The hammock swaying on the balcony, the sunlight passing through the pierced elements in a dance of light and shadow, the vibrant color marking the spaces and bringing life, these are some of the characteristics present in the daily life of the works of the quartet that form Lins Arquitetos Associados.
Nothing is more representative for an office than carrying the name of the country on its identity. Far from seeming banal, the architecture of Brazil in Brasil Arquitetura undergoes a thorough analysis that highlights aspects of Brazilian culture and society.
Technical precision combined with environmental concern and exploratory and investigative character make Carla Juaçaba one of the great representatives of Latin American architecture today. Carioca, born in 1976, Carla Juaçaba attended the University of Santa Úrsula and attributes much of her experimental and interdisciplinary style to this educational institution. It is not by chance that during her academic training her great inspiring masters were the architect Sergio Bernardes and the visual artist Lygia Pape, insinuating her interest in the multiple disciplinary branches that can compose architecture. In this sense, while still at graduation, Carla worked together with architect Gisela Magalhães, from Oscar Niemeyer’s generation, in scenography and expography projects.
At a time when biophilia is highly valued in architecture, natural pools become another element capable of increasing the connection with nature, enabling the creation of a recreational and contemplative space at the same time. Also known as ecological or biological pools, they reproduce an ecosystem composed of plants, rocks and even some species of fish.
Seen as one of the great promises for the future of construction, carbon concrete mixes strength, lightness and flexibility. In addition, at a time marked by a serious environmental crisis that puts the construction methods of the industry in check, carbon concrete emerges as an alternative that approaches the guidelines of sustainability.
You may have heard an architect colleague say that he chose to study architecture because of the numerous possibilities of action that this degree allows. The field of architecture is, in fact, very extensive, through which it is possible to embark not only on the most “traditional” attributions, but also to venture into various specificities that comprehend the role of the architect and urban planner.
Nowadays everything is “painted” green. It’s green packaging, green technologies, green materials, green cars and, of course, green architecture. A “green wave”, stimulated by the environmental and energy crisis we are facing, with emphasis on climate change and all the consequences linked to global warming. This calamitous situation is confirmed by the second part of the report entitled Climate Change 2022: Impacts, Adaptation and Vulnerability prepared by the Intergovernmental Panel on Climate Change (IPCC) and presented in recent weeks. It reveals that, although adaptation efforts are being observed in all sectors, the progress implemented so far is very low, as the actions taken are not enough.
According to the architect and researcher Patrícia Akinaga, ecological urbanism emerged at the end of the 20th century as a strategy to create a paradigm shift with regard to the design of cities. With this, urban projects should be designed from the potential and limitations of existing natural resources. Unlike other previous movements, in ecological urbanism architecture is not the structuring element of the city — the landscape itself is. In other words, green areas should not only exist to beautify spaces, but as true engineering artifacts with the potential to dampen, retain and treat rainwater, for example. With ecological urbanism, urban design becomes defined by the natural elements intrinsic to its fabric.
The strategy of raising houses off the ground gained popularity in the 1920s when Le Corbusier announced structures on pilotis as one of the 5 points of modern architecture. A great contribution, especially in the urban issue, as it enables the creation of a free space with greater connection between the public sphere of the street and the private sphere of the building. His iconic Villa Savoye is a paradigmatic example of the use of pilotis that preserves the natural terrain and, as Le Corbusier himself said, places the house on the grass like an object, without disturbing anything. In addition, the pilotis also served as a strategy for the flow of vehicles, which can be seen in Lina Bo Bardi’s equally emblematic Casa de Vidro and its slender steel tubes. Arranged in a modulation of four modules in width by five in depth, they maintain the house as a transparent floating box in the midst of nature, respecting the terrain and assisting in the building’s thermal comfort by allowing air circulation.