The place where we are born, where we live, and our urban reference points are part of history and shape our identity. Can we decipher what these spaces tell us? Can we express our perception of them? Vale do Anhangabaú signals an essential part of São Paulo's development and is woven into the imaginary of those who have built memories there. This article is an exercise in traversing different themes to instigate multiple possibilities—collective and individual, real and utopian—of experiencing this space.

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The following article is the result of a thesis research project by Colombian architect Sebastián Rojas (Pontificia Universidad Javeriana), which explores the materialities and vernacular construction techniques across 23 prototypes from regions such as the Coffee Axis, the Colombian Amazon, the Cundiboyacense Highlands, and the North Coast.

An architect colleague of mine once mentioned that her firm had hired a new intern. He was a competent, dedicated student in the middle semesters of his architecture program. His hiring was primarily due to his strong skills in BIM (Building Information Modeling) software, with a portfolio filled with well-resolved, medium-scale projects.

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As one of Mexico's most internationally renowned tourist destinations, Cancun is a city founded just 50 years ago. Since then, it has woven a unique narrative, both in its urban layout and in the culture and heritage that residents actively seek to elevate to foster a shared historical consciousness. While primarily known for its massive resort complexes and nightlife, Cancun is much more than that. Several emerging practices, such as Warm Architects and TAFF Arquitectos, are constantly striving to promote a regional architecture that responds to the unique ways of living in this tourism-driven area.

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Due to its climate and territorial characteristics, Ecuador possesses an immense diversity of bamboos: it has 6 genera and 42 identified species, of which 11 are endemic. Among them, Guadua angustifolia cane is considered the most important species in terms of abundance and physical and mechanical properties. The indigenous term guadua was used by the native communities of Ecuador and Colombia to designate this species of "native bamboo," which was later renamed "Guadua angustifolia"—meaning "narrow leaf"—and taxonomically belongs to the Poaceae family and the Bambusoideae subfamily. The use of this material is so ancient that, according to the book *Nuevas técnicas de construcción en bambú* (1978), remains have been found in buildings in Ecuador estimated to be 9,500 years old.

Interior design offers almost limitless creative possibilities, especially when it comes to commercial use. Within this realm, dining venues introduce a layer of experience defined by the temporary habitation of these spaces. These experiences are shaped as much by the food as by the atmosphere, and it is in this latter aspect where interior design plays a crucial role.

This article is part of a collaboration with the website coolhuntermx and was originally published under the title "Marianne Gast: una artista no reconocida de la modernidad" written by David Lozano Díaz.

The founding of Guadalajara's first School of Architecture is a story often told as an almost ‘heroic’ feat, brought to fruition after years of effort. Once a series of fortunate events aligned, the capital of Jalisco finally achieved creative, architectural, and urban independence, fostering its own professionals to build a better Guadalajara.

This article by Alberto Bravo de Laguna Socorro was originally published in the 12th issue of revista rita_ under the title "Transgression, experimentation and communicability of the graphic in collective architectures: Indices of an engaged graphic expression."

Finishes are the skin of the projects we build, serving as the canvases and frames that contain the atmospheres of the spaces we inhabit. As Pritzker laureate Peter Zumthor expresses in his book Atmospheres, it is through the consonance of materials—by joining, mixing, or altering their formats—that a harmonious effect is created in relation to the spatial atmosphere.

Within the framework of the 27th Colombian Biennial of Architecture and Urbanism (BICAU XVII), the Colombian Society of Architects (SCA) has announced the winners of the parallel IV Colombian Biennial of Architecture Students. For these awards, the proposals were selected across four categories: Architectural Project; Research, Theory, and Criticism; Urban, Rural Design, and Territory Planning; and Architects as Agents of Change. Meet them below:

Brutalisim is an architectural movement that emerged in Europe in the 1960s and became one of the most controversial yet popular styles worldwide. This was due to various factors, including its use of raw concrete and, more broadly, its ideals focused on public service through monumental works. Furthermore, it became a new medium for expressing contemporary political stances through functional public spaces.

Mixed-use buildings are urban devices characterized by a diversity of uses. Sharing an existence fraught with obstacles and setbacks, those that manage to get built endure as true survivors of a vigorous species that thrives in areas of opportunity, carving a path through real estate speculation.

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Continuous trial and error. Architects draw and redraw lines, shapes, objects, and images on napkins, tracing paper, or black CAD backgrounds. Discarding, restarting, and repeating the cycle. The path between the initial idea and the final project is long and arduous. The challenge lies at the core of design: an endless decision-making process where a single change impacts countless other elements, turning the exercise into a series of trade-offs and concessions. These choices range widely, from determining how much site coverage minimizes environmental impact, to maximizing desk capacity in an office while maintaining fluid circulation. Every decision requires extensive research or calculation to yield an optimal solution. For example, a window placement that looks elegant on the facade might leave no room for a bed inside, or inadvertently spike the building's energy consumption.

