Biblioteca dos Saberes by Kéré Architecture. Northern view. Render. Image Courtesy of Kéré Architecture
Kéré Architecture has unveiled its proposal for the 40,000-square-meter Biblioteca dos Saberes (House of Wisdom) in Rio de Janeiro's Cidade Nova neighborhood. Designed by Francis Kéré, Mariona Maeso Deitg, and Juan Carlos Zapata, the cultural complex is commissioned by the Rio de Janeiro City Hall and planned for a site near Valongo Wharf and the Little Africa area. The design was presented to members of the community on November 20, the National Day of Zumbi and Black Consciousness in Brazil. Important features include a perforated façade for sun protection, roof gardens, landscaped terraces, shaded courtyards, open-air areas, a canopied amphitheater, and a pedestrian bridge connecting the building to the nearby monument to Zumbi dos Palmares.
Image by Wilfredo Rafael Rodriguez Hernandez, CC0, via Wikimedia Commons.
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.
Located on the top of the Boa Viagem viewpoint in the city of Niterói, the Niterói Contemporary Art Museum - MAC was designed by architect Oscar Niemeyer. Inaugurated in 1996, it is a modern architectural masterpiece dedicated to housing a collection of Brazilian contemporary art from the 1960s to the 1990s. Rising above the cliff like a lighthouse, it appears to float in the air, resting on a water basin. Facing Rio de Janeiro’s Guanabara Bay in Brazil, its circular lines and revolutionary double-curved form stand out on the horizon, offering an open plaza of 2,500 square meters alongside a reflective pool that gives the structure a remarkable sense of lightness.
Carnival is one of the biggest cultural expressions in Brazil. Image via Shutterstock
Rio de Janeiro, often called the "Marvelous City," is a vibrant tapestry woven from diverse cultural, historical, and social threads. Its story begins with the indigenous Tupi, Puri, Botocudo, and Maxakalí peoples who originally inhabited the region. The city's name, translating to "River of January," originates from Portuguese explorers who arrived at Guanabara Bay on January 1, 1502, mistakenly believing it to be the mouth of a river.
Maria Carlota de Macedo Soares was born in 1910 in Paris, where her father—who ran one of Rio de Janeiro’s most influential newspapers, Diário Carioca—was exiled. Raised among the elite, Lota arrived in Brazil in 1928 at the age of 18. She was often described as a controversial figure, known for her love of race cars, wearing jeans and men’s shirts, and for her discreet yet enduring relationship with the acclaimed American poet Elizabeth Bishop.
Modernism emerged in the early 20th century as a revolutionary movement that rejected historical styles, prioritizing functionality, innovation, and rationality. Grounded in the promise of industrial progress, architects like Walter Gropius, Le Corbusier, and Ludwig Mies van der Rohe championed using new materials and construction methods, striving for a universal architectural language. Their work introduced radical ideas: open floor plans, expansive glazing for natural light, and pilotis that elevated structures, symbolizing a new architectural era. However, alongside its groundbreaking ideas, modernism's relationship with sustainability has sparked ongoing debates.
While modernist architects sought to address social and economic challenges through affordable housing and efficient design, their reliance on energy-intensive materials like concrete and steel created unintended environmental consequences. The large-scale industrialization celebrated by modernists often disregarded local climates and ecological systems, leading to inefficiencies. Yet, the principles of functionality and adaptability embedded in modernist architecture laid the groundwork for what we now recognize as sustainable practices. From Le Corbusier's rooftop gardens to Frank Lloyd Wright's integration of nature, the seeds of environmentally conscious design were undeniably present, albeit limited in their execution.
As the demand for affordable housing grows and the availability of low-cost properties diminishes, stakeholders in housing must become more innovative in their approach to social housing development. One opportunity lies in restoring and repurposing abandoned buildings. While building new houses remains the primary strategy for Housing Authorities and Associations, rehabilitating derelict buildings can be a more economical option. This approach not only maximizes the use of dilapidating infrastructure but also provides an economic opportunity to increase affordable housing within the city. Although rehabilitating derelict residential buildings may seem like an obvious solution, it becomes even more crucial when considering abandoned commercial, institutional, or historical buildings for social housing.
In the perception of many, the favela embodies contradictory and opposed representations. For those outside its boundaries, the favela is frequently associated with crime, poverty, or illness. Yet, it is also regarded as the aesthetic embodiment of a nation, serving as the birthplace of culturally renowned elements worldwide, such as samba in the case of Brazil.
How do we give new meaning to degraded public spaces? Vibrant colors, geometric patterns, and community collaboration. That could describe the approach of Rio de Janeiro artist Antonio Ton. Drawing inspiration from interactions he finds on the streets and engaging in dialogue with local communities, his works extend beyond revitalizing sports courts and skate parks. Ton demonstrates how art fosters the creation of a space for gathering and leisure. We spoke with him to delve into his artistic process and explore the outcomes his paintings offer.
The relocation of a capital city is a complex urban decision with various dimensions and consequences for both the old and new capital. It can be driven by political, economic, societal, and other factors, and has urban and architectural implications for residents. These include factors such as location, planning, building design, the purpose of the old capital, climatic conditions, and separating the political/administrative hubs from cultural and economic cities.
In light of the ongoing urban discourse, countries like Egypt are constructing a new capital city to alleviate population and urban stress on Cairo. Similarly, Indonesia is planning a new capital in response to challenges faced by Jakarta, such as pollution, traffic congestion, and rising sea levels. It is valuable to examine other countries in the global south that have relocated their capital cities, noting the architectural and urban lessons learned from their experiences.
