Brazilian Architecture

Through the post-war 20th century, the Global South saw much influence from foreign architects, often invited by local governments to bring their expertise and visionary thinking. Sought as a symbol of modernity, buildings designed by "starchitects" elevated the image of nations. Decades later, as local industries advance in capabilities, the desire for foreign talent continues to exist. Is this a natural result of globalization or is the continued presence of international architects in the Global South a persistent dependency?

Many people living in large urban centers have, at some point, wished to trade the chaos of city life for the calm and tranquility of nature. As the desire for such experiences grows, Latin American countries' tourism and hospitality sectors have been investing in resorts nestled within forests. Inspired by eco-tourism, these retreats are designed to blend seamlessly into their surroundings, using local materials and traditional techniques that respect the ecosystem and promote sustainability.

A radiant Rio de Janeiro, bathed in sunlight and carried by the ocean breeze. The beach is full of life—children run across the sand, families enjoy their time together, and laughter drifts through the air. This vibrant postcard from the 1970s, depicting a Cidade Maravilhosa exuding freedom and vitality, sets the stage for "I'm Still Here," a Brazilian film that film which recently won the Oscar for Best International Feature, marking a first for Brazilian cinematography. Further recognizing its merits, the film also received Oscar nominations for Best Actress and Best Picture. The film's setting provides a rich backdrop for exploring the urban landscape of Rio during a pivotal period in its history. As the story unfolds, this bright and open setting gives way to the architectural and urban impacts of the fear and uncertainty of the military dictatorship that ruled Brazil for over two decades.

Brazil has just announced its participation in the 19th International Architecture Exhibition – La Biennale di Venezia, opening on May 10, 2025, with a pavilion curated by the Plano Coletivo group. Architects Luciana Saboia, Eder Alencar, and Matheus Seco will lead the project, representing Brazil with an multidisciplinary approach that bridges architecture, nature, and social infrastructure. Titled "(RE)INVENTION," the Brazil Pavilion will be open from May 10 to November 23, 2025, in partnership with the Ministry of Culture and the Ministry of Foreign Affairs of Brazil. The exhibition reflects on the recent archaeological discovery of ancestral infrastructure in the Amazon to examine the contradictions and socio-environmental conditions of contemporary cities.

Glass bricks have been widely used in architecture, eventually becoming a staple of the 1980s architectural styles. Some examples of construction with this material could be the classic "Maison de Verre" by Pierre Chareau and Bernard Bijvoet in Paris or the more modern take of Hiroshi Nakamura & NAP with the Optical Glasshouse in Japan. In recent years, glass bricks are becoming increasingly popular, no longer relegated to older aesthetics. Instead, they have evolved into versatile design elements that bring light, texture, and character into contemporary interiors. Their ability to diffuse natural and artificial light while maintaining privacy has reignited interest among designers seeking innovative ways to enhance indoor spaces while taking advantage of natural light.

The change of the calendar year marked the culmination of several processes in the world of renowned architecture firms. Between December 2024 and February 2025, Gensler unveiled a rendering of a Manhattan redevelopment project, Foster + Partners released renderings of a new hotel and luxury residences in Brazil, and Herzog & de Meuron announced the completion date for the new Memphis Art Museum. International competitions revealed their results, highlighting the winning project of the young firm Unformed Design, as well as the collaboration between the Portuguese Fala Atelier and the Swiss Continentale on an educational architecture project. These projects showcase the broad scope of architectural design, from the detailing of a high-end project's relationship with nature to the urban renewal potential of a programmatic conversion project.

The complex relationship between architectural education and modernist principles in Brazil raises important questions about contemporary architectural practice. To explore this topic, we invited five professors from different Brazilian universities to share their perspectives: Eduardo Lopes (Universidade do Vale do Itajaí), Eduardo Westphal (Universidade Federal de Santa Catarina), Fábio Mosaner (Universidade Federal de Pernambuco), Marta Bogéa (Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo), and Rodrigo Bastos (Universidade Federal de Santa Catarina). Their insights highlight modernism's lasting influence on architectural education while raising key questions for the current architectural debate.

Wars, decolonization, economic crises, civil movements, and industrial-technological revolutions: the 20th century was a period of radical and far-reaching transformations. These upheavals reshaped societies and redefined how people expressed their evolving aspirations, with architecture leading the way. Machines and industrialization promised technological progress and modernization, advocating for a clean break from the ornamented, historically rooted styles of the past while embracing a vision focused on functionality, efficiency, and innovation. This shift, embodied by modernism, introduced new concepts, methods, and material uses—all shaped through experimentation.

Brazilian modern architecture is often celebrated as a landmark of innovation and national identity, projecting the country onto the international stage with iconic works and a distinctive aesthetic. However, recent research and publications have highlighted its deep entanglement with colonial narratives, both in its influences and its social impact. Although modernism emerged as an attempt to break away from European academic traditions, it remained dependent on foreign references and incorporated strategies of domination that echoed colonial logic.

Photographer Paul Clemence captured a striking photo series of the Bioparque Pantanal, also known as the Pantanal Aquarium, a recently completed architectural project in Campo Grande, Brazil, designed by the late architect Ruy Ohtake. Located within the Parque das Nações Indígenas, one of the largest urban parks in the country, the structure serves as a centerpiece for cultural, scientific, and ecological exploration in the state of Mato Grosso do Sul. Clemence's photography highlights the interplay between the aquarium's architectural design and its surrounding environment, providing a visual documentation of the project's form, materials, and spatial organization.