The Doctores neighborhood (Mexico City) is a complex territory; understanding it requires observing the interrelations between objects in space, rather than space and the objects in themselves. Formerly known as Colonia Hidalgo and later renamed after its streets, it has undergone multiple processes of transformation and appropriation over time, ranging from the construction of its first homes during the viceregal period to the spatial and social shift brought about by the 1985 earthquake.
Seattle-based Olson Kundig is a prime example of how a firm's design approach is shaped by geography and culture. Founded by Jim Olson (Jim Olson) in 1966, the firm now comprises hundreds of employees and four other partners, including Tom Kundig. The practice boasts a wide and diverse portfolio. In lectures and interviews, Kundig frequently discusses how his upbringing in a region with a rich history of mining and logging influenced his industrial and rational aesthetic, his use of durable, low-maintenance materials, and his keen focus on craftsmanship. At the same time, an imaginative approach that emphasizes kinetic elements and blurs the boundaries between indoors and outdoors is a hallmark of many of the firm's designs. This is often achieved through the integration of manual, hand-operated devices that allow users to physically activate the building, connecting them to the environment, the architecture, and its kinetic mechanisms.
Established in Shanghai in 2016, Atelier tao+c’s practice spans a diverse range of typologies and scales, from a single pendant light to an entire neighborhood, from micro-apartments in the city to the renovation of old rural houses, and from street-front shops to youth communities. Alongside our design practice, we are dedicated to research initiatives focusing on the renewal of existing buildings and the spatial organization of objects within residential environments.
Unconstrained by typology or scale, our projects focus on scale, construction, proximity, intimacy, and the dialogue between the past and the immediate. Through an exploration and deep understanding of typologies, we seek to uncover the latent potential within each site.
Our design methodology begins with a retreat to the interior, allowing space to grow outward from within, breaking boundaries and forging connections within the often-overlooked interstitial spaces between architecture and interior. We employ elemental forms, clear proportions, and unexpected sectional variations to cultivate a nuanced and cohesive sense of scale across interior and exterior realms. By elevating direct, everyday local materials and vernacular construction methods into a profound expression of craftsmanship and detail, we aim to allow life to unfold in all its complexity within a framework of simplicity.
The studio's work has been featured in books by prominent publishers such as Gestalten and Phaidon, and widely published in leading international design media, including The Architectural Review, Domus, The Plan, AIT, Azure, Wallpaper*, ArchDaily, Dezeen, Yellowtrace, and Divisare.
The average Brazilian generates nearly one kilogram of waste per day, according to a survey by Selurb (National Union of Urban Cleaning Companies). Meanwhile, according to Abrelpe (Brazilian Association of Public Cleaning and Special Waste Companies), organic waste represents half of the total urban waste generated in Brazil every year. This is waste that could be repurposed for composting, biodigestion, and/or energy production, but is instead sent to landfills—where it contaminates the soil and produces polluting gases.
Founded in Paris, France, Tektonn Architecture established its permanent office in Chengdu, China, in early 2018. Architecture connects places and people through the act of building; it is about life, environment, memory, and heritage. We strive to respond through sincere design, build with ingenuity, and observe from an objective perspective. Creating from the environment is the very origin of the name Tektonn.
We excel at observing and listening, where every design begins with a rational and meticulous reading of the site. Driven to explore, we continuously push established boundaries to discover creative ideas and realization possibilities. Methodical by nature, we uncover latent connections and site logic amidst complex realities, evaluating how scale impacts the environment. Committed to the pursuit of detail, we study spatial experience through openness and closure, yin and yang, and proportion, analyzing shifts in human behavior. We are architects in action, dedicated to researching materials and finding the most appropriate local construction methods to build comfortable spaces where stories can unfold.
weico is a newly established architecture firm founded by a group of highly experienced industry professionals. Located in a small courtyard near the East Gate of the Temple of Heaven in Beijing, the studio currently comprises about 20 team members. Beyond building design, weico’s practice spans interior design, urban design, architectural programming, and large-scale project management. The firm places a strong emphasis on the cross-disciplinary integration of design with technology, industry, economics, and the humanities, and has recently begun incorporating graphic design into its project workflows. Led by Principal Architect and Partner Sun Wei, weico—established just over a year ago—has already won bids for and taken on major projects, including the T3 Headquarters, Hengli International Headquarters, the Hongqi High-End Customization Center, and consulting for the Hong Kong University of Science and Technology (Guangzhou) Phase II. The firm was also shortlisted for the CGN Scientific Research Base and the Bay Area University, drawing significant attention within the domestic industry.
