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July 2024

Yada Theatre // GOA

Project Status: Under ConstructionSize: 5000 sqft – 10,000 sqft

Text description provided by the architects.

Yangxian Xishan was born at a time when the construction of small town was turning from feverish pursuit of profits to rational development. It is a well-planned field experiment by developers and architects in the contemporary context of urbanization, and also the first town development project that is expected to realize “opening in the whole region and self-operation”.



Yada Theater is a cultural building in the town for residents and visitors.

Different from many buildings for performing arts in cities, Yada Theater located among green hills and tea fields is a true “theater in nature”. Based on the advantaged natural conditions, the design of Yada Theater, instead of adopting the “closed box” approach, interprets a unique experience blending art with nature for visitors from the perspective of “openness”.



The design draws on the cultural allusions of the literati collection in the Song Dynasty to create a contemporary cultural landmark located in nature. After completion, the theater will serve as a venue not only for performing arts activities in the town, but also for residents’ cultural life.

The central courtyard is the core of the theater, interspersed with a series of grey spaces.



To interpret “local characteristics”, architects studied local building materials, and finally selected the grayish green ceramic panels produced in Yixing as exterior wall materials, creating a simple and elegant atmosphere. The 530-seat multifunctional auditorium can realize transition between open and picture-frame stages, meeting the needs of professional performances such as concerts and dramas and adapting to the scenes of other cultural events.



A floor-to-ceiling glass curtain wall is used creatively in the stage background, which makes you feel as if you are sitting in a “Song-style couch” set in tea fields and water features.

As the project adopts integrated design, the design team, apart from the architectural, interior and landscape design, reviewed the integration effect of the illumination and curtain wall design as well as the special design of the auditorium, stage, lighting and acoustics, which is a new and meaningful attempt..



Yada Theatre Gallery

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Pretty Penny: 9 Ways Copper Details Elevate Architectural Design

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Apart from being well-known for its conductive properties in electrical wiring and industrial uses, copper is also famous for its health benefits (the mineral, after all, is found in all tissues of the human body). People across the world have also been using copper utensils to store water or serve food. And while copper is commonly used in its raw state, alloys like brass and bronze have also remained popular for centuries.

In design, copper has been used in a variety of ways ranging from small lighting fixtures and vases to entire building façades. The metal’s earthy tone and malleable nature make it a very handy material in a designer’s arsenal. In addition to different scales, it also works with a variety of design styles – from rustic restaurants to sleek contemporary apartments. The following projects illustrate a few ways in which designers have incorporated copper into their designs in diverse ways.

Hotel DAS TRIEST, PORTO Bar by BEHF Architects, Vienna, Austria

Industrial Accents

One of the easiest ways to incorporate metallic finishes is by using them as accents to highlight other materials, forms and furniture. The interior of the Hotel DAS TRIEST, PORTO Bar by BEHF Architects is a good example of this technique. The studio has used the versatile material in multiple ways in the design. In addition to the cladding on the entrance, the metal is used to create minimal shelves and gridded ceiling décor that defines and warms the space. The theme is reinforced by adding a copper finish to the travertine store bar. Wooden furniture lines the interior, echoing the warm tone of the striking copper accents.

Grotta Aeris by SOFTlab, Raleigh, North Carolina

Dramatic Entrance

From windows to mirrors to shiny stone walls, people are often tempted to glance at their reflections as they walk by glossy surfaces. Reflecting this human tendency, a copper-clad entryway is bound to be a crowd stopper. With their sculptural doorway in Raleigh, North Carolina, SOFTlab proves exactly this. The grand entrance is created by putting together copper-toned composite panels to resemble crystalline forms in nature. An organic rock-like mass is created by joining 70 flat-cut black aluminum pieces and then adding the copper panels on top using high-strength magnets. Taking this a step further, LEDs are placed in the seams to breathe life into the structure as they create reflections on the metal surfaces.

