The sun’s influence on human life encompasses multiple dimensions, from biological and developmental aspects to religious-mythological connotations in civilizations such as the Egyptians and Romans. Moreover, this influence extends to its use as a natural resource within the realm of science. In scientific pursuits, the continuous search to harness the sun as an energy source has been a constant throughout the years. Within this context, the discovery of the photovoltaic effect and its application have paved the way in the history of solar panels, starting from the first observations of Becquerel to the initial prototypes of Charles Fritts in the 19th century.

Nowadays, the energy obtained from the sun through devices such as solar panels has become one of the most widely used sources in regions like North America and Europe, contributing to the efforts for a complete transition to clean energy. The momentum in this transition has motivated the development of new technologies, such as SolarLab facade systems, that challenge the preconceived idea of what a solar panel looks like and where it can be installed. These systems converge with architecture to integrate them as aesthetic elements, serving as cladding for both retrofit projects and new buildings.

One of the most important challenges in architecture, when it comes to creating spaces that work for everyone, is the diversity that exists in people, their needs, and how to integrate them into a design. Disabilities are more than a condition; they are a way of living according to human diversity that requires architectural solutions of equivalent multiplicity.

According to data from the World Bank, it is estimated that 1 billion people –equivalent to 15% of the world's population– live with some type of disability. In the future, this percentage could increase considerably, given the global trend of aging populations. To face this growing challenge, architecture will have to adapt quickly, due to the role that built environments have in constituting a barrier or a path for the inclusion of people with different types of disabilities, seniors, as well as diverse groups who make up the human plurality.

The duality of sunlight in the field of architectural design presents fascinating contrasts, especially when addressing the question of how to interact with it through the built environment and the materials that define architecture. The sun's influence in this discipline has become an essential part of the cultural heritage of some countries, as evidenced by Spanish architecture, where the interaction with sunlight manifests through elements such as lattices. These lattices are recognizable on the facades of buildings from the Middle Ages, exemplified by structures like the Alhambra, to 20th-century constructions such as Casa Gomis, considered historical monuments.

The facade, being the skin of the building, is the architectural component that is usually directly exposed to sunlight. Based on this premise, we seek to establish a dialogue between openness to the environment and the need for protection, thus creating a synergy between functionality and aesthetics. In this context, sunscreen facades have been developed through various approaches, standing out for their ability to address this design condition. For this reason, we have selected solar control solutions from Spanish brands, distinguished by their technical characteristics and materiality through various approaches.

As AI has become more accessible, we have witnessed examples illustrating its diverse applications. Prominent among these are generative AIs, which excel in their ability to “create” images through prompts, many distinguished by their composition and vividness. These AI systems are neural networks with billions of parameters, trained to create images from natural language, using a dataset of text–image pairs. Thus, although the initial question posed by Turing in the 1950s, “Can machines think?” still recurs today, the generation of images and text is grounded in existing information, limiting their capabilities.

What has surprised many is the increasingly apparent closeness to overcoming the Turing test and the growing similarity, in terms of visualizations, to what an architect with skills in this field can achieve. In this context, while the debate persists in the architectural community about whether AI can process architectural concepts, this article explores how it interprets materials to develop these visual representations. With that in mind, a single prompt was developed for this experiment (with materiality as its variable) to delve into the obtained results.

Nowadays, architectural work is closely linked to technology and the advances that emerge in this field. In that sense, various aspects of artificial intelligence have been widely discussed. The reality is that, rather than plunging into a competition of capabilities between Architects vs AI, —with nuances that could evoke some aspects of the ideology of 19th-century English Luddites— advances in this field can be seen as tools to optimize processes and open new perspectives within the profession.

In this context, architecture often spans various stages, from early phases where data decisively shapes built environments to later ones where generative design tools for spaces play a fundamental role in spatial configuration. In this process, visualization plays the crucial role of graphically understanding the expression of what is being designed. Thus, iterating on the visualization and evaluating each of the results is vital not only to express ideas but also to use those visualizations to interpret aesthetic elements.

Moving towards modernity implies questioning established concepts. Today, we are witnessing several projects and approaches in architecture that explore alternatives to energy-intensive building systems, materials, and technologies commonly used in today's construction. These projects, far from adopting approaches that reject technology, seek to promote conscious architectural practices. They aim to go back to basics through passive strategies, using natural materials and a contextual understanding to develop sustainable architecture.

To boost sustainable architecture, it is crucial to have building models and materials that become recognizable icons in their immediate context, thus setting a precedent for the development of future proposals. One such example can be found in Spain, with the "Impulso Verde" project carried out in the city of Lugo which stands out for its construction model based on passive strategies and regional materials. In this project, using natural slate as cladding for the ventilated facade system and employing local resources in the structure was essential for the building's ecological footprint. Additionally, these elements strengthen the building's identity by connecting it to the surrounding landscape.