Although we are an architecture firm, we do not view design as the end of our work, but rather as the starting point. We hope that all our work can serve as a medium to express our understanding of the world, and even as a tool to drive change.
We can define green technology as a set of instruments that enable sustainable production. This means managing product lifecycles more responsibly, always striving for minimal environmental impact.
The production stages span from raw material extraction, manufacturing, and distribution, to end-use and disposal. Consequently, the entire lifecycle can benefit from the application of green technologies, which help reduce environmental impact by using natural resources in a sustainable and conscious manner.
Urban rivers, across their various scales, can serve as structuring axes for urbanization with high environmental quality. The focus of this article, based on concepts developed by the Fluvial Metropolis Group, is the Lageado Creek Basin, located at the easternmost edge of the municipality of São Paulo and part of the municipality of Ferraz de Vasconcelos. The Tietê River, into which the basin's waters flow, the Lageado, and its tributaries establish three scales of rivers and urbanization, accommodating distinct programs related to water use: from regional navigation and energy to neighborhood-scale fluvial parks, spanning water supply, drainage, energy, and irrigation.
What comes to mind when you think of technology? Of all the words that pop into your head, "ancient" probably isn't one of them. We tend to think of technology as something that belongs to the future.
In a world where high-tech solutions are virtually synonymous with development, Julia Watson has taken the opposite approach. The New York-based Australian designer has spent much of her career traveling to indigenous communities in the most remote parts of the world—from Benin to Iraq—to study how we can apply their ancient innovations to our planet's contemporary environment.
As part of the cultural program of LIGA, Space for Architecture in Mexico City, the exhibition "Al otro lado" (On the Other Side) by Juan Campanini and Josefina Sposito opened earlier this month. Having established their studio in Buenos Aires in 2017, they have focused their practice on architectural design, teaching, and research. The intervention consists of a new facade that proposes a reinterpretation of the Mexico City landscape as a fragmented fabric composed of multiple recognizable parts.
The +Lapena Habitar project, a partnership between the Tide Setubal Foundation and BlendLab, seeks to contribute to the urban transformation of peripheral neighborhoods through a new production model for social housing (HIS). Building on a process started in 2020, the institutions have been developing a pilot housing supply and management project in São Paulo's East Zone that incorporates aspects of urban development, architecture, strategies for accessing quality housing, pre- and post-occupancy processes, social participation, a rental model, collective management, business model, and financing.
The Museum of Popular Art in Recife (MAP), opened in 1955, was one of the first museums dedicated to the genre in the country. It was organized and conceived by Recife-born lawyer and collector Abelardo Rodrigues (1908–1971) and designed by Rio de Janeiro architect Acácio Gil Borsoi (1924–2009). Although now defunct, the museum project adapted a former kindergarten into a space with modern features for the exhibition of popular art, located at the entrance of the Dois Irmãos Zoobotanical Park. The only records of this space were captured by French photographer Marcel Gautherot (1910–1996) in the year of the museum's inauguration. Despite their individual perspectives, these three figures shared a particular interest in the popular aspect of modern narratives; for this reason, analyzing the perspectives that fueled interest in the applications of this concept is essential.
What does it mean for the Costa Rican Architecture Biennial to have reached sixteen editions? Clearly, it represents a significant accumulation of exhibitions, conferences, and diverse programs that reflect the concerns and shifts in the country's architectural agenda over the past three decades.
'A Project of Trends: 30 Years of Architecture Biennials in Costa Rica' is the exhibition at the Museum of Contemporary Art and Design (MADC) that reviews this trajectory in detail, under the precise curation of Paz Monge Cortés and José Daniel Picado-García.
As part of the agenda of What Design Can Do (WDCD)—an international organization that seeks to accelerate the transition to a sustainable and just society using the power of design—a series of events and conferences took place in Amsterdam during 2022, bringing together speakers from all over the world to present their projects and perspectives on the current challenges facing the design community today.
On January 13, the City of São Paulo, through the Municipal Secretariat of Urban Development and Licensing, published the draft bill for the mid-term review of the Strategic Master Plan (PDE)—the city's primary urban planning and development tool. In the draft, which is open for online public consultation and civil society feedback until February 17, the most controversial aspect involves changes to the parameters determining the number of parking spaces allowed in new residential developments near public transit infrastructure, such as subway and train stations, and bus corridors.