Sharp by Havel Ruck Projects, Houston, Texas

Juxtaposition With Black

The warm tones of copper often appear brighter when placed next to darker colors. Pairing it with hues like black or navy blue also tones down the reflectiveness of the metal, making it more usable. Havel Ruck Projects made a house-shaped cupric void in a home in Houston, Texas. As it moves along the length of the home, the void takes a 180-degree twist to form the shape of an inverted pitch roof house on the other end. The plywood walls of the void are coated with copper foil to capture and reflect sunlight inside. Here, the black façade of the house balances this illuminated core and creates a strong visual contrast.

Copper Reception by Mizzi Studio, London, United Kingdom

Statement Furniture

Copper can be used in more than just ceiling panels and lighting fixtures. Take for example this reception area in London, designed by Mizzi Studio. The stunning space features a statement desk covered entirely in copper. The malleability of the metal allows it to be bent into a curved cocoon that acts like a cubicle. The surface of the desk was left untreated to integrate it with the exposed finishes in the entire space.

Shenzhen Bay Gallery by Studio Link-Arc, LLC, Shenzhen, China

Façade Treatment

Although less common, architects are also incorporating copper in exterior surfaces. Highly malleable copper sheets can be curved, folded or perforated to create different volumes and forms. Shenzhen Bay Gallery by Studio Link-Arc, LLC features a dramatic metallic façade with several openings and patterns. The perforations in the façade help control the amount of light that enters the building while also creating interesting shadows that dapple and define the interior space.

NOXON by On Architects Inc., Ulsan, South Korea

Scorched Surfaces

Apart from use in their natural state, metal surfaces can also be treated in different ways to create interesting effects. For example, they can be painted or chemically treated to create a weathered appearance. This effect can be a step further, as in the case of NOXON by On Architects Inc. by scorching copper elements. These plates on the external walls were beaten by hand and then fire-treated to create unique patterns, keeping in mind that copper will oxidize with time and further enhance them. The aged appearance of the building is also a nod to the historic character of the surrounding neighborhood.

Potovoltaric Pavilion Potsdam by O&O Baukunst, Potsdam, Germany

Functional Finishes

Photovoltaic panels can be more than just an energy-generating element. O&O Baukunst created the Potovoltaric Pavilion Potsdam as an experimental design that incorporates such panels. The photovoltaic panels held in steel frames make up the elevations of the pavilion. The copper backs of these panels are visible inside, standing out against the pale floor and ceiling.

Experimentarium by CEBRA, Hellerup, Denmark

Grand Staircases

A central staircase often becomes a focal point in any space. But it attracts even more attention when it is covered in gleaming orange metal. The large helix staircase in CEBRA’s design Experimentarium fills the central void in the science center, connecting its four floors. The DNA strand-shaped copper staircase hints at the scientific nature of exhibits within the space both due to its form and material.

Copper Cube Haus by DIG Architects, Mumbai, India

Sleek Kitchens

Plain metallic surfaces can add a dash of glamour and complexity to minimal or monochrome interiors with little effort. As an added bonus, these details also reflect light, making a space look cozy or spacious. In Copper Cube Haus, DIG Architects created a central kitchen block and covered it entirely in copper. This box adds warmth to the space, as it intensifies the cozy effect created by warm-toned lights, and helps separate the living area from the other functional spaces. The theme is repeated in the bathroom by using copper accents in the black and white bathroom.

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Shenzhen Longhua District Science and Education Institute affiliated experimental school // CAPOL INTERNATIONAL & ASSOCIATES GROUP

Project Status: BuiltYear: 2020Size: 500,000 sqft – 1,000,000 sqft

Text description provided by the architects.

Shenzhen Longhua district Science and education institute affiliated school project is located in Longhua District, Shenzhen. The project area is 2,039.93 ㎡, with a total construction area of about 48,000 ㎡, a height of 24m, 5 floors above ground, and 1 underground floor. It is a nine-year school with 45 classes, offering about 2,100 degrees.

In terms of functional setting, the campus is centered on the resource center centrally arranged on the east side, connecting teaching areas, sports fields, and dormitory areas.



Different spaces are connected in series and interact with each other, thus breaking the traditional corridor-style cross-sectional spatial relationship. The teaching area adopts a single corridor layout, which is efficient and practical; other teaching auxiliary rooms adopt a more flexible layout, with free circulation and interesting experience. Dislocation between the platform and the room to create more public spaces.



