How many architecture students sit down to listen to a community's needs and transform them into a project to be built during the academic term? Few. While there are several participatory courses in universities, they often remain as proposals—brilliant ones, by the way—without ever materializing; though, of course, they leave us inspired. Meanwhile, other projects that do get built do not necessarily involve an exhaustive dialogue with the residents of the site. In recent years, students at Peru's architecture schools are increasingly engaging with reality, recognizing that the country is an experimental laboratory still under construction. And the project presented here is the first of such complexity to be built within a university workshop.

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Domotics = Domus ('home' in Latin) + Autonomous ('self-governing' in Greek)

True to its name, domotics enables a home to function intelligently, responding to user needs through automated systems that improve spatial habitability and comfort, increase security, and boost long-term energy and financial savings.

By utilizing sensors, motorized systems, wireless technologies, and direct integration with smartphones or tablets, domotics is here to stay. It can be integrated into architectural projects from the initial stages through various automated systems. How can this be achieved? Here is a selection of solutions classified by their benefits: energy savings, comfort, accessibility, and security.

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El Campo de Cebada has become a benchmark for self-management and the collective construction of public spaces, closely linked to the Spanish *acampadas* of 2011. In this article, the architecture collective Zuloark reflects on the key principles that made the experiment work.

Jean Pierre Crousse and Sandra Barclay have just won the Mies Crown Hall Americas Prize –the highest architectural distinction in the Americas– with the recently completed Edificio E at the Universidad de Piura. Through their work, Barclay & Crousse has approached the Peruvian territory and landscape from different perspectives and at different scales, complementing this approach with research and teaching at the Pontificia Universidad Católica del Perú, where they explore the transdisciplinary and multiscalar dimensions of architecture.

In this interview, we delve into their relationship with teaching, the Peruvian territory, and the role of architecture today in countries like Peru.

Every now and then, it is inevitable to pause, set everything aside, and simply think about the future. This necessary imaginative exercise—performed countless times throughout the history of fiction—allows us, among other things, to recognize where we stand and understand where we are going. As such, it becomes a relevant and compelling practice to apply to our own transformative and visionary discipline. We proposed this challenge to several Chilean architects, inviting them to speculate not just on the near future—already difficult to navigate in today's liquid modernity—but on a more distant horizon, framed by the question: what will be the role of architects in Chile over the next 25 years?

Their opinions and commentary, emphasizing different facets of architectural practice, share several common threads by connecting current issues and questions relevant to the 21st-century city: the human dimension—the ethical, the collective, the common—and the urban realm, in their relationships and forms of organization.

Architects Rafael Pina and Nicolás Maruri, from the ARKRIT Collective, reflect on the soccer fields nestled within the adobe and rammed earth settlements of Morocco's High Atlas. Having barely altered the territory, these spaces integrate and merge into the topography through minimal modifications and actions for a single, simple purpose: to play.

Construction requires mobilizing material resources and human labor, inevitably transforming the territory. Building with what is readily available is a stance that can be driven by ethics, but also by necessity. In either case, the outcome is usually economical and fitting. Resource consumption is kept to a minimum, and adaptation to the environment becomes a natural consequence.

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BASE Studio, a design and research practice focused on innovative architectural systems, has designed "Flocking Tejas," a pavilion made of handcrafted clay tiles. The installation emerges as an architectural system that expands the possibilities of handmade materials and adaptive systems, ultimately creating an intervention designed to spark the curiosity of its users.

The project was a finalist in the YAP_Constructo 8 competition, directed by architects Marcelo Sarovic and Jeannette Plaut.

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For many years, Mexico City has been what many authors call a "living organism," built day by day and choreographed in diverse ways. Santiago Arau's work portrays a city where time passes, shaped by its inhabitants—ranging from sweeping aerial views to the daily gaze of a commuter on public transit. Don't miss this time-lapse, which will allow you to imagine (or remember) what it is like to experience Mexico City in just one minute.

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To encourage the use of bicycles as a non-motorized mode of transportation, BKT Mobiliario Urbano has developed the Ciclopuerto CP-009; a geometric piece made of recycled aluminum and rubber that accommodates two bicycles per rack. The unit consists of a metal structure clad in recycled aluminum on its lower section to increase durability, and rubber on its upper section to protect bicycles from scratches and other damage.

