technologies that enable the creation of new cladding and other elements, such as insulation batt and acoustic panels.
During the latest Design Indaba Festival, we had the chance to interview Kathryn. Read the interview and learn more about her work below.
Mixed-use buildings are those where diverse programs converge into a single project. Crucial for compact, dense cities, this architectural typology can help reduce daily urban commutes by integrating housing, workspaces, and occasionally leisure facilities into one structure.
Other bodies, spaces, and languages that have been rendered invisible or simply do not seem to fit into present-day São Paulo are being projected onto its landscape. "Voices Against Racism" is an exhibition and proposition that introduces new imaginaries to a city where narratives are constantly contested. Running until August 24, the event transforms streets from mere transit areas into spaces for art, buildings into canvases, and monuments into backdrops for artistic expressions that showcase paths usually obscured by history.
Sesc São Paulo has made a series of catalogs, educational materials, and booklets produced for the institution's exhibitions available for free on its website. Fittingly, several of these themes intersect with thinking on architecture and the city.
Gerson Castelo Branco is a self-taught architect from the state of Piauí in Brazil. His architecture is a collection of references and experiences that he describes as "an expression of freedom," the Paraqueira.
The Institutional Security Office (GSI) has signed a R$ 2.49 million contract for a drone detection and "neutralization" system that includes installing antennas up to 20 meters tall atop the Planalto, Alvorada, and Jaburu Palaces to protect the President of the Republic and the executive branch leadership. However, despite the urgency claimed for the project by the agency led by General Augusto Heleno, the National Institute of Historic and Artistic Heritage (IPHAN) is blocking the work.
The way you experience the city, the urban infrastructure provided in the areas you frequent, and even the job opportunities that come your way are all, to some extent, shaped by the color of your skin. These themes unfold across multiple layers to discuss racial segregation in the urban environment in the seminar "The City and Racial Subjection," organized in 2018 by the Laboratory of Race and Urban Space Studies (Labraça) at FAUUSP.
To purchase computers for economically vulnerable students at the Department of Architecture, Urbanism, and Design of the Federal University of Ceará—who, due to the pandemic, are unable to attend classes and lectures, develop projects, hold meetings, work in research groups, or access the vast amount of online information—professors and artists have come together for a common project: SOLIDARIEDAUD.
Renovations of Brazilian modernist buildings prompt a necessary debate on how to preserve and what best practices to employ when intervening in architectural heritage. The challenges of this type of intervention are immense. These projects must be approached with great care to maintain respect for their historical significance, preserving key elements of their composition while simultaneously updating the building to meet contemporary and client demands.
Warehouses, whether industrial or rural, are a type of building that can easily be found all around the world. Some of these shelters are century-old and have probably been built to store products or to accommodate factories. However, due to urban phenomena and new technologies, many of them stopped operating as they were originally used to and started to spark interest in several businesses whose aim was to re-adapt these structures to meet new purposes.
Intervening in buildings of historic value is one of the most delicate tasks facing architects. Today, preservation is no longer limited to restoring centuries-old buildings; it also encompasses the language of modern architecture.
We've recently passed the halfway point of 2020, and to date, we've published hundreds of residential projects featuring distinct ways of living on ArchDaily. In a year marked by the worst health crisis that humanity has experienced in the last century, the Covid-19 pandemic, the house has gained new meanings and values, reiterating that no matter how diverse its program, a home's purpose is to shelter its inhabitants.
The documentary Vilanova Artigas: The Architect and the Light, written by Laura Artigas and co-directed with Pedro Gorski, was produced to mark the architect's centennial and released in 2015. The film won the "Lusophony Award" at the Portuguese film festival Arquiteturas Film Festival Lisboa 2015 and is now available online to watch from home.
An axonometric perspective, also called parallel projection or axonometry, is an orthographic projection on an oblique plane as a means of representing three-dimensional objects. It is a very efficient way to illustrate a project since it can represent not only conceptual schemes but also construction details in a very didactic style. It allows us to change the position of the viewer when rotating the axes and thus generating several visual combinations of the design, that can help answer any questions the contractor or client may have.
Collage made with photos of Matias Romero and Raquel Aviani/Secom UnB. (licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license and Creative Commons Attribution 2.0 Generic license) via Wikimedia Commons
What would all the built environments be without its users? This question may make it easier to understand that not only do architecture and urbanism sustain themselves as physical spaces, but they also gain meaning mainly through the human and non-human movements and bonds, that - together with the architectural or spontaneous traces that make up the urban landscape - provoke the sensations that each individual feels in a unique way.
In general, architects like to talk about how much their designs influence communities, and it makes perfect sense for them to do so. In the end, physical spaces and different social factors influence how each individual feels when they inhabit the city or occupy a building. But do all projects respond to all users the same way? We set out to question the way in which architecture approaches the LGBTQIA+ community, through an open call on our social networks, collecting the testimony of our readers on how they inhabit these spaces and how it would be possible to represent the community in the architectural field.
Architects in general are people who like to talk about how much they influence communities through their designs, and they are actually correct in saying that. After all, spaces together with various social factors influence how each individual feels when occupying the city or a building. But do these projects respond to all users in the same way? We propose to question the way architecture deals with the LGBTQIA+ community through an open call on our social media channels, bringing in our readers' testimonies on how they experience these spaces, and how is it possible to represent the LGBTQIA+ community in the architectural field.
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