Initially conceived as a way to use fragments from marble construction waste, terrazzo is a material widely used around the world, with its modern roots dating back centuries to Venice, Italy. Its aesthetic is unmistakable, characterized by mottled patterns and a wide range of colors poured onto the floor. It is not surprising that this material is widely appreciated by architects in various types of projects due to its unique appearance. A notable example of the use of terrazzo is the Guggenheim Museum in New York, designed by Frank Lloyd Wright. Upon discovering it during one of his trips, Wright recognized that thanks to its aesthetic appeal and versatility, it would endure as the museum's interior finish.

The evolution of construction materials has transformed terrazzo from the traditional mixture used by Wright, which included concrete as a binder, to a version that incorporates an epoxy matrix, enhancing its iconic aesthetic and integrating additional technical capabilities. Today, Terrazzo & Marble empowers contemporary designers to create distinctive patterns and vibrant color palettes that seamlessly align with the context of modern architecture. This is accomplished through four leading principles that guide architects in specifying epoxy terrazzo.

Although considered common practice today, the concept of hand hygiene was not initially deeply ingrained in society. It wasn't until 1847 when the Hungarian physician Ignaz Semmelweis, supported by scientific evidence, proposed that hand washing was a hygienic measure with a direct impact on people's health. From this point on, the rest is history. Hand hygiene has become a widespread practice, ranging from washing to drying, accompanied by various accessories that play specific roles in the process.

In contemporary environments, especially in the context of collective well-being, public restrooms have become a focal point. This shift in focus is, in part, a response to the post-pandemic emphasis on hygiene and the role of restroom accessories in these settings. Among the accessories available, hand dryers have garnered significant importance, even transcending their primary function. In light of this, Mediclinics has innovated by introducing a new hand dryer concept that places a strong emphasis on enhancing the user experience while offering innovative restroom equipment with a distinctive U-shaped design.

In the contemporary context, global warming has marked a turning point in the way we think about architecture. We are witnessing record temperatures on our planet and a challenging panorama in many large cities, characterized by heatwaves and, in some cases, more severe winters. These circumstances have triggered a cycle in which the demand for heating and cooling systems increases, which, in turn, translates into higher energy and operating costs for buildings.

Given this situation, it becomes imperative to design energy-efficient buildings to reduce both the environmental impact and the associated costs. One of the strategies to achieve this is to properly plan the facade, which, serving a function similar to the building's skin, can help reduce the energy required for heating and cooling. In this context, the polycarbonate panels developed by Rodeca contribute to the energy efficiency of buildings, in addition to their lightweight, slender construction, and translucent aesthetics.

Architecture is a unique field that combines equally constant aesthetic and functional needs, while immersed in dynamic technological environments. At this juncture, design processes and buildings are becoming increasingly intricate, requiring architects to manage projects efficiently while fostering multidisciplinary and multi-level collaboration throughout workflows. Additionally, the new technologies and tools we employ in the process must evolve at the same pace —sometimes even faster— by embracing aspects such as sustainability and efficiency, all while keeping an eye on the future.

The tools available in the multidisciplinary architectural environment have evolved significantly quickly. Both students and experienced architects have now nearly completely transitioned from manual methods to computer-aided drafting software. Today, we find ourselves immersed in the era of architecture driven by technologies such as Building Information Modeling (BIM), artificial intelligence, and digital processes. At the same time, the fundamentals of BIM and its historical background trace back to the early days of computing, research, and new technologies, which sparked a rapid evolution within the AEC industry and among its professionals.

Although more related to evolutionary aspects than to architecture itself, the inherent physical fragility of human beings has required, since prehistoric times, that we protect our bodies and our buildings from external elements. As an example, beginning with the primitive huts used in the earliest forms of domestic architecture, furs were employed as an exterior covering to restrict the flow of air and, consequently, regulate the interior environment.

Subsequently, we have observed an evolution that clearly shows advances in insulation techniques, going from vernacular materials such as adobe to an increase in the thickness of walls using stone or brick, finally reaching the cavity walls developed in the 19th century, which left a small air chamber between an exterior and an interior face of the wall. Its later popularization led to the introduction of insulation between both faces, a system that is widely recognized and used today and has laid the foundations for further developments in this field.

Architecture encompasses multiple processes, starting with identifying needs and transforming them into habitable structures through thoughtful design. Historically, construction-related processes like resource extraction and end-of-life disposal were often overlooked. However, it is essential to recognize that buildings have a lifecycle with significant impacts on carbon emissions. Emphasizing sustainable practices is vital to minimize our ecological footprint and positively impact the planet.

Each architectural style intrinsically relates to a specific context, period, or place. An illustrative example is the region of the United States, which was strongly influenced by the period of British colonization in the Americas (17th-18th centuries). In this context, dwellings emerged that adopted a distinctive architectural language. Moreover, the large distances between major cities in many areas of the country had a significant impact on the configuration of domestic architecture, resulting in the inclusion of barns and other structures that served various functions in addition to housing. This architectural style is characterized by its rectangular floor plan, two-story structures, gable roofs, and wooden cladding on the facade. These elements constitute an integral part of the vernacular expression of the houses from that time.

Speaking specifically of gable roofs, they are the feature most associated with the traditional aesthetic of dwellings developed between the 17th and 19th centuries, as well as later ones. One example is the Beachside House, which is a contemporary project documented in Swisspearl Architecture Magazine. This settlement is located on the shore of Long Island Sound, which divides Connecticut from Long Island, New York. With its four gable-roofed structures, covered with light-toned fiber cement panels, it seeks to be an abstraction of New England vernacular architecture.

Nowadays, the term “utopia” is used to describe an idea that seems unattainable —at least in the contemporary context— intrinsically related to philosophical, scientific, urbanistic, and architectural concepts, among others. The close connection between utopias and architecture is evident, as this discipline is often associated with imagination. Some notable examples include “The Unreliable Utopia of Auroville's Architecture” and “The City in Space: A Utopia” by Ricardo Bofill. In this context, architects and designers alike use design as a means to develop innovative and disruptive ideas through various elements.

Although considered an idealized concept that does not exist, some designers have ventured into exploring the notion of utopia. AXOR, in conjunction with the Valencia-based design studio Masquespacio, has turned the page by conceiving and bringing to reality a new bathroom concept for a unique hotel suite that embodies their vision of personal luxury. Titled “Utopian Dream”, this design response blends vibrant colors with unexpected details, a combination that this duo defines as a mystic experience above the clouds.

As society, technology, and architecture have evolved, designers and architects have embraced novel construction systems and innovative approaches to reshape the built environment. This advancement has stretched the boundaries of traditional construction techniques and ignited fresh ideas in building design.

In the past, some architects and artists aimed to question an architectural paradigm deeply entrenched in anthropocentrism. Historically, architecture has been linked to the notion that buildings, being conceived by human beings, must be extremely durable, even imperishable. Considering the principle that the best intervention is the least intrusive, inflatable architecture, in contrast to these human-centric viewpoints —but aligned to our ephemeral nature—, can propose structures that may exist one day and vanish the next, leaving a temporal imprint on the landscape. This architectural approach uses textiles as the primary material and air as the structural system, potentially challenging the traditional Vitruvian ideals of Venustas, Firmitas, and Utilitas.

The relationship between art and architecture is a recurring topic of discussion, seeing as architecture can be positioned at the intersection of structure, technology, and aesthetics. Despite the utilization of technical knowledge, architecture, and interior design also incorporate artistic concepts into their processes. From captivating illustrations during the design development phase to murals and artistic pieces that form an integral part of spatial conception, art plays an essential role in architectural production and society.

In the context of contemporary society, many of our activities are carried out digitally, from booking accommodation for travel to manufacturing materials and creating art exhibitions. In this sense, digitalization has also permeated the art world, conceiving initiatives like SINGULART, which challenges the traditional concept of art galleries by existing in a digital format. This platform combines works from various sources of inspiration and artistic techniques, encompassing everything from sketches and paintings to architectural photography. It fuses multiple influences from various contexts, including architectural work.

The role and relationship of furniture in architecture and space design are of great relevance. Designers such as Eileen Gray, Alvar Aalto, Mies Van der Rohe, and Verner Panton conceived furniture —primarily stools and chairs— that endure over time as powerful and timeless elements, with a determining impact on the interior atmosphere. Thus, the relationship between furniture and space becomes a constant dialogue in which design, aesthetics, and materials contribute their dimension.

Today, furniture should not be limited solely to fulfilling an aesthetic and functional role, but should also have a purpose in the context of contemporary design and sustainable development. It is essential to reflect on and question the processes and choice of materials in the manufacturing of these elements, in addition to the value they bring to interior spaces. In this context, HEWI has taken a step forward by creating the Re-seat family, consisting of stools and chairs made from post-industrial recycled materials (PIR), sourced in part from the processes of the company itself and a regional supplier, both based in Bad Arolsen, Germany. It also features integrated solutions with universal design in mind, making a statement in favor of innovation and eco-design.