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Today, it is estimated that in Brazil alone, 30 million tons of waste are deposited annually in landfills, with São Paulo alone sending 14,000 tons of solid waste to these sites every day. [1] Unsurprisingly, landfills occupy vast tracts of land that continue to expand, posing a critical challenge for nearly every city. But what can be done once landfills reach capacity and close? Is it possible to breathe new life into these mountains of waste? What are the possibilities and necessary precautions?

The team comprising Francesca Fuentes, Juan Andrés Hoffmann, and Kevin Gómez has been awarded an honorable mention in the XXXII CAP Chile Competition. Designed for the Tres Puentes Wetland in Punta Arenas, the project, known as "Flores del Humedal" (Wetland Flowers), seeks to generate "a physical link between the isolated territory and society, in order to facilitate interaction, knowledge, research, and conservation," according to the authors.

The competition jury explained that it is a "project that took steel structure to a highly creative level and challenged the program, proposing a new way of observing nature. At the same time, it generates a profound relationship with the territory for wetland observation."

Writing for the Fundación Arquia Blog, architect Enrique Parra outlines the main questions asked by first-year architecture students in Spain, where, despite the ongoing crisis in the profession, it remains one of the most sought-after degrees. This article offers a chance to compare these expectations with the realities and aspirations of students in different countries.

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The First Industrial Revolution took place in the United Kingdom in the late 18th century with the mechanization of the textile industry. Over the following decades, instead of making things solely by hand, the use of machines spread across the globe.

The Second Industrial Revolution began in the United States in the early 20th century with the assembly line, ushering in the so-called Era of Mass Production.

Today, we are living through a new industrial revolution, driven by digital culture and technology, with 3D printers serving as one of its key catalysts. And believe it or not, you will eventually own one. As they become increasingly affordable, these machines are capable of printing three-dimensional objects. The most common technique involves depositing and bonding, layer by layer, minute particles of materials such as plastic, ceramic, glass, or metal.

The 16th-century Monastery of Santo Domingo “San Pablo”—located in downtown Oaxaca between Independencia and Hidalgo streets—was recently transformed into the San Pablo Academic and Cultural Center (2012) through a series of interventions by the architecture firm led by Mauricio Rocha + Gabriela Carrillo.

Happy New Year! Champagne, hugs, phone calls, and new goals. A few days pass, and it feels like this year you really will achieve everything you want. It's a great attitude, but not everyone is so clear on what those goals are or where to direct their career. In this day and age, anything seems possible. If a friend is traveling the world, you want to do it too. If another joined the gym, you want to do it too. If former classmates are pursuing a master's degree, you want that too—but we know we can't do everything at the same time.

Over the past two decades, digital technologies have been changing the way we use and relate to spaces—especially public ones—which are increasingly mediated by networks and devices that allow us to position ourselves in new ways. In May of this year, during the global week of events for Museum Day, promoted by the International Council of Museums (ICOM), the theme Hyperconnected museums: New approaches, new publics was adopted as the motto for the 2018 edition's debate series. This initiative aimed to discuss the relationship between museums as institutions and society through the lens of digital connectivity, both in terms of physical space organization and interaction with the public.

In the wake of the debates held in museums worldwide, it became clear that institutions are increasingly focused on building a network with their audience, a feat made possible through technology. Indeed, conceiving an exhibition, as well as the museum as an object within the urban environment, also means imagining the possibilities for audience interaction. This makes it inevitable to compare how viewers used to relate to artworks with how this dynamic has shifted in the so-called “Selfie Era.”

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In 2011, an improvement plan for the Historic Center of Mexico City for the years 2011–2016 was presented to UNESCO. Conceived as a joint initiative between civil society, private investment, and the government, the project led to the revitalization of a large part of the historic center and the social and physical recovery of many of the neighborhood's properties.

Mexico City's architectural legacy extends far beyond its Historic Center, and while the initial plan greatly benefited this area, many buildings both inside and outside Colonia Centro remain untouched. Following the 2017 earthquake, damaged buildings joined the growing list of properties already abandoned, vacant, or severely deteriorated throughout the city.

