Adrian Forty, Professor Emeritus of Architectural History at UCL, presents two articles in this ARQDocs in which he precisely discusses, first, the use of the concept (and word) 'primitive' at different moments in the history of the discipline, and subsequently examines its dependency on the written word, extending and revising the conclusions of his book, 'Words and Buildings'.

Thomas Weaver is an architecture writer and editor. Having served as editor of AA Files for 10 years, he is currently a visiting professor at the Berlage Center for Advanced Studies in Architecture and Urban Design at TU Delft. In this ARQDocs volume, he presents the essays "Grimm the Modelmaker" and "Against Research."

Francisco Javier Sáenz de Oíza (1918–2000) was one of the most significant Spanish architects of the second half of the 20th century. He built such important works as the Aránzazu Basilica, the Banco de Bilbao and Torres Blancas buildings in Madrid, and the Palacio de Festivales in Santander.

The book "Industria y habitar colectivo. Conjuntos habitacionales en el sur de Chile" [Industry and Collective Living: Housing Complexes in Southern Chile], recently published by STOQ Editorial, emerges from an academic research project: "CONYCYT-PIA SOC.1403 Industrial Heritage: Forms of Collective Living in Southern Chile. Contributions to its Valorization and Integrated Recovery." The primary objective of this project was to understand the forms of collective living associated with housing complexes created by industry in the southern part of the country.

The writings collected here—concluded with a dialogue with Kenneth Frampton on the intensity of architecture—are the result of classes taught by Campo Baeza at ETSAM, his beloved Madrid School of Architecture, and many other schools around the world, following a period of quiet maturation over the last few years. "The intention of these Principia is to develop a foundational text, a summary and synthesis of the key themes with which we continue to work and which we understand, with increasing clarity each day, as central to architecture. These are not so much personal discoveries as they are essential themes of architecture itself."

This publication gathers a collection of texts by Santiago Cirugeda and Alice Attout, focusing on the most defining projects in the long-standing career of their studio, Recetas Urbanas. Deliberately resistant to the development of a theoretical and analytical discourse—which would inevitably be aseptic and abstract—these texts adopt the narrative form of the anecdote. This approach allows for the recounting of real, concrete "architectural actions," thereby highlighting the uniqueness of each case study and the centrality of human life in every transformation process, including those of an architectural nature.

High-Rise Buildings: Multiple Typologies

The prominence of the natural landscape and the urban environment in suburban and urban settings is a defining factor in the design of these projects, revealing diverse emphases that offer distinct and compelling perspectives.

Just as the city of Barcelona cannot be understood without its coastline and its port origins, its future will be defined by its ability to manage the unpredictable effects of climate change on this unique space. The coastal front stretching between Barceloneta, the city's beaches, and the surroundings of the Besòs River is the most iconic stretch of coastline and the one with the highest intensity of use. Although scenarios regarding the effects of climate change on this maritime front by the year 2100 are not conclusive—as they are subject to global dynamics related to global warming mitigation—various studies indicate that intense changes in climate-related marine phenomena will occur in the coming years. Far from viewing these climatic dynamics as a risk, the proposal is to use them as an opportunity to reconcile the relationship between the city, its inhabitants, and the sea.

This text aims to clarify the organization of the final architecture thesis, which involves developing a design-based proposal.

Mindful of our mission to promote new territories of knowledge, in this issue of ARQ, we have focused on presenting architectural explorations of new grounds—whether through projects, essays, or research—publishing a range of readings and critical inquiries into a subject that, despite its age, is far from exhausted.

This issue of ARQ presents a broad critical discussion on the supposed neutrality of instruments. This emphasis is evident in the conversation between Andrés Jaque and Enrique Walker, in the texts by Zeynep Çelik Alexander, Ignacio G. Galán, and Gonzalo Carrasco, as well as in the debate surrounding the Promotion Law, which seeks to support architecture produced in Chile through a legal instrument. Furthermore, it explores a territory where architecture can make a contribution: the creation of instruments.

It was Vasari who, in the 16th century, accustomed us to reading the history of architecture through the careers of great artists—exceptional figures whose talent elevated various art forms to the superior state we still recognize today by Vasari’s own term: the Renaissance. It is not difficult to identify in this the seeds of a way of writing history—and, by extension, of understanding the very tradition of architecture—based on so-called "masters," figures whose oeuvre defines the range of possibilities within an institutionalized system of knowledge we commonly call a "discipline."

While infrastructure is a prerequisite for any modern notion of "civilization," we rarely notice how much we depend on it. Perhaps the fact that we only interact with its interfaces makes it go unnoticed, to the point that we only remember its existence when it fails or when, at the end of the month, we have to pay the bill.

This issue of ARQ attempts to articulate the complexity of the concept of "value."

As both a problem and a design tool, the reference has been a recurring theme in architecture. Furthermore, recent discussions regarding copyright have brought this notion back to the forefront, necessitating a conceptual update, which serves as the focus of this 95th issue of ARQ.

In this issue of ARQ, the heterogeneous and incoherent nature of "imaginaries" is presented in its full breadth. The house by Fake Industries Architectural Agonism and Aixopluc, the pedagogical proposal by Beals Lyon, the projects by Hevia and Urzúa, the house by Alarcón, and the research by Soffia all explore the concept of the imaginary as a collection of references. The review of existing imaginaries and their impact on how we understand the city, the territory, or even the market, is addressed in the texts by Encinas and Tironi, Méndez and Ramírez, as well as in the work of Peliowski. Meanwhile, the creation of new imaginaries is explored in the text by Valenzuela and in the proposals by Ferrando and Tudor, Brandlhuber+ Emde and Burlon, Izquierdo, Pérez, and Arancibia and Casals. Finally, the discovery of those imaginaries that remain hidden in plain sight is analyzed in the interviews with Metahaven and Lambert, as well as in the text by Alonso and Palmarola.

Selling bricks and exposing architectural avant-garde is an audiovisual archive project developed by Pablo Ibáñez Ferrera and Antonio Giráldez López since 2018. To date, it has taken the form of an Instagram feed (@kellycorbusier) and a publication. Selling bricks captures avant-garde architecture and cases of particular relevance featured in urban music videos in Spain.