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A cada ano, a equipe de Curadoria de Projetos do ArchDaily rememora a vasta gama de obras publicadas ao longo desse período, apresentando retrospectivas que permitem não apenas identificar tendências e variações na produção arquitetônica, mas também reconhecer de que forma impactam a nossa audiência. No ArchDaily Brasil, a seleção anual de melhores casas – que ano após ano, segue permanecendo como nossa categoria de projeto mais popular – representa uma amostra das variadas soluções, estratégias, técnicas e materiais encontrados na arquitetura residencial dos países de língua portuguesa.

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Have you ever wondered how an exhibition design is conceived? Or how it coordinates the staging of the displayed content?

Historically, what we know today as a museum began as a place to gather pieces and objects organized by typology. This is evident when looking at images of the so-called cabinets of curiosities or wonder rooms, which organized a vast array of rare objects and species (animal, plant, and mineral) brought back from the great explorations of the 16th and 17th centuries.

Centuries later, these collections began to gain traction, and former palaces transformed their hallways into long, continuous galleries, to which only their guests and residents had access. Later, in the 19th century, the emergence of pavilions dedicated primarily to the display of artifacts brought us closer to the modern concept of museums. We regularly publish various museum projects. But beyond their architecture, have you ever noticed the crucial role that exhibition design plays? Below, we outline some of the key concepts of exhibition design.

Today, August 17, is National Historical Heritage Day, a date that honors the efforts to preserve assets of cultural, historical, and artistic significance across Brazil. This date coincides with the birth of historian and journalist Rodrigo Mello Franco de Andrade, who played a crucial role in founding the National Institute of Historic and Artistic Heritage (IPHAN). Established in 1937, IPHAN is the agency responsible for promoting and organizing the preservation of Brazil's National Cultural Heritage, aiming to “protect and promote the country's cultural assets, ensuring their endurance and enjoyment for present and future generations.” [1]

Physical distance is no longer an obstacle for the world's major museums. Once limited by their geographic locations and accessible only to those who could visit them in person, many museums have now digitized their collections, while others are in the process of doing so—a strategy that broadens reach and, to some extent, democratizes access to culture.

Heritage-listed at both the state and federal levels, Teatro Oficina, designed by Lina Bo Bardi and Edson Elito, is at risk of having its surroundings profoundly altered by the construction of two 100-meter-tall residential towers. The project, led by the Silvio Santos Group, was approved by the National Historical and Artistic Heritage Institute (Iphan) during a meeting on May 29.

The São Paulo City Government has resumed discussions regarding property tax (IPTU) exemptions and discounts for landmarked buildings. Previously debated during the administrations of Gilberto Kassab and Fernando Haddad, the issue is currently the focus of a newly drafted bill. 

The proposal limits the IPTU exemption to landmarked properties located in downtown São Paulo, within a perimeter that is still being defined. It will not apply to properties subject to general zoning restrictions, such as those in historically preserved neighborhoods like Jardins and Pacaembu. 

On this occasion, architect Rodrigo Rieiro Díaz, from the ARKRIT Collective, presents an article that explores how certain contemporary architects have refused to hide building scars resulting from material processes in rehabilitation projects, in a bid to emphasize the pre-existing structure as an aesthetic asset.

While it is true that not painting—or covering with joint covers—the marks of material processes during building adaptive reuse projects represents a financial saving, there seems to be a desire among certain contemporary architects that goes far beyond simply cutting a line item from the budget.

Indeed, there is a contemporary tradition—the reuse of industrial buildings as art spaces—where this practice is common. This model of an exhibition space, halfway between a gallery and an artist's studio and geared toward a young, urban audience, already has a history of at least forty years. Yet there is a certain consecration of the method in its adoption by the city councils of major European cities for their cultural institutions, and in the highly favorable reception of these interventions in academic and professional circles.

Today, it is estimated that in Brazil alone, 30 million tons of waste are deposited annually in landfills, with São Paulo alone sending 14,000 tons of solid waste to these sites every day. [1] Unsurprisingly, landfills occupy vast tracts of land that continue to expand, posing a critical challenge for nearly every city. But what can be done once landfills reach capacity and close? Is it possible to breathe new life into these mountains of waste? What are the possibilities and necessary precautions?