The Project Strategies Methodology (M.E.P.) is a process that has been under development since 2013 within the Architecture and Urbanism program at Mackenzie Presbyterian University (FAUMACK). It has been applied by the Project Strategies in Urban, Degraded, and Port Territories research group (LAB-STRATEGY) through international workshops, conferences, academic outreach, and educational materials across various geographical regions of Latin America and the Caribbean.
Some symbols transcend language barriers, easily recognized and understood across different cultures—such as restroom icons, the medical cross, and, more recently, the universal Wi-Fi symbol. Among these ubiquitous graphics is the "recycling" logo, conceived in 1971 by architect and designer Gary Anderson while he was a student at the University of Southern California. The symbol features three clockwise arrows forming a triangle, representing industry, consumers, and recycling, respectively.
Reintegrating what is typically discarded as waste back into the production cycle is a core tenet of the circular economy. This concept is particularly relevant to the construction industry, which has historically relied on resource extraction and destruction to sustain itself. Because the brick is synonymous with building anew, nothing embodies the circular concept quite like it. Innovators have risen to the challenge, devising solutions that transform waste into high-value resources, producing building blocks from raw waste materials ranging from seaweed and plastic to human hair. These innovations not only address pressing environmental concerns but also fundamentally redefine how we construct and inhabit our spaces. In this article, we highlight seven initiatives turning waste into valuable building blocks.
On a recent trip to the United States, looking out the airplane window while taking off from Tampa, Florida, I was struck by the pristine green landscape of the American suburb. Neatly organized rows of seemingly identical trees blanketed the flat terrain like a green carpet. To some, this abundance of green might look like a dream of environmentally integrated sustainability.
Nothing could be further from the truth. The American suburb, based on the outdated concept of the “garden city,” was designed to favor the automobile, low-density single-family housing, and single-use zoning. This model virtually rules out active transportation (walking or cycling) and makes mass transit—which relies on density and walkability—wholly unviable.
As physical and digital commerce increasingly merge, designers and architects are creating shopping experiences that bridge the gap between physical and online spaces. We are beginning to witness the dawn of a new retail landscape that skillfully overlays disruptive digital behaviors with new aesthetics.
This article by Antonio Giráldez López was originally published in the 17th issue of revista rita under the title "Making the City Through Soft Architectures." Through excerpts from conversations with the Usina de Innovación Colectiva, it reconstructs an experience of ephemeral urban transformation in the former Mercado Modelo of Montevideo, Uruguay. In this intervention, actions and programs take precedence over rigid, permanent structures, allowing us to imagine new possibilities for disused infrastructure. This interdisciplinary proposal arises from the principle of fostering communities, citizen laboratories, and "in-between times" to counter the private management dynamics that increasingly threaten these types of spaces.
Neuroarchitecture can be highly valuable in helping people with dementia maintain their autonomy. Creating stimulating, supportive, and safe environments helps them remain engaged and independent for longer. Designing a practical, supportive home that promotes cognitive function, emotional well-being, and social interaction is essential.
Given the rapid growth of the global elderly population, studies show that more than one-third of older adults live in their own homes despite declining cognitive and physical abilities. However, not all can be considered fully autonomous, as they often require assistance to perform some of their daily activities.
Since the pandemic, urban issues have become more pressing than ever for many people in Latin America. COVID-19 triggered a turbulent shift in the real estate market, driven both by speculation in second-home markets and the influx of “digital nomads” in cities like Medellín, Buenos Aires, and Mexico City.
Modernism in Brazil was shaped by various facets and conceptions of progress. In architecture, one of the primary aesthetic languages used to express this was ceramic tile panels, as seen in the work of artists such as Athos Bulcão, Cândido Portinari, and Burle Marx.
In the northern region, specifically in the state of Pará, the Modernist movement arrived adapted to local standards. This was reflected in the widespread use of parapets to conceal roofs, gardens featuring native plants, wooden window frames, and facades clad in ceramic tiles, among other features. Furthermore, engineers and architects of the era, such as Ruy Meira and his nephew Alcyr Meira, designed several murals across the region using both whole and broken tiles.
The Exhibition Pavilion for the 2023 Chilean Biennial of Architecture and Urbanism was located in the Plaza de la Constitución, just steps from the Palacio de La Moneda. The structure references and reinterprets a pavilion designed on this very site in 1972 by architect Montserrat Palmer for the Ministry of Public Works (MOP) to mark the opening of UNCTAD III—the headquarters of the Third United Nations Conference on Trade and Development in the Third World.
