São Cosme House / Carlos Castanheira
Architecture is always transformation. Preferably for the better. But not always.
Architecture is always transformation. Preferably for the better. But not always.
The demolition of the pre-existing warehouse and the construction of this new building on a backed plan allows uncovering a section of the Águas Livres Aqueduct, called Galeria da Esperança. This initiative reveals the urgent safeguard that this monument lacks in its parallel route to the São Bento Street since it’s sunk in the hillside under a number of buildings.
The house is located in the Southwest of Alentejo, deep in the Grandola hills. The gently undulating topography contrasts with the harsh dryness of the landscape and its bare vegetation of cork and holm oaks with sparse bushes creeping from the calcareous soil.
There are limits, such as the ocean, that appear to our eyes and soul like boundless openings. When confronted with these powerful natural elements, architecture must also open itself and project towards the limit. The house on the Sand, with its extraordinary view to the Atlantic Ocean in the northeast of Brazil, undertakes this venture.
The architectural firm Natureza Urbana is responsible for an extensive urban revitalization of a Bus Terminal located in the historic center of São Luís, in Maranhão, bringing as design precepts the intention of qualifying public spaces, improving the interconnection with the existing heritage, and boosting the activity of local micro-entrepreneurs. Manoela Machado and Pedro Lira, partners at Natureza Urbana, were the architects responsible for the project; also, the company Hproj Planejamento e Projetos worked in partnership with Natureza Urbana, with financing from the Inter-American Development Bank (IDB).
We’re not worried about the historic centre. There, the issue of ground-floor use is something else altogether. It works, whether we like that global brands and souvenir shops have overtaken the touristic streets of most European cities, or not. As soon as one moves away from the old Baixa, it’s impossible to remain indifferent to the vast succession of empty shop windows of closed businesses, walled and boarded up and for sale signs. Soon, one reaches the conclusion that this is not a local problem or due to poor location, street importance, and building typology. The problem doesn’t seem to be any of those factors, but rather ourselves. We, as citizens and consumers, are the problem and the reason why ground floors everywhere remain empty, underused, and waiting.
The house, originally from the 50s, located in Vila Mariana, São Paulo, still had elements from the time of its construction. Aiming for the preservation of memories, M Magalhães Estúdio, headed by the architect Maria Magalhães, imprinted new perceptions and perspectives on the new project, highlighting the existing architecture with a more integrated and broad program, allowing the family to enjoy quality leisure time.
Located in Sintra, an area that is known for its romanticist palaces and gardens as well as its relative proximity to the sea, this project stands within the former Puppeteers’ Quarter. Originally designed as a cooperative typology made up of two houses facing one another and connected by a small courtyard. This project aims to renovate two of the existing buildings while preserving the integrity of
the original typology.
The aim was to create a new project to replace 8 basic educational classrooms at São Bernardo School, in Aveiro, Portugal.
A square plan is deliberately cut, achieving a clear separation between public and private programs. The straightforward simplicity of the living room contrasts with the intricate geometries and reasonable kinks of bedrooms and bathrooms. An erotic duality was proposed.
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