The plan creates a complex and efficient campus space.

The resource center near the playground is designed into a form of stepping back,creating an interesting facade on the side of the sports field. According to the timeline of school users, the stepped area has analyzed and sorted out the story line of the resource center, forming a rich spatial form; the boundary layer changes, echoing each other, lush plants are planted on the edge of the platforms.



East facade creates the image of an ecological and green natural academy.

On the side of Meilong Road, main road of city, is the west facade, which is also the main image. Adopting the prefabricated architectural design, using simple and clean lattice language, several large holes are selectively “cut out” in the neat facade, which becomes the window to view the city, creating a colorful activity space for students.



It also solves the problem of rigid facade image caused by lattice structure..



Shenzhen Longhua District Science and Education Institute affiliated experimental school Gallery

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Meandering Mazes: 7 Labyrinthine Walkways To Explore

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter. 

Mazes have held significance in several cultures across history. Defined as a one-way path from one point to another, often in a space filled with numerous alternate paths that lead to dead ends, mazes can be traced back to Egypt in the 5th century B.C. Throughout different regions and their mythologies, they have been looked at as paths for reflection, adventure and/or fortification.

In current times, mazes are often used as public attractions or landscape elements. They have also been used in movies like Inception, The Shining and Labyrinth to create suspense and tension. There is something about a maze that inspires curiosity and a sense of adventure that can captivate visitors over and over again as one discovers new routes with every journey. The following collection explores how designers are adapting the traditional idea of a maze into different kinds of art installations and public interventions. In turn, these designs are changing how people interact with their environment and experience different spaces.

Images by Pezo von Ellrichshausen

Vara Pavilion XV Venice Architecture Biennale 2016 by Pezo von Ellrichshausen, Venice, Italy

Unlike a traditional pavilion, the Chilean firm behind its design describes the Vara Pavilion as a series of exteriors within other exteriors. The intersection of spaces is achieved by interlocking ten cylindrical forms and placing openings at various spots in this network. As the user walks through the space, they are confronted by a series of narrow and large spaces that converge or open up based on the route they take. The radii of these curved forms are based on a vara, an obsolete unit of measurement that the pavilion is also named after.

Luminaria by Architects of Air

Luminaria is a traveling exhibit that has existed for the past two decades and has been showcased in 37 countries across the world. These inflatable structures draw inspiration from Islamic architecture, Archimedean solids and Gothic cathedrals, coming together as a series of plastic volumes in rainbow hues. The modular nature of this exhibit allows the studio to create a unique experience every single time; in each iteration, the 20 pods are zipped together on site in a different arrangement. In addition to adventurous walking paths, Luminaria also comprises about 30 pockets for people to sit back and relax.

Root Bench by Yong Ju Lee Architecture, Seoul, South Korea

Much like the roots of a plant, this structure spreads out in a park in Seoul in a circular form with a diameter of about 98 feet. The organic form originates from a central point and continues branching out and multiplying. The arms dip and rise from the ground to create seating with different heights and configurations. The structure is made of wooden panels that are supported by a metal frame with a concrete base. Form and color combine to create an almost natural element that appears to emerge from the landscape.

The Maze of Bamboo Screens by Yunchao Xu/Atelier Apeiron, Jiangsu, China

The temporary installation was an attempt to reuse the bamboo, wood, steel and stones wasted during the construction of the China Garden Art EXPO 2021. A maze-like walkway is created using curved segments positioned in different orientations. The central circular form fans out to create an open space where visitors may sit and enjoy. The slim gaps in the walls of the maze allow users to visually connect with others who are also walking in different parts of the maze while also maintaining a sense of seclusion. The addition of bamboo plants within adds to the sense of serenity offered by the neutral cocoons.

Images by Miguel de Guzmán

Yǔzhòu by Brut Deluxe, Hainan, China

Part of the Luneng Sanya Bay Light and Art Festival, the immersive light-based installation looks like a futuristic maze. It is composed using dichroic film-coated acrylic glass in triangular forms to create a spectrum of colors as one walks through the labyrinth. These walls also feature circular grooves with color-shifting LEDs. Unlike the inner transparent walls, the peripheral surfaces are covered in a mirror film to turn it into an infinite room.

