Exactly five months ago, residents of São Paulo witnessed the tragic collapse of the Wilton Paes de Almeida Building. Following a massive fire, the structure of the iconic 24-story modern building came down, leaving dozens dead and injured, and hundreds homeless. Located at the intersection of Rio Branco Avenue and Largo Paissandu, the collapse also affected three other adjacent buildings, including the headquarters of the Lutheran Church of São Paulo.

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This article was originally published on July 20, 2018. To read about other iconic architecture projects, visit our AD Classics section.

Ibirapuera Park is a landmark in the city of São Paulo and a milestone of Brazilian modern architecture. Housing a cluster of five cultural buildings connected by a light, sinuous canopy, the project—designed by architect Oscar Niemeyer in harmony with the landscaping—reads like poetry floating over São Paulo's urban fabric.

Commissioned in 1951 by Governor Lucas Nogueira Garcez—who established a planning commission composed of public and private sector representatives for the celebrations of the IV Centennial of the City of São Paulo—the park was envisioned as a landmark for the capital, serving as a vital hub for culture and leisure. This idea, which had previously been championed by Ciccillo Matarazzo, paved the way for a proposal that combined a series of cultural and artistic buildings.

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Women have played a pivotal role in the evolution of landscape architecture, overcoming the constraints of a male-dominated profession to introduce groundbreaking ideas and fresh perspectives. From early pioneers to contemporary leaders, their work has reshaped how we interact with public and private spaces, intertwining aesthetics, functionality, and sustainability in innovative ways.

In the late 19th and early 20th centuries, female landscape architects carved out their place in the profession, emphasizing harmony between built structures and natural landscapes. Their projects showcased a deep commitment to community and ecological balance, setting the stage for an inclusive and thoughtful approach to design that continues to inspire the field today.

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Two primary building approaches are commonly identified in architecture and design: solid versus hollow construction. These methods vary significantly across different cultures and regions, specifically for interior partitioning systems, when they appear interchangeable. Each has its own established practices influenced by local materials, labor preferences, climatic conditions, and cultural traditions. When architects and designers focus on their local context, it is easy to overlook the broader construction assumptions, limiting design flexibility and methodology. This raises an important question: How do these two building approaches differ?

Focusing mainly on interior systems, the distinctions between solid and hollow construction largely stem from the availability of materials and workforce preferences. For example, in the United States and Japan, stud walls, both wood and metal, are frequently used for partitioning. Conversely, brick remains the predominant material for partition walls in regions such as Hong Kong and southern China. Why do we build differently, and what are the benefits and challenges of each building methodology?

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It's fundamental that architects know about structures, not only to bring their designs to reality but also to be able to discuss their projects with engineers in order to find the best solutions for construction. Structural pre-dimensioning is crucial to the initial design of the structural components, revealing the restrictions and the possibilities of the spaces.

One of the main loads that a structure must support is its own weight, so it's essential to know this information so that the different parts of the building can be dimensioned. When starting a structural project, the engineer doesn't yet know the dimensions of the different pieces that make up the structure, and therefore, can't know their own weight. A paradox appears without a solution: to know the weight it's necessary to know the dimensions, but, to know the dimensions, it's necessary to know the weight.

During the development of the project the architect finds himself in the curious situation of having to design without necessarily knowing the size of each of the parts of the building (such as the size of the pillars, for example). These important elements directly affect functionality and aesthetics of the project.

When developing an architectural project, regardless of scale or program, architects face a series of decisions regarding the construction method to adopt, considering various aspects—structural, economic, available labor, aesthetics, among others—in pursuit of the best solution.

To address the many questions that arise during design development regarding the choice of structural systems, we have prepared a practical guide to the main types of cast-in-place and precast concrete slabs that designers should know, highlighting the advantages and disadvantages of each.

Learn more below:

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Automation is everywhere around us - our homes, furniture, offices, cars, and even our clothing; we have become so accustomed to being surrounded by automated systems that we have forgotten what life was like without them. And while automation has noticeably improved the quality of interior spaces with solutions like purified air and temperature control, nothing compares to the natural cool breeze of mother nature.

But just like everything else in architecture, there is no one size fits all; what works in Tanzania cannot work in Switzerland or Colombia. This is due to several reasons, such as the difference in wind direction, average temperature, spatial needs, and environmental restrictions (or lack thereof). In this article, we take a look at natural ventilation in all its forms, and how architects have employed this passive solution in different contexts. 

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In contemporary urban design, spatial organization, mobility, the demand for new connections, and the boundaries established between public and private space have increasingly become the focus of discussions surrounding the future of global cities, and equally so in Brazil. Under this model of rapid growth, certain built structures have created urban barriers, presenting distinct obstacles.

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The Jayme Augusto Lopes Crematorium, popularly known as Crematorium of Vila Alpina, is located in Jardim Avelino, on the east side of the city of São Paulo. It was designed by architect Ivone Macedo Arantes - at the time an employee of the Cemetery Department of the City of São Paulo - and was inaugurated in 1974. It is considered to be the first crematorium in Brazil and Latin America and one of the largest in the world.