In any project, pressing deadlines and tight budgets mean clients are often in a rush, leaving little time to explore every possible combination or calculate the exact impact of each decision. It is at this juncture that the concept of generative design is increasingly coming to the fore in architecture.

Mapas Sonoros is a project by the Usted no está aquí Archive that documents Latin American cities and towns in a non-traditional way. Functioning as a “map of maps,” the website compiles more than 40 independent sites with sound archives from countries such as Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Ecuador, Mexico, Peru, and Uruguay, creating a comprehensive log of georeferenced audio documents that offer an alternative way to map and understand Latin America.

Spending significant time at home has made us realize that the interior spaces of conventional commercial housing are ill-suited to accommodate work, domestic life, and leisure. This situation is further exacerbated in peripheral areas far from urban centers. On Cascajal Island in Buenaventura, Colombia, the relationship between coastal housing and the sea is essential for local cultural and economic development.

While some works serve as monuments to the egos of those who practice this profession, other architectural approaches propose the exact opposite. These practices deliver projects that—almost poetically—harmonize built elements with the surrounding natural environment. There are also designs that adapt to the morphological order of nature, resulting in an organic language that generates highly unique and singular interior spaces. 

The crisis brought about by the pandemic and the resulting new global order compel us to review and adjust all Land-Use Plans—or their local equivalents—across Latin American cities. 

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Driven by a personal quest to explore heritage and preserve Mexican traditions, architect Ana Ibañez has created a collection titled “Barraganescas,” featuring jewelry pieces inspired by the houses designed by architect Luis Barragán in the city of Guadalajara.

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Chuchín is that endearing figure whom you always remember despite the passage of time, whether you are a student, architect, professor, staff member, or fellow worker. Felipe de Jesús Cortés Guevara—or Chuchín, as he is commonly known—seems to go nowhere else; he is always watching over what he considers his second home, the UNAM School of Architecture.

In the early hours of January 11, 1967, a polar air mass swept into the country, bringing snow to Mexico City and blanketing the entire capital under a soft, pristine white layer. One day, more than 50 years ago, our urban sprawl woke up covered in white. It was not smog, nor the pollution of an unrelenting beltway; it was pure snow. The last time it snowed in Mexico City was January 11, 1967. That day, schools closed, people went outside to build snowmen and throw snowballs, and emergency services were overwhelmed by the beautiful catastrophe of so much snow.

Charlas de Terraza is an initiative hosted at the office of OPUS in Medellín. It features conversations that extend beyond architecture and, adapting to the COVID-19 lockdowns, is currently being held virtually. Alongside these talks, there is another initiative dedicated to sketching called Club de Dibujo (Drawing Club). In this session, both formats merged as the Medellín-based practice, along with Alejandro Enriquez from Bogotá, discussed the sketch and its process.

This article is part of our new Opinion section, a format for argument-driven essays on critical questions shaping our field.

Before architecture students become authors of space, they are subjected to one. For years, they work inside a building that teaches without announcing itself as a teacher. It organizes their exhaustion, their ambition, their visibility, their solitude, their friendships, their sense of scale, and their relationship to judgment. Long before a student can articulate a position on architecture, the school has already offered one in its implicit built environment.

This is not to suggest that buildings determine architects. The influence is slower and less complete than that. A school building operates more like a hidden curriculum: a spatial discipline that works alongside faculty, syllabi, institutional culture, and student life. It teaches through access and obstruction, program adjacencies, daylight exposures, and scale. It produces habits of attention before it produces explicit beliefs.

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This week on the TERRAZA podcast, Nicolás Valencia speaks with Chilean sociologist and Universidad San Sebastián academic Ricardo Greene, editor of the landmark book "Ciudad Fritanga," published by Editorial Bifurcaciones in 2014.

"Ciudad Fritanga" compiles 34 chronicles of non-metropolitan Chilean cities like Arica, Talca, and Punta Arenas through the lens of poets, artists, and writers such as Lina Meruane, Jorge Baradit, Marcelo Mellado, and María José Navia.

"When people write about cities, they write about London, Berlin, and New York.  That is the urban chronicle. However, non-metropolitan cities are also cities," Greene comments in this interview.

This week on the TERRAZA podcast, Nicolás Valencia speaks with Argentine-Spanish architect Zaida Muxí, author of the book “⁠Mujeres, casas y ciudades⁠” (Women, Houses, and Cities), published by dpr-Barcelona in 2018.

In “⁠Mujeres, casas y ciudades⁠”, Muxí proposes rewriting the history of architecture and urbanism by incorporating the contributions of the many women who have been silenced in mainstream historical accounts.

“If we want to play by market rules, housing will never be a right,” Muxí posits in this interview.