Elephant Museum by Bangkok Project Studio, Surin, Thailand

The Elephant Museum is a part of the local government’s Elephant World project to create a sustainable environment for the Kui community and their elephants. The structure is laid out in a grid-like manner where the walls curve upwards in height towards the center. Several paths lead to four exhibition areas and several courtyards of different sizes. Some of these courtyards even contain small pools or floors filled with reddish earth. The clay bricks used to construct the structure are also handmade using local techniques, creating more jobs for the community.

LABIBU by Labscape Architecture

LABIBU is a conceptual landscape design that acts as a visual maze. Trying to mimic the vibrations in the environment, the bamboo and grass arrangement creates an artificial topography. The red form is created using paranematic design methods. The bamboo pieces are lower in height at the beginning of the maze and keep increasing as one navigates it further, creating a dark cocoon.

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Centuries of Work: 3 Cathedrals Whose Construction Lasted Longer Than Sagrada Familia

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The star-lighting event of Sagrada Familia on Dec 8, 2021 announced the completion of one of its 18 towers, the tower of the Virgin Mary. Since the first cornerstone laid in 1882, the construction of this other-wordly church — famously attributed to Antoni Gaudí, although a number of architects have been involved in the design — has continued for 139 years already. However, the finishing date of the whole project is likely to be extended beyond the expected date of 2026, due to a loss of tourist revenue during its nine-month closure in 2020 due to the pandemic.

This is not the first crisis that Sagrada Familia has confronted, given that it also faced a prolonged pause in construction during the Spanish Civil War in the 1930s. Apart from the financial and socio-historical factors, the complexity of the design itself has also contributed to the church’s high cost in time and money — even now, with modern construction technologies. While 139 years might sound like an unbelievably drawn out timeline in contemporary architectural contexts, the Sagrada Familia’s prolonged construction is not unprecedented in the architectural history of churches; in fact, many earlier Gothic structures took centuries longer to build. While Barcelona’s most famous structure may not serve as the bishop’s seat, this article considers three famous Gothic cathedrals that took many more centuries to build.

The south façade of Cologne Cathedral. Image by Velvet via Wikipedia.

632 Years: Cologne Cathedral (1248~1880)

Now a popular site to visit in Germany, this gargantuan gothic structure took more than 600 years to finish. At the time when the construction began, gothic architecture has just gained its popularity in medieval Europe. Cologne required an impressive, new structure to house the relics of the Three Wise Men, thus establishing the city’s importance to European Christianity. After demolishing the extant Romanesque style cathedral on the site, the construction was pushed forwards smoothly for some 200 years, with service areas including the choir finished and the structure soon in use.

The construction ceased in the 16th century due to financial roadblocks and a general decrease in enthusiasm for the gothic aesthetic. The cathedral was therefore not completed until the Gothic Revival period of the 19th century. Faithfully following the original design, construction was restored, and when the building was finally finished in 1880, it became the tallest structure in the world, with both towers exceeding 515 feet (157 meters).

St vitus cathedral
St. Vitus Cathedral. Image by Alvesgaspar via Wikipedia.

585 Years: St. Vitus Cathedral (1344~1929)

Another iconically intricate piece of gothic architecture, St. Vitus Cathedral in Prague also took around six centuries to build. The story of St. Vitus Cathedral holds some similarities to that of Cologne Cathedral. St. Vitus Cathedral also had a Romanesque precedent, which was considered unsuitable after the religious relics that it held acquired elevated importance. Likewise, the fashionable gothic architecture of the time was chosen to replace the older and more simple cathedral. The construction continued seamlessly for about 70 years until the Hussite Wars brought it to a halt in the early 15th century. Although it is of a considerably smaller size than Cologne Cathedral, the complexity and the expensive nature of gothic architecture meant that only half of the cathedral was complete before the wars began, including a choir, chapels and a bell tower which accommodates the largest bell in Czech.

