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Created by California surfers who wanted to bring the lines of surfing onto asphalt, skateboarding soon outgrew its role as a simple alternative for flat days. It established itself as a practice that reads the city through a different logic, reinterpreting steps, handrails, walls, and interstitial spaces as possible lines, challenges, and opportunities. Over time, it evolved into a global urban culture, a way of inhabiting and transforming public space through movement. What was once marginal has become a catalyst for community building and new uses for overlooked spaces. At its core, skateboarding reveals how many cities coexist within the same city, depending on who moves through them and how each person is able to reinterpret their surroundings.

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While architecture often responds to a specific program of uses, taking into account areas, contexts, and various economic and technical conditions, buildings rarely remain the same throughout their lifespan. Programs, spatial dynamics, and users' needs change, as do environmental, economic, and technological conditions, requiring interventions that were likely not anticipated at the beginning of a project. Steel structures make it possible to envision architecture capable of growing, transforming, being disassembled, and reassembled. Their dimensional precision, industrialized components, and potential for mechanical connections enable the design of open systems prepared for future interventions.

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Every year on October 13, the International Day for Disaster Risk Reduction (IDDRR) draws attention to the ways communities can reduce exposure and vulnerability to hazards. Established by the United Nations in 1989, the day provides an opportunity to consider how governments, communities, and professionals can strengthen preparedness and resilience before disasters occur. For its 2026 edition, the United Nations Office for Disaster Risk Reduction (UNDRR) has selected "Resilience Starts at Home" as its theme, placing housing at the center of this year's campaign.

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Construction has begun on the Frank Liu Jr. Academy for Music and Arts (FLAMA) in Houston, Texas, designed by OMA, led by partner Jason Long, with RDLR Architects as architect of record and SWA Group for landscape design. The project is an adaptive reuse of Houston's historic 1930s J. A. Folger & Co. coffee plant, converted into an educational space for the arts. The 6,050 m² facility will be an open-enrollment, tuition-free public charter school for pre-kindergarten through eighth-grade students. The building is located along Houston's Buffalo Bayou East corridor, directly across from Turkey Bend, a landscape project by Reed Hilderbrand with NADAAA and Rogers Partners that reimagines the former industrial waterfront as a network of public spaces and flood-adapted landscapes. The conversion of the former coffee plant is part of a larger transformation of the area and is expected to open in August 2027.

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Mexico City is a sprawling metropolis of layered temporalities, where architecture operates as a continuous negotiation between deep-seated history and intense urban mutation. Built over the aquatic traces of Tenochtitlan, the city's fabric is an ongoing dialogue between eras: the monumental scale of the Pre-Hispanic Templo Mayor and the Viceroyalty architecture of the Catedral Metropolitana coexist with the modern and contemporary impulses that define its skyline. This dense juxtaposition creates a unique urban canvas where sacred geography, colonial imposition, and 20th-century ambition intersect.

The mid-century marked a definitive era of experimentation, forging a Mexican Modernism that masterfully synthesized international structural rationalism with local identity and materiality. This synthesis is epitomized by the sweeping, plastic integration of art and architecture at the Ciudad Universitaria, the structural poetry of Félix Candela's hyper-parabolic shells, and the raw, monumental brutalism of Teodoro González de León and Abraham Zabludovsky. Parallel to this, the intimate, introspective mastery of Luis Barragán and Juan O'Gorman redefined domestic space, experimenting with light, vernacular color, and tectonic honesty to create spaces of profound spatial stillness.

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Videos

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A color has a biography. A color can have an origin, but it can also transform. It can move between materials and disciplines, from a local practice into architecture, from something ordinary into something symbolic. It can lose one association and acquire another, or persist without anyone consciously thinking of it as cultural. Its life unfolds through the conditions in which it is produced, used, repeated, and inhabited. As these conditions change, so do the meanings a color can carry.

The interior is a place where these histories converge. A color inside a room can carry traces of a territory, a material practice, a climate or a history of inhabitation. Its presence does not necessarily depend on an intention to represent any of these things.

Color can become part of a place through the continuity of materials and ways of living, acquiring significance beyond the surface on which it appears.

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