Before stamps and digital printing, wallpaper was a luxury item and a status symbol, as every design had to be hand-painted by artisans. As a symbol of wealth, it emerged to replace tapestries and paintings in 16th-century European homes. In Brazil, for instance, wallpaper only became economically viable in the 1930s, and its widespread popularization was only realized in the 1960s.
On August 17, Brazil celebrated National Heritage Day, 21 days after a protest set fire to the statue of Bandeirante Borba Gato in the southern zone of São Paulo. This contradiction opens up an important discussion: how are we constructing memory in our cities? What are we valuing as our country's heritage?
The term historical and cultural heritage refers to the tangible and intangible creations of a given culture within society. What defines a cultural asset as heritage is its historical and social relevance, which can be linked to collective and individual memory, as it is through these memories that we understand the past. From an architectural perspective, the term heritage is constantly associated with historic buildings that typically embody Catholic religious values or the bourgeois lifestyle of the elite.
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Well-designed environments are essential to reduce the risk of accidents and response times in the event of a fall. For architects, designing safe cities and homes is crucial, especially in light of global demographic trends. Developing an architectural project through thoughtful design and correct product specification is, first and foremost, an act of care and concern for our older relatives and fellow citizens. It is essential to ask, "For whom?" and "What are their needs?" so that, from there, we can think about how to improve their quality of life.
This is a conscious invitation for architecture to play an active role in today's society—a positive shift that delivers both design and quality of life.
This work is designed to provide educators with didactic strategies applied in the first design studio of an architecture program: Architecture Studio 1 (PA 1).
Spending more time at home made many people realize that designing interior spaces goes beyond mere personal "taste"; rather, their environments directly influence our comfort, mood, and quality of life. This perspective has altered how we view the bathroom itself, prompting a search for solutions that liven up this space and rescue it from the standard monotony in which it is typically designed. To that end, we have searched our archives for several examples that break this mold, showcasing spaces that bring more personality to the home and enhance the well-being of their users.
Disability and the diversity of bodies and people should be an engaging subject for architects: it is about lived experience, problem-solving, and designing a better built environment.
While the topic involves critical theory and aspirations for collective life, it is often viewed merely as a compliance-driven field—or worse, a sensitive subject fraught with outdated terminology and archaic habits of thought. Typical design routines do not always account for the variety of human bodies.
“From the problem of locomotion derive all other problems of urbanization.” It was in 1882 that the Spanish urbanist Arturo Soria y Mata made this assertion, and in response to it, created and implemented the concept of the linear city. Based on a functionalist doctrine, this city model abandons traditional structures such as squares and blocks, subordinating the design to circulation paths in its most rational spatial configuration: the straight line.
If your goal is to create an indoor forest, you have likely run into the challenge of not knowing where to put the plant you just bought.
The following tips offer creative ways to organize your planters so that lack of space is no longer an obstacle.
Ruins of once-elegant buildings eloquently illustrate the worst that can happen to a city after the end of an economic cycle. Wealthy families no longer have the resources to maintain their estates, and even middle-class buildings are partially abandoned when their owners, unemployed or struggling, relocate in search of opportunities elsewhere.
Left vacant and unused, physical heritage slowly degrades. Urban history is filled with examples across all eras and continents: Rome at the end of classical antiquity, Venice at the dawn of the modern era, Paraty after the shift in the Gold Route, and Detroit today.
The São Paulo State Government, through the Secretariat of Culture and Creative Economy, presents the exhibition “Artacho Jurado in the City’s Design” at the Galeria da Cidade. The exhibition, which focuses on the self-taught architect who designed and built landmarks of modern São Paulo such as the Bretagne, Cinderela, and Louvre buildings, opens to the public on Saturday, September 4—the date marking the 114th anniversary of his birth. In accordance with COVID-19 safety protocols, visitation is limited to a maximum capacity of 10 people. Those interested in scheduling a visit may do so via email at: artachonacidade@gmail.com
Brazilian student Luan Fontes, from the University of Porto in Portugal, has won the national competition Healthy Home, Healthy City with a modular project made of shipping containers. Organized by the Council of Architecture and Urbanism of Rio Grande do Sul (CAU/RS) in partnership with UN-Habitat and Minimum, the competition sought the best architectural and urban solutions for innovations or improvements across different scales and living spaces in urban areas, aiming to foster quality of life in cities following the new reality imposed on society by the pandemic.
The Galeria da Cidade is hosting the exhibition Artacho Jurado no Desenho da Cidade, which highlights the self-taught architect who designed and built landmarks of modern São Paulo, such as the Bretagne, Cinderela, and Louvre buildings, among others. The public opening is on Saturday, September 4, marking the 114th anniversary of his birth.
Rejecting the rigid tenets of mid-century modernism, Jurado developed a unique style characterized by refined details, vibrant colors, and generous spaces and programs, almost always opening the ground floors of his buildings to the city. His expressive design language led critic Décio Pignatari to compare him to the Catalan architect Antoni Gaudí.
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