Landscape architecture is responsible for the transformation and resignification of the landscape, either by enriching architecture or by bringing forth the history of the site. As with buildings, when we design with vegetation it allows us to work a series of stimuli, qualities, and functions.
Plants are excellent elements to add in architecture and built spaces. However, when it comes to indoor environments, which usually receive less natural light and ventilation, certain species are resistant to adaptation.
Therefore, when thinking about species for indoors – be it a home, apartment or commercial space – some species are better than others. We have selected the best 13 indoor plants for your home.
In the eyes of an architect, concrete is practically a fetish. Currently, it's used in a wide range of projects and buildings, from infrastructure to residential, and offers an architect a great deal of freedom in generating eye-catching results. To start, we will show you how to pre-dimension concrete structures and understand what cracks in concrete structures mean. Continue reading to get our tips on how to use concrete and get the best result possible.
There is nothing more rational than taking advantage of natural lighting as a guarantee to improve the spatial quality of buildings, as well as saving energy. The awareness of the finitude of natural resources and the demands for reducing energy consumption has increasingly diminished the prominence of artificial lighting systems, forcing architects to seek more efficient design solutions. With this goal in mind, different operations have been adopted to capture natural light.
These systems can also guarantee excellent spatial properties if projected correctly. Below we have gathered five essential systems for zenithal lighting.
Let's think of a paper sheet. If we tried to stiffen it from its primary state, it couldn't support its own weight. However, if we bend it, the sheet achieves a new structural quality. The shells act in the same way. "You can't imagine a form that doesn't need a structure or a structure that doesn't have a form. Every form has a structure, and every structure has a form. Thus, you can't conceive a form without automatically conceiving a structure and vice versa". [1] The importance of the structural thought that culminates in the constructed object is then, taken by the relationship between form and structure. The shells arise from the association between concrete and steel and are structures whose continuous curved surfaces have a minimal thickness; thus they are widely used in roofs of large spans without intermediate supports.
In structural terms, they are efficient because they resist compression efforts and absorb at specific points on their surface, especially near the supports — small moments of flexion.
Colors and their perceptions are responsible for a series of conscious and subconscious stimuli in our psycho-spatial relationship. Despite its presence and its variations, it is present in all places. Have you ever wondered what its role is in architecture?
As well as the constructive elements that make up an architectural object, the application of colors on surfaces also influences the user's experience of the space. According to Israel Pedrosa, "a colorful sensation is produced by the nuances of light refracted or reflected by a material, commonly the word color is designated to those shades that function as stimuli in a chromatic sensation." [1]
Through his extensive research, inventions and structural experiments, Buckminster Fuller created the term tensegrity to describe "self-tensioning structures composed of rigid structures and cables, with forces of traction and compression, which form an integrated whole" [1]. In other words, tensegrity is the property demonstrated by a system that employs cables (traction) and rigidity of other elements (usually steel, wood or bamboo) capable of acting under the intrinsic stresses (traction and compression) together and simultaneously, giving greater resistance and formal stability. It creates an interconnected structure that works biologically like muscles and bones, where one element strengthens the other.
Whether it's to start analyzing a detail or impressing someone in conversation, understanding a classical building begins with an awareness of the different classical orders of architecture. In the historical records of architecture, the first account of the orders was written by Vitruvius: "[...] The orders came to provide a range of architectural expressions, ranging from roughness and firmness to slenderness and delicacy. In true classical design, order choice is a vital issue—it is the choice of tone," [1] which for the author, synthesizes the "architecture grammar." [2]
According to John Summerson, author of The Classical Language of Architecture, "[...] a classic building is one whose decorative elements derive directly or indirectly from the architectural vocabulary of the ancient world—the 'classical' world [...]. These elements are easily recognizable, such as, for example, the five standard types of columns that are used in a standardized way, the standard treatments of openings and pediments, or, still, the standardized series of ornaments that are employed in classical buildings." [3]
You have to consider many factors when designing an architectural project in order to ensure quality and value. The construction technique is in most cases the first item to be evaluated, because it is the one factor that properly materializes the proposed design and determines the efficiency of the project in terms of time, costs, labor, finishes and final quality.
For some practitioners of architecture, the insatiable desire to draw everything, from the largest to the smallest to take full control of the project, echoes the famous phrase uttered by Mies Van Der Rohe: "God is in the details." Similarly, designing furniture provides another creative outlet for in-depth exploration of human-scale works of architecture.
Throughout the history of the Brazilian Architecture, and especially since the modernist movement, architects not only became known for their building designs, but also for their detailed chairs and tables. Several of these pieces of furniture were initially designed for a specific project and then went into mass production due to their popularity.
Historically inspired by some of the first man-made shelters—such as the black tents first developed using camel leather by the nomads of the Sahara Desert, Saudi Arabia, and Iran, as well as the structures used by Native American tribes—tensile structures offer a range of positive benefits compared to other structural models.
Tensile structure is the term usually used to refer to the construction of roofs using a membrane held in place on steel cables. Their main characteristics are the way in which they work under stress tensile, their ease of pre-fabrication, their ability to cover large spans, and their malleability. This structural system calls for a small amount of material thanks to the use of thin canvases, which when stretched using steel cables, create surfaces capable of overcoming the forces imposed upon them.
Acoustic shells are iconic elements seen in public spaces around the world. But beyond their curious form, their operation is highly interesting. Inspired by the design of the human ear, the sound waves produced within acoustic shells are organized by their form, becoming stronger and more vivid for the audience in front of the structure.
About thirty years ago, French landscape architect Patrick Blanc became a pioneer in the implementation of vertical gardens in Paris, and later in other cities around the world. Through the creation of vertical structures capable nourishing plant species, these systems allow species to grow on the facades of buildings, considerably reducing a structure's internal temperature and allowing the expansion of green areas to new (vertical) territories within the city.
Blanc's creation was part of a series of developments in understanding what nature adds to the city, recognizing the value of green spaces and their contribution to social, environmental and urban policies.
There wasn’t much in the way of art that Roberto Burle Marx couldn’t do. He was a painter, print-maker, sculptor, stage designer, jeweler, musician, tapestry-maker and one of the leading landscape architects in the 20th century. Marx’s passion for art, in all forms, strengthened his ability to design landscapes.
The following photo set by Fernando Guerra focuses on Porto's Subway, a project completed in 1996 and projected by the important Portuguese Architect Álvaro Siza Vieira.
Designing a subway station in Porto is about influencing the daily lives of thousands of people, where they daily circulate, establishing flows and routes, in a urbanistic and architectural intervention with large-scale dimensions. Although it demands an extremely functional and austere design, it is possible to see the gestures of the architect through the details and surprises.
