The search for more efficient and sustainable modes of transportation in urban centers has been gaining ground in several cities worldwide. With the pandemic, the benefits of cycling have been proven, and many municipalities have invested in bike lanes and incentives to keep people pedaling, even after the lifting of COVID-19 restrictions.

The use of public transit, another alternative that is more sustainable than private vehicles, becomes safer as vaccination efforts progress. In Barcelona, to further encourage people to abandon their cars—especially older ones—the city administration is offering a free three-year transit pass to residents who get rid of their old vehicles.

The organization Climate Central has developed a series of images and videos simulating how various cities around the world could be affected by rising sea levels if the world fails to meet emissions reduction targets. 

Climate Central scientists analyzed where populations are most vulnerable over the next 200 to 2,000 years under different warming scenarios. The findings are alarming:

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The original house is where we return in times of crisis. It is a mobile fiction, almost like an inverted utopia—the perfect mirror of an unattainable future, not because it belongs to the past, but because it is a starting point created to give meaning to that very utopian future. The original house can be many things: the womb, the cave, the cabin, clothing, the tent, the earth. But above all, it is the story we tell ourselves to feel less lost after being cast out of this first site of identity. Thrown into the world, we remain in a constant search for a place that makes sense—a home. 

Videos

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Returning safely to the streets is beginning to emerge as a new reality for a society that reinvented itself in the face of the Covid-19 pandemic. But what should this renewed experience of public space look like? Are our cities truly prepared to welcome children, adults, women, families, and all social groups? Spurred by these questions, Gabriela Callejas, co-founder of Cidade Ativa, advocates for the “City of Yes”—an approach focused on all people that places the family, in its most diverse configurations, at the center of urban design decisions and municipal investments.

No País dos Arquitectos is a podcast created by Sara Nunes, who is also responsible for the architectural film production company Building Pictures. The podcast aims to get to know the professionals, projects, and stories behind landmark contemporary Portuguese architecture. With just over 10 million inhabitants, Portugal is a fascinating country when it comes to this professional field, and its architectural output punches far above its population or territorial scale.

In this episode, Sara talks with architects Carlos Azevedo, João Crisóstomo, and Luís Sobral from depA architects about the exhibition of the project In Conflict, the Portuguese official representation at the Venice Architecture Biennale. Listen to the interview and read the transcript of the conversation below:

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The Thames, the Danube, the Seine, the Nile, the Hudson—all of these names immediately evoke specific cities. This is because discussing the history of urban planning inherently means exploring the relationship between the city and the river, as waterways are fundamental natural elements around which many cities were founded. This is primarily due to the utilitarian nature of water bodies, which, in addition to defining—and consequently protecting—cities, provided water supply and served to transport raw materials and goods. The river, therefore, functioned as an urban backbone, fostering activity along its banks and driving economic and social development.

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A manifesto invariably anticipates a work. It comes first, as a way of publishing it and disseminating it to a larger audience. Furthermore, a manifesto invariably "post-sees" another manifesto. It rereads a work so as to rewrite it, adapting it to its own theories. 

With the crisis of an entire ideology, the postwar period was highly fertile for architectural theory. Journals published a wide variety of manifestos with surprising frequency. Indeed, these texts illustrate architectural debates far more effectively than built projects from the same period. After all, as the name itself suggests, publications were primarily responsible for making ideas public, especially since actualizing them as projects was often impossible. It was these journals, therefore, that fostered the debates, enabling constant ideological shifts within the architectural field.

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Recycling materials in architecture is not just about pursuing sustainable solutions; it is also about engaging with the past by using discarded materials, defying the construction logic long taught in our discipline. Reusing elements allows historical and cultural contexts to resonate through the materiality and symbolism inherent in each piece, further elevating the project's overall concept.

Romano Guerra Editora has launched a presale campaign to support the publication of the book Arquitetura e escrita: relatos do ofício, a collection compiling 24 interviews with prominent Brazilian and international historians and critics spanning different generations and intellectual backgrounds. The book is edited by José Lira, Felipe Contier, João Sodré, Jonas Delecave, Paula Dedecca, Samira Chahin, and Victor Próspero.

Conducted by the editors or guest contributors, the interviews shed light on their formative paths, affiliations, and major works, as well as their methodological and interpretive approaches, and their dialogues with other authors and disciplines.

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Transparent media allow light to pass through without dispersing it. Translucent materials, on the other hand, allow light to pass through in an irregular manner; because a portion of the light disperses, they prevent us from seeing through them with total clarity. Translucent surfaces act as veils, revealing without exposing, and literally blurring the boundary between interior and exterior. This effect is widely utilized in architectural design. From the signature facades of Steven Holl to the Moreira Salles Institute (IMS) in São Paulo, as well as many other examples in global architecture, this translucency can be achieved through specialty glass, acrylics, or other plastics. However, polycarbonate is a material that inherently delivers this effect, and it can be used in countless applications, from walls to skylights, and across highly diverse programs.

According to Gerard Peet in The Origin of the Skyscraper, the word "skyscraper" first acquired an architectural connotation in the early 1880s. It appeared in newspaper articles like the Chicago Daily, highlighting the growing construction of tall buildings in New York.

In her book on the history of skyscrapers, Judith Dupré refers to skyscrapers as "soaring divas," "city icons," "movie stars," and "symbols of power" that command the urban scene of our metropolises.

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