Have you ever asked yourself this question? At first, it may seem strange to imagine that we have not always had windows in our buildings, let alone that they were sealed with a transparent material capable of allowing natural light into dark rooms or creating a barrier against the cold: glass.

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Especially when it comes to public buildings, it is essential that spaces are designed to allow everyone to access them autonomously, regardless of mobility challenges. However, during the design process, aligning a project with accessibility codes can often become a major headache—especially when every single inch counts toward accommodating the required programmatic needs.

To standardize these requirements, NBR 9050 (2015) establishes technical criteria and parameters to be observed in the design, construction, installation, and adaptation of buildings, furniture, spaces, and urban equipment to meet accessibility standards.

Nothing is more rational than using the wind, a natural, free, renewable and healthy resource, to improve the thermal comfort of our projects. The awareness of the finiteness of the resources and the demand for the reduction in the energy consumption has removed air-conditioning systems as the protagonist of any project. Architects and engineers are turning to this more passive system to improve thermal comfort. It is evident that there are extreme climates in which there is no escape, or else the use of artificial systems, but in a large part of the terrestrial surface it is possible to provide a pleasant flow of air through the environments by means of passive systems, especially if the actions are considered during the project stage.

This is a highly complex theme, but we have approached some of the concepts exemplifying them with built projects. A series of ventilation systems can help in the projects: natural cross ventilation, natural induced ventilation, chimney effect and evaporative cooling, which combined with the correct use of constructive elements allows improvement in thermal comfort and decrease in energy consumption.

Just like the architectural elements that compose and shape built space—floors, walls, and ceilings—vegetative elements are also capable of shaping open spaces across large, medium, and small scales, from parks to residential gardens, acting as spatial organizers. According to Benedito Abbud, “Landscape design is the only artistic expression in which all five human senses participate. While architecture, painting, sculpture, and other visual arts rely heavily on sight alone, landscaping also involves smell, hearing, taste, and touch. This provides a rich sensory experience by combining the most diverse and complete perceptual experiences. The more a garden can heighten all the senses, the better it fulfills its role” [1].

In this second part of our series, we will demonstrate through practical examples how visual landmarks, axes, scales, views, and sensory experiences are conceptualized and applied in landscape design.

As people are spending more and more time inside their homes, offices, and other closed areas, it is important to ensure that these spaces are safe and healthy environments, especially indoor areas designed for children and seniors. In recent years, several of the materials that shape the spaces we inhabit and directly influence the quality of the air we breathe have increasingly used a potentially dangerous chemical compound. This compound is called formaldehyde.

It is truly odd how we always find ourselves in a bad mood at work and our productivity keeps decreasing as the week passes by. To be fair, we can’t keep blaming our colleagues, clients, or Monday for our rough day; sometimes it’s the chair we are sitting on, the fluorescent lighting above our computer, or the constant “chugging” sound of the printer near the desk.

Other than the fact that people spend about 70-80% of their time indoors, almost 9 hours of their day are being spent at work; and studies have indicated that the environmental quality of an office has short and long term effects on the comfort, health, and productivity of the people occupying it. While research on the comfort conditions of workplaces is still relatively minimal, we have put together a list of factors that have proved to be highly influential on the comfort of individuals in workplaces.

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Of the varying aspects of architectural and interior design, lighting is one element that can visually enhance or destroy a space. This influence stems from the wide range of artificial lighting designed for the most widely differing tasks, environments, and purposes, including internal and even external spaces such as facades and landscape projects. Think of two environments with the same dimensions and layout. Suppose that in the first, only one point of light was applied - a general, unspecified point of light in this case - while in the second a light project was performed considering the use of space and valuing certain aspects of the architectural design. Undoubtedly, the second option is a more pleasant space. In the same way, poor lighting design can ruin an environment. But how is it possible to achieve these different results?

In a previous article, we already showed how to calculate the correct light intensity required for each environment. Here, we compile a list of some of the key types of lighting systems.

Have you ever been stuck for hours obsessing over a font that matched your work? Before starting a project, do you already think about which font you will use? Do you get annoyed when you read an important message written in Comic Sans? Or do you feel offended when a mundane sentence is written in all caps? Rest assured, you are not alone. 

Architects and designers constantly use graphic elements as expressive means in the schematization of their works. Among them, the most common are the drawings, in a constant variety of techniques, styles, and patterns. But among the elements that make up the boards, panels and drawings, techniques and models, there is a particular fragment that helps them in composition and identity: the font. 

Cracks, which could be classified according to their thickness as fissures or fractures, are serious problems in the construction industry that can negatively affect aesthetics, durability and, most importantly, the structural characteristics of a project. They can happen anywhere, but occur especially in walls, beams, columns, and slabs, and usually, are caused by strains not considered in the design.