Among these, we highlight those whose rehabilitation and subsequent adaptive reuse would have the greatest impact on their surroundings, given their symbolic, architectural, and physical value.

Spain is the European country with the most "Good Practices" recognized by the URBACT program. In total, 17 good practices have been recognized across 15 cities and municipalities throughout Spain. The themes addressed by these municipalities are highly diverse, ranging from the issues chosen for intervention to the methods of implementation and the solutions proposed.  

The European URBACT program was established to foster sustainable urban development and urban innovation in municipalities across Europe. As such, any city or municipality, regardless of its size, can participate in the program. Currently, 550 cities from 29 different countries and 7,000 active local stakeholders are participating.

Since the installation of Speculator in 2008 —the year the Spanish real estate bubble burst— the Spanish multidisciplinary collective has been characterized by its collaborative practices, co-production processes, and civic management models. Over ten years, the numbers speak for themselves: 15 countries, 18 agreements, 29 institutions, 43 grassroots organizations, and 96 projects, including Campo de Cebada in Madrid and the La Y Cultural Hub in Caracas (Venezuela), as part of the government project Espacios de Paz.

TXP explains their methodology: "We start with a preliminary diagnosis that allows us to understand the keys, codes, and particularities of each process. We then define a context for collaborative design where the proposal is prototyped based on collective interests."

"In our practice, we propose a dynamic combination of scopes that tailors the project based on available parameters, allowing us to define a consensus-driven model that responds resiliently. We establish frameworks for collective construction that foster learning environments, serving as tools for civic appropriation and empowerment. Finally, we design management models that address the specific needs of each case, establishing protocols for use and maintenance," they add.

The dry toilet performs all the functions of a conventional toilet without using water, while also producing resources that can be used to fertilize crops and agroforestry projects. With various construction models available, this social technology is far more than just an alternative sanitation system. When approached as a solution within our closed-loop reality, it offers an answer to various public sanitation issues, as this single technology prevents both soil and water contamination.

Operating on the basic principle of using solar heat to raise the temperature inside the waste receptacle—thereby eliminating pathogens and producing fertilizer—ecological sanitation models are highly adaptable. They improve the environmental performance of homes and public spaces, successfully meet demands based on usage, and are easy to construct and maintain.

Today, we launch a series of publications showcasing open-access theses and dissertations that address issues relevant to Architecture and Urbanism. We recognized the need to share the remarkable academic output of our universities—which often goes unrecognized—with the widest possible audience.

In this first edition, we present the work of architect Jorge Isaac Perén Montero and his master's thesis entitled "Natural Ventilation and Lighting in the Work of João Filgueiras Lima, Lelé: Studies of the Sarah Kubitschek Network Hospitals in Fortaleza and Rio de Janeiro," advised by Professor Rosana Maria Caram at the São Carlos School of Engineering - EESC/USP.

Participating in architecture competitions can be a great opportunity to boost a firm, or to step away from the routine by developing ideas that wouldn't normally pass a client's scrutiny. However, to catch the jury's attention among hundreds of entries, the project's graphic presentation plays a key role. Beyond presenting relevant ideas in response to the brief's questions and debates, an organized board is essential as a synthesis of the process. In trying to compile these ideas graphically, a series of questions arises regarding the presentation style and how it will help convey the project's core concepts clearly to the jury.

Plans, sections, elevations, collages, renderings, diagrams, texts, and graphic elements. Board dimensions never seem large enough to hold so much information. With this in mind, we have compiled a series of essential tips for developing your boards in architecture competitions. Check them out below:

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On this occasion, architect Jaime Nadal, representing the ARKRIT Collective, brings us an article that delves into the controversial demolition of the famed Casa Guzmán by architect Alejandro de la Sota—a highly praised, widely published, and iconic building of the architectural renaissance in Spain.

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Throughout 2018, we selected thousands of projects for publication on our site, occasionally highlighting a few for their innovative techniques and materials, their integration with their context, or their community engagement. Working daily with editors in Brazil, the United States, Mexico, Chile, China, and Northern