Articles by Matheus Pereira

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]

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.

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.

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.

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.

Nothing is more rational than using the wind, a natural, free, renewable and healthy resource, to improve the thermal comfort of our projects. The awareness of the finiteness of the resources and the demand for the reduction in the energy consumption has removed air-conditioning systems as the protagonist of any project. Architects and engineers are turning to this more passive system to improve thermal comfort. It is evident that there are extreme climates in which there is no escape, or else the use of artificial systems, but in a large part of the terrestrial surface it is possible to provide a pleasant flow of air through the environments by means of passive systems, especially if the actions are considered during the project stage.

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.

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. 

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.