Moreover, a fire in 1541 severely damaged the half-built structure, meaning that there was even more work to do. Unlike the Cologne Cathedral, whose gothic aesthetics was strictly preserved, as the construction continued in the following centuries, the building accumulated Renaissance and Baroque elements. This is seen, for example, in the Baroque cap on the bell tower. Mass restoration began in the late 19th century, finishing up the western part of the building in a neo-gothic style.

duomo di milano
The front façade of Milan Cathedral. Image via Duomo di Milano official site.

579 Years: The Milan Cathedral (1386~1965)

No conversation about the complexity of Gothic architecture is completed without mentioning the Duomo di Milano, whose complicated (at times dramatic) construction history is as famous as its complex aesthetics. The cathedral has 135 spires and over 3,300 statues, forming facades of visually astonishing complexity that follow an intense rhythm. Its building period spanned across the 14th century to the 20th, consuming almost the same years as St. Vitus Cathedral.

However, unlike Cologne and St. Vitus, the construction of Duomo di Milano was continuous over the six centuries, which has been extensively documented in a chronological list of the architects and engineers in charge. Different master masons held different ideas and design preferences — both in terms of aesthetics and engineering — which also reflected changing construction trends. The original Gothic style design was altered in the 16th and early 17th century, adopting Renaissance elements on both the exterior and interior to emphasize the Italian nature of the cathedral (traditional Gothic elements were increasingly associated with Northern Europe).

One obvious piece of evidence is the front façade that we see today, where the windows present a clear mixture of styles between the upper and lower layers. Apart from diverting ideas from one leading architect to the next, the choice of material also contributed to prolonged construction. Due to its soft and reactive nature, the rose-colored marble requires constant maintenance during the whole construction process and even after completion.

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Fountain Place // Sentech Architectural Systems

Project Status: BuiltYear: 2019Size: 5000 sqft – 10,000 sqftBudget: 50M – 100M

Text description provided by the architects.

Dancing Fountains, striking 2-story high lobbies with glass panels spanning almost 30′ from floor-to-ceiling and interior feature walls that capture and reflect surrounding light are just the beginning of what make the renovation of Fountain Place a timeless architectural masterpiece. The 60-story office tower was originally designed in 1986 by architect Henry Cobb of I.M.

© Sentech Architectural Systems

Pei & Partners. A signature structure and icon on the Dallas skyline, Cobb described the original design for the building as “geometry pursued with rigor”- an ode to the towers subtractive form of a glazed prism employing the diagonal of a double square.

In 2014, Atlanta-based Goddard Investment Group purchased the building and undertook one of the most ambitious rehabilitations with the goal of re-inventing the space as an integrated complex.

© Sentech Architectural Systems

Employing architectural icon Gensler and New York-based architect James Carpenter Design Associates to lead the renovation of the lobby, the plaza and the common areas of Fountain Place, the existing mezzanines were removed to vault the ceiling and maximize penetration of light. During the renovation, in an effort to increase the connection between the interior entrance lobbies and Dan Kiley’s famous outdoor water gardens, the original mezzanines were removed to make way for the new structural glass façade and lobby enclosure walls.

© Sentech Architectural Systems

The existing lobby enclosure walls were replaced with a frameless, clear span monumental glass façade that embraces the visual connection between the tower lobbies and the bubbler fountains, Texas cypress trees, waterfalls and central fountain that make up the exterior garden. Utilizing Sentech’s VetraSpan all-glass full-height façade system, the low-iron glass panels span 29′-6″ from floor-to-ceiling and over 10′ in width with no visible supporting elements or additional structure to ensure complete transparency.

© Sentech Architectural Systems

Each panel weighs over 6,400 pounds, and the exterior façade totals approximately 6,720 square feet of structural glass. To achieve a clean aesthetic with the sizes required under load conditions, panels had to be manufactured with extremely tight bow tolerances, and the perimeter support systems were designed to reduce deformation while allowing for building movement.

To add to the striking aesthetic, the elevator cores were clad in 9′-high panels of backlit cast glass, creating feature walls that draw the eye and define the space. The elevator core’s translucent glass captures and reflects the surrounding cascades of natural light. Transparent and bright, this re-defined structure captures the original design intent of its architectural masters.

