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The Unhão complex, constructed in Salvador, Brazil in the 17th century, consisted of a sugar mill with a big house, chapel, and slave quarters. At the time, Salvador was one of the largest and most important Brazilian cities, and its port was the site of a large portion of the Portuguese colony s sugar exports, an economy fueled primarily by slave labor. The ensemble drew the attention of Italian-Brazilian architect Lina Bo Bardi at her first visit in 1958, during which she spent some years working and teaching in the city. Following Bo Bardi s decisive contributions, the buildings were restored and became the new home of the Museum of Popular Art and the Popular University. But within the whole complex, the element that draws the most attention for its plasticity, functionality, and symbolism is the helical wooden staircase.
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The Unhão complex, constructed in Salvador, Brazil in the 17th century, consisted of a sugar mill with a big house, chapel, and slave quarters. At the time, Salvador was one of the largest and most important Brazilian cities, and its port was the site of a large portion of the Portuguese colony s sugar exports, an economy fueled primarily by slave labor. The ensemble drew the attention of Italian-Brazilian architect Lina Bo Bardi at her first visit in 1958, during which she spent some years working and teaching in the city. Following Bo Bardi s decisive contributions, the buildings were restored and became the new home of the Museum of Popular Art and the Popular University. But within the whole complex, the element that draws the most attention for its plasticity, functionality, and symbolism is the helical wooden staircase.
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Researchers point out that proto-greenhouses arose to fulfill the desire of the Roman Emperor Tiberius (42 BC to 37 AD) to eat cucumbers every day of the year. Since it was impossible to grow the vegetable on the island of Capri in winter, his gardeners developed beds mounted on wheels that they would move into the sun when possible, while on winter days they would place them under translucent covers made of Selenite (a type of gypsum with a glassy appearance). But the production of large-scale greenhouses only became possible after the Industrial Revolution with the availability of mass-produced glass sheets. Since then, they have been used to grow food and flowers, forming a microclimate suitable for plant species even in places with severe climates. But in some cases, these artificial growing conditions can also form interesting living spaces. The recent Lacaton & Vassal awards rekindled this interest. How is it possible to create greenhouses that can be good for both huma
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Le Corbusier s fascination with the automobile is evident in the architect s various photographic records of him posing proudly next to a car in front of his architectural work. According to the Franco-Swiss architect, in addition to enabling more efficient and economical construction, the industrialization of architecture could form the basis of improved aesthetic results in the same way the modern car chassis supports the creative and modern design of the automobile body. Yet, while vehicles have experienced impressive changes since the 1930s, it can be said that architecture has been slower to adopt the advances of other industries.
But that has been changing little by little. Driven by concerns around sustainability, the use of non-renewable fossil resources, and efficiency, coupled with accelerating demand to build new buildings and more accessible infrastructure, the construction industry has been incorporating numerous new technologies, including those adopted from othe
Translucency & Raw Materials: A Brief Analysis of Lacaton & Vassal s Solutions archdaily.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from archdaily.com Daily Mail and Mail on Sunday newspapers.