Brazilian architecture is marked by elements and materials that often go unnoticed by the eye but are part of the daily lives of the population. Just as gastronomy, music, and traditions are part of the cultural construction of a place, different architectural elements also play this role and help to create an identity imaginary. Here are some of them: ## Cobogós > "Cobogós are very characteristic elements that form the popular imaginary about what Brazilian architecture is, " says Mariana Cavalcanti, an architect and urban planner researching cultural heritage. Created in Recife in the 1920s, cobogós are **hollow elements made of cement, ceramic, or glass that allow for ventilation and natural lighting**, while also creating decorative patterns on facades and ensuring privacy. "They are present in different buildings of modern architecture, from peripheral residences to public places like schools and hospitals," adds Mariana. ## Trellises and Muxarabis > Trellises and muxarabis are other components that ensure privacy without blocking ventilation. Inspired by **Moorish architecture**, they are **perforated wood or ceramic panels** used to create dividers. While trellises are hollow structures, usually made of wood, iron, or other materials, forming geometric patterns, muxarabis are a specific type of trellis used on house facades to allow people to see outside without being seen. The models arrived in Brazil through Portuguese colonial architecture. ## Caquinho Floor > The caquinho floor emerged in the 1940s as a way to **reuse materials** that would otherwise be discarded. Composed of **irregular pieces of ceramic or broken tiles**, caquinhos form organic designs, very popular in sidewalks, backyards, and outdoor areas. "This floor model has been adopted by the industry to the point that today there are lines of porcelain that imitate it. What was once a reuse of pieces has become a desired material, with materials being purposely broken to have lines that refer to this aesthetic," says Mariana. ## Raio que o Parta > Like the caquinho floor, the raio que o parta is a **type of floor or covering made from irregular fragments of marble, granite, or other stony materials**. The broken pieces are placed side by side and create a **mosaic with a chaotic appearance**. Igor Carollo, an architect with a master's degree in Project and Heritage, History and Critique of Architecture from the Federal University of Rio de Janeiro, explains that the raio que o parta, also from the 1940s, is a highly widespread movement in **Pará**, mainly in Belém. "The movement emerged in a popular context where families that did not have money to invest in modernist elements created facades with large platibandas and ornate designs of rays." ## Portuguese Tiles > Inherited from colonization, Portuguese tiles also reflect this range of elements that are part of Brazilian architecture. Characterized by **geometric or floral patterns**, these materials still appear in **colonial facades**, especially in historical cities like Salvador and São Luís. ## High Eaves > "Like the Portuguese tiles, the eaves come from Brazilian colonial architecture. Once again, it relates to our climate and ends up referencing a national identity," mentions Mariana. Essential in colonial houses and farms, these deep eaves help to **protect the walls from the sun and rain, create fresh shadows, and enhance outdoor living**. ## Burnt Cement Floor > The burnt cement floor, **a simple covering with a smooth and continuous appearance**, is another classic. The material offers freshness in projects, in addition to being resistant and versatile. Today, it has come back into play in contemporary projects for bringing a minimalistic and rustic touch at the same time. "These examples fit very well with our climatic reality and have the essence of Brazil, which appeals to different social strata and is presented in many contexts, creating this identity," says the researcher. ## Historical Context and Cultural Heritage > Mariana explains that when modernism built an idea of national identity in the context of the Estado Novo in 1937, it was also necessary for architecture to represent that sense. "The architectural style chosen was colonial, defined as Brazilian architecture par excellence. Many other contemporary architectures were viewed negatively, as if they were something imported and not ours. For us who conduct a contemporary critique, this doesn't make much sense, since everything was adapted to our reality and the mix of styles is part of our construction." > Although they are from very distinct periods, colonial and modern architecture dialogued during the construction of national identity. The IPHAN (National Institute of Historical and Artistic Heritage) was also created in 1937, during the government of Getúlio Vargas. "When we begin to build this preservation policy in Brazil is when we start to build the idea of national identity," notes Mariana. > Carollo emphasizes that Article 216 of the 1988 Constitution guarantees that Brazilian cultural heritage is not only in large monuments but also in popular knowledge and more popular architectures. "Elements that arise from high profusion movements and become popular are also Brazilian heritage, which preservation agencies have difficulty recognizing to legally protect them," he points out. Mariana adds, "I consider as heritage not only what is defined as such by the State but also all goods that establish feelings of belonging, adding sentimental values that we want to carry to future generations."