The resulting monumental, 2-story high frameless glass walls create transparent and seamless views from the lobby into the garden and beyond, enabling a harmonious transition between the interior and exterior environments. Fountain Place is LEED Gold Certified, and Winner of D CEO’s 2020 Best Redevelopment/Renovation Award.Executive Architect: GenslerArchitect: James Carpenter Design AssociatesGlazing Contractor: Admiral GlassGeneral Contractor: Turner Construction CompanyPhotographer: Timothy Hursley.

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Jones Beach Energy and Nature Center // nARCHITECTS

Project Status: BuiltYear: 2020Size: 10,000 sqft – 25,000 sqftBudget: 10M – 50M

Text description provided by the architects.

The Jones Beach Energy and Nature Center will inspire a new generation of environmental stewards, sharing a deeper understanding of how nature and energy are connected, their complicated history, and their mutually beneficial potential. As a net-zero building that meets the Climate Leadership and Community Protection Act’s objectives almost thirty years before its targets, the building itself, as well as its real-time energy performance, will be prominently displayed as part of the permanent exhibition.



The building’s linear footprint emerges from the reuse of foundations belonging to a Robert Moses-era bathhouse, extended on two sides with additional piles. At 320 feet in length, the new one-story building has been designed as a “chalet for all”, continuing the public legacy of the site.

Organized around a series of interior volumes housing offices, support spaces, and classrooms, a continuous sequence of exhibition spaces flows outwards to a shaded exterior perimeter deck, and onwards to the site at large.



The building’s distinctive wave-like form, signaling the sloping ceilings of the gallery spaces within, conveys waves in both energy and nature.

9.5 acres of Moses-era concrete surface parking have been demolished, to be reused as a subbase under the building, new roads, and a new immersive landscape. Envisioned as a dune restoration project using native species, the landscape will also perform as an armature for an outdoor interpretive exhibition..



Jones Beach Energy and Nature Center Gallery

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Bernardes Arquitetura Continues Evolving Brazil’s Rich Modern Architectural Tradition

Get your work published internationally this year through the 10th Annual A+Awards! The Final Entry Deadline is January 28, 2022. Click here to start your entry today.

Brazilian firm Bernardes Arquitetura is a practice with roots firmly planted in generational architectural heritage, knowledge, and success. It would not be all that unsurprising to discover that the company’s founder, Thiago Bernardes, had cement, steel and timber running through his veins. Thiago is the grandson of the late Sergio Bernardes, avant-garde master of Brazilian Modern Architecture, famed for his innovation and captivating — if not slightly controversial — personal life. Thiago is also a close relative of the somewhat less polemic and equally as successful Claudio Bernardes, his father. A man remembered for his illustrious groundbreaking residential architecture, which defined Brazil during the ’80s and ’90s

The rich history of Brazilian architecture has evolved thanks to the drive, innovation and talent of three generations of Bernardes. However, it is with Thiago and his firm, Bernardes Arquitetura, established in 2012, that the twenty-first-century iteration is manifesting. With three studios under their command — Rio de Janeiro, São Paulo and Lisbon — Bernardes Arquitetura is a prolific practice with over a thousand projects in their portfolio. Their diverse team benefits from a number of collaborative partners, including Nuno Costa Nunes, Márcia Santoro, Camila Tariki, Dante Furlan, Francisco Abreu, Rafael de Oliveira and Thiago Moretti, who each brings with them an armor of disciplines and who have, alongside Thiago, labored intensely to successfully establish Bernardes Arquitetura as one of the most well recognized and most sought after South American architectural practices in the world.

Delta House by Bernardes Arquitetura, Guarujá, Brazil Images by Leonardo FinottiJury Winner, 2015 A+Awards, Private House (XL > 5000 sq ft) 

There are a rich variety of projects featured in the Bernardes Arquitetura back catalog. The firm has developed residential and commercial projects that have included hotels, restaurants, cultural institutions and educational establishments. Meanwhile, their impressive scope begins with urban landscapes, encompassing condominiums, neighborhoods and masterplans, while they have also touched some of the most remote areas of South America.

As a company with such an expansive portfolio, it comes as no surprise that the Brazilian firm has come out on top no less than six times in Architizer’s A+Awards since its first entry in 2014. As a studio with an epic history and a promising future trajectory, we wanted to speak with the team at Bernardes Arquitetura. As Architizer celebrates its 10th Annual A+Awards season, we discuss how the Brazilian firm got to where they are today and how, as a newly established practice, taking part in the A+Awards helped fuel the fire for their meteoric success.

MAR – Museu de Arte do Rio by Bernardes Arquitetura, Rio de Janeiro, Brazil Photographs by Leonardo Finotti Popular Choice, 2014 A+Awards, Museums

“Our first participation in the A+ Awards took place in 2014, two years after the founding of our office and one year after the conclusion of the project submitted to the award, the Museu de Arte do Rio (MAR) – Rio Art Museum, in Rio de Janeiro, in the category ‘Cultural: Museums.’ In this project, in particular, for the first time, we had the opportunity to materialize a work for public use on a large scale, which represented a challenge and responsibility for us.

Therefore, for Bernardes Arquitetura, having the project published in Architizer — a digital communication media that we admire for its fundamental role in the democratization of specialized content in architecture to the world public — and consequently submitted for the award, seemed like a great opportunity to us. To our special surprise, the project was a winner.”

The Museu de Arte do Rio (MAR) was proposed as a catalyst for change for the surrounding neighborhood. An initiative led by the City Hall of Rio de Janerio, the museum design was based on adapting three existing buildings the Palacete Dom João (1910), the Civil Police Hospital (1940) and the old Rio Bus Station. The buildings needed to be unified, and the team at Bernardes Arquitetura created a suspended walkway and a lighter feature roof that protects a suspended square. It is a project that blends both school and museum with a solid and successful academic program, and a place that strives to educate and empower its community — a theme that often makes an appearance in the work of the practice.

Joá Chapel by Bernardes Arquitetura, Joá, Rio de Janeiro, Brazil Photographs by Tuca Reinés Jury Winner, 2015 A+Awards, Religious Buildings & Memorials

The team spoke of the challenges they encountered to get to that first win. “In our first A+ Awards winning project, the Rio Art Museum (MAR), we had the challenge to unite three existing historic buildings with distinct architectural characteristics in order to adapt and house a cultural complex with two uses: museum and school, respectively, in addition to leisure spaces. For each construction, we analyze different levels of preservation.

The key point in the project resolution was to establish a flow system so that the Museum and the School worked in an integrated way. Thus, in order to intervene minimally, while connecting the two buildings, as a mark of the project, we propose an abstract and aerial form. A light, fluid structure, simulating the undulation of the water surface from the sea to the horizon, at the same time modern in terms of structural calculation. This element can then be seen from different parts of the city.”

The team took the coveted Jury Winner prize for Religious Buildings & Memorials one year later. (That same year, they also won Jury Prize in the Private House (XL > 5000 sq ft) category, pictured at the beginning of this article.) The prize was awarded to a stunning piece of work that sits nestled into the rainforest canopy of a private family garden in Joá, Rio de Janeiro. The small chapel is a sacred space for family ceremonies; the paired back steel and timber structure harnesses simplicity to encourage a symbolic and poetic aura. As with their first accolade, the team used their win as a catalyst to garner further appointments that would allow them to push boundaries and challenge ideals with their creativity and innovation.

Península House by Bernardes Arquitetura, Guarujá, SP, BrazilPopular Choice, 2018 A+Awards, Private House (XL > 5000 sq ft)

The Joá Chapel and The Rio Art Museum and just two of many exquisite projects from Bernardes Arquitetura their impressive growth over the past decade appears set to continue for many years to come. Indeed, the firm has taken home a number of A+Awards since and, when it comes to their output, shows no signs of slowing down. When speaking on what the future holds, the team was under no illusion that what they do plays a significant and influential part in the architectural development of Brazil, South America and the world.

“Receiving the A+Awards was a great honor for us, above all, because such recognition reaffirms our commitment to proposing and materializing projects that seek to unite efficient solutions with aesthetic notions, respecting the context and territory in which they are implemented.

Looking to the future, we aim to continue developing unique, special projects that value function, efficiency, quality and beauty, and that we increasingly have the opportunity to make our projects wherever our customers are, not limited by formal boundaries.”

Get your work published internationally this year through the 10th Annual A+Awards! The Final Entry Deadline is January 28, 2022. Click here to start your entry today.

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Six ticket houses at the old harbour // Yrki architects

Project Status: BuiltYear: 2020Size: 0 sqft – 1000 sqftBudget: 10K – 50K

Text description provided by the architects.

Six houses at the old harbour

Located on a wharf in the old harbour of Reykjavik, these six wooden houses were designed to replace a cluster of

run- down sheds housing ticket offices for whale watching and sightseeing enterprises.

The project is part of an urban planning effort in making the old harbour more attractive for the public as more and

© Yrki architects

© Yrki architects

more restaurants, shops and other services have settled in this area for the past years.

The inspiration for this project was an old photograph showing long gone wooden houses with the gable facing an

ancient alley in the vicinity of the old harbour.

The wooden houses are linked together by spacious verandas, with seating areas and storage units for marine

© Yrki architects

© Yrki architects


The random character of the former sheds is replaced by a disciplined scheme of repetitive structures and

designs and a limited choice of materials.

The small scale of the houses calls for a careful treatment of each detail..

© Yrki architects

© Yrki architects

Six ticket houses at the old harbour Gallery

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Phil and Penny Knight Campus for Accelerating Scientific Impact at University of Oregon // Ennead Architects

Project Status: BuiltYear: 2020Size: 100,000 sqft – 300,000 sqft

Text description provided by the architects.

How can architecture encourage a community of researchers to perform at their best?

The Knight Campus’ transformative, human-centered design supports researchers as they advance the initiative’s mission to shorten the timeline between discovery, development, and deployment of innovations with a positive societal impact. Taking inspiration from the region’s landscape and its interdisciplinary cultural ethos, the building’s architecture reinforces wellness, community, and expresses a human connection to nature.The Knight Campus was designed to allow researchers and students to perform at their very best.

© Ennead Architects

In support of this goal, the project includes a robust wellness program that focuses on occupant health, happiness, connections to nature, and promotion of a positive work-life balance. A common wellness area comprised of lockers, shower rooms, and changing areas encourages researchers to bike to work and to take advantage of the local landscape by jogging and hiking during break periods, and supporting programs like ‘run with a researcher’.

Within the building, the Knight Campus endeavors to maintain connections to nature through access to stunning views, and direct connections to intimate riparian environments including a light-filled courtyard environment where users can relax and socialize, and elevated pathways and gathering spaces along a restored campus wetland environment – ‘the millrace’.

© Ennead Architects

Locally sourced natural wood products are used throughout to reduce the project’s carbon impact. For a portion of its structure, the building utilizes sustainable cross-laminated timber (CLT), which is a beautiful and locally sourced low-carbon footprint material.

Daylight is a wellness commodity that is driven throughout the building: every regularly occupied workspace is organized to have direct access to light and views.

© Ennead Architects

Narrow floorplates and high floor-to-floor heights ensure equitable access to light and reduce the need for artificial light during daytime hours. The buildings’ double wall facade provides shade and glare control for the research spaces inside and creates immersive views into the surrounding landscape.The Knight Campus was envisioned to be uniquely Oregonian.

© Ennead Architects

Being Oregonian hearkens back to the spirit of pioneers of the Oregon Trail, to the entrepreneurial legacy of Phil and Penny Knight, and to the very landscape of this great state. The Knight Campus aspires to be equally pioneering in its science and distinctive in its physical identity.

The design achieved LEED Gold version 4 as well as 35% better performance than Oregon Energy Code, and has resulted in a projected EUI of 109 kBTU/sf/yr.

© Ennead Architects

The project is also pursuing additional certifications for building wellness, including Fitwel and WELL Building..

© Ennead Architects

Phil and Penny Knight Campus for Accelerating Scientific Impact at University of Oregon Gallery

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