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In light of the coronavirus pandemic, the relationship between people and the spaces around them has had to be reimagined. As enclosed spaces that typically draw crowds, museums had no choice but to close their doors as the number of infections rose. Yet, their programming did not necessarily grind to a halt. Although some major architecture and urbanism events were postponed to a time when the pandemic is expected to be under control (such as the 17th Venice Architecture Biennale), many museums, galleries, and exhibition spaces saw the moment as an opportunity to deepen their engagement with virtual formats.

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Any self-respecting architect loves to talk about our profession and its importance to people's quality of life. And with good reason! We know we can contribute to building a more equitable urban environment and that our actions can directly impact the daily lives of city dwellers. However, there are several less-than-flattering traits that architects themselves admit are deeply embedded in our professional culture. 

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In architectural design, delineating spaces with different functions can be achieved in numerous ways, moving beyond traditional vertical barriers such as walls, partitions, panels and cobogós. Differentiating spaces by arranging floors on multiple levels, using elevated or sunken horizontal planes, offers the advantage of allowing greater permeability between rooms.

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According to a UN-Habitat report, in 2013 approximately one billion people lived in informal settlements, and this number is expected to double by 2030. Seen as the result of policy, legislative, and housing provision failures—at both national and urban levels—informal settlements cannot be understood merely as a byproduct of demographic explosion and globalization.

The PROJETO + PROCESSO series will feature prominent figures in national and international architecture to present one of their projects, introducing their methodologies from initial studies and sketches to client presentations and their active involvement in the process. The series will explore the references used in the project and the relationships with the surroundings, the city, and the environment.

Kenneth Frampton, a prominent architectural critic, characterizes a group of late nineteenth-century works as belonging to the “New Tradition”: with its origins spanning from 1900 to 1914, he defines it as “a consciously modernized historicist style” (1997, p. 255). He proposes these buildings as a response to two significant historical events: on the one hand, nascent European Modernism, tending toward machine aesthetics, functionalism, and formal abstraction; on the other, the consolidation of national states occurring across the continent. 

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