in the Brazilian contemporary re-housing project. Me, Ana and Liliana made this article, but since they are not here, I'll just make a brief introduction in our research group.

It is called Brazilian contemporary re-housing and we studied 25 offices that in 2010 were elected as a new generation of Brazilian architects. Their re-housing projects are our subject

of study. You are very welcome to go to this website and see our work in progress. These are our 25 offices and we searched all of them looking for social re-housing projects. Only two of them, Group SP and Studio America, have worked in that field.

As you can see, Group SP is the only one with significant work, so we'll just be analyzing housing wonder on top and social housing in Brasilia above. The interesting thing here is that when we started, we only added these two plants and

some 3D images, so we had to redraw everything, searching for some changes that occurred in the urban plan, as we will see later. These are our two cases of study and we can see that they look really similar, although

they respond to different demands. Housing wonder is a response to the international context launched by the ISOFREA now, where they asked for a low-controversial house in a flat area near the city limits of Luego.

And during housing in Brasilia is a response to the Latin American context, Aussie Awards, where they asked for the development of sustainable and innovative structures that are focused on the future in the European Northwest again. Here we try to analyze comparatively how the same technology addresses different project

problems imposed by different contexts. Here we have the planets of both projects and we can see that there are two rectangular prisms that shelter the dry areas, social and intimate texture, and two smaller sized prisms that shelter the wet areas.

Other social housing projects, from Group SP, are also organized through this articulation of the pattern model or universal set, as we can see in Coneymoon, St. Marina, Roto Partners, and AISHE, both in some of them. By proposing the form, one can observe that the formal strategy is a juxtaposition of

volumes. At each dry volume is juxtaposed a smaller volume which contains the wet area. A connecting element is added to the composition set in the final form, shaped as H. This element creates the access area that connects the intimate and the social blocks.

This happens the same way in both projects. The two volumes fade out of the parallel face-to-face and space between them sets a semigram of detail, pointed in yellow.

We can see that there are three different sectors. In red we have the intimate section, in yellow we have the service section, and in orange we have the social section. These areas are strictly related to the central picture. We can observe that the simulation is developed in the periphery, and there is an opportunity

for the turning of the spaces. When the spaces require more privacy, they are suggested by the 42.

In the resulting layout, one can observe that each cell has a maximum capacity of five people, if we consider two persons for each double bed and one person for each single bed.

In Rwanda, the double bedroom is configured as a suite, but the existence of only one bathroom compromises the privacy of that room, since you have to cross it to go to the bathroom. In Brasilia, the bathroom is slightly displaced and it ensures more privacy to that room, because the door is aligned with the wardrobe and it is a more neutral area to access.

The kitchen in Rwanda relates to a determinant space that merges with the circulation, but in Brasilia it sets two distinct areas. You can set the dining and cooking area and the living area.

These base cells address the basic methods of living, sleep, sanitize and do the basic needs, but there are also different strategies for future expansions, as an extra room or

another space to work. In Brasilia, it is predicted the addition of a clock to expose the fencer's sleep on the previous blocks, with a staircase elevation in the central courtyard. In Brasilia, there is a dismembering of the edge, the printer are not able to slide on

the ground and the connecting element can disappear. There is a new smaller clock that comes from the reconfiguration of the intimate clock and the position of this clock is flexible, it can stay parallel or perpendicular to the other blocks.

In our symmetry, we can observe that there is a grid that is 4 by 4 and in each model has 2.5 by 2.5 meters in Rwanda and in Brasilia there is a grid of 8 by 9 in each model as 1.25 by 1.25 meters.

This grid interferes with the position and the design of the unit blocks, the furniture layout and with the definition of the glazed fencer. In Brasilia, we also can observe that the project is symmetric following two axes.

This square right here is a mirror of this one and this one is a mirror of this one. In Altina 3, in housing Rwanda, the grid stays the same but in housing Brasilia it doesn't really happen, it's a little bit forced to say that it happens in the unit blocks.

This prefabrication, this model and design indicates the use of prefabrication as verified in both projects. It is predicted a prefabrication of a precast frequency that can be juxtaposed or respect

in the learning. In both projects, we can observe that the treatment of the facade favors the physical and visual relations of the emphasis against this with the central criteria instead of the solar orientation in both of these.

The prisms are sealed by a single plastic surface in the interface of the crater which is opposed by the fine treatment to the other facets. The connecting element between the two prisms has also a partial shading function.

In the same, there is the same formulation of 1.55 in both projects but they differ in the position of the unit blocks and also in the unit blocks themselves. In Rwanda, we have two opposite openings in the side walls of each block and in Brasilia

just one window. In Rwanda, the designing of the opening is free from the precast concrete structure and

according to the solar orientation, we can roll back from the shape limits and opening

of closing the side windows. In Rwanda, the lot isn't defined or described only as a flat plot in the outskirts of Rwanda. We searched for some photos of the outskirts of Rwanda and as we can see there is no room

to follow. So, group-based speech chooses to organize the terrain from the shape H of the base model, the line facets of this model define the boundaries of the plots. The units can be juxtaposed in blend to consecutive line facets or interspersed. This proposal is dynamic because although it does not predict the increase of housing

units, it considers the possibility of an increase of the density. The group-based speech has the possibility of evolution of human networks in three phases and by looking at these three phases, we estimate that the population of density may increase

more than 70%. The implementation of sustainable housing in Brazil was planned in Pila, Planarco. It is zoned with a great view to the Faroe Valley in a wealthy city like Brazil.

It was proposed creation of approximately 172 visitors. Although it does not have a physical limits, I read about the planned reviews and seen in Rwanda that the findings of the H move the distribution of units in the field.

In this example of organization made by group-based speech, the form page of the base model is used only 39 of the 172 units predicted.

They also considerate other two organizing parts. The blocks can decide on the field that the connection element is hold or the connecting element can disappear.

Here we have the growth interventions and these plans are in scale so we can see that Alton-Panda is really smaller compared to greenhouse in Brazil. The relations between the units and public space are also distinct.

In Rwanda, there are three partners which geology is not distinct but there is an exception when the base pin circulation reaches two local paths.

Alton plots have immediate contact with the base pin path and the contacts of the unit with the circulation can be done in three ways. The base cell immediately perpendicular to the circulation allowing the access to the interior of the part at the buying center, a block parallel to the circulation above

the base cell, the base cell perpendicular to the circulation repeated on the field. Despite that the Alton-Panda generates a pattern where it is possible to configure it at least, the privacy of this is dependent on the neighboring block configuration.

As we can see, if this neighbor here puts a block in there, this ratio becomes private but since there is no block there, it's like a simple space. In Brasilia, the interior of the part does not exist.

The way the unit, if I display in the field, allows several blocking blocks. The primary access routes are the ones already existing in the city, peripheral to the terrain, these two, and from these accesses, two complementary systems are different.

Collating and connecting streets between the main roads, this one, that one, and service roads of housing units, which causes including some. Rupesti designs a pedestrian circulation in a corridor away from all model traffic,

but connects also to public areas. The contact of the unit with the circulation can be done in many ways, due to the variation of configurations allowed. The introduction of green areas raises the possible interfaces of the unit with peripheral

situations, and even the project extends. It is used as an example to estimate the various facilities. The two cases set different privacy degrees.

In one, the unit tends to call themselves the Brazilian Republic and private space blends. So, at first analysis, the similarities between the two projects are evident, but in given analysis, the two proposals are most experienced,

and is there where the different projects' intentions are visible. In one, the positioning of units on the ground creates outskirts that are long-open, configured into the streets, and in Brazil, the idea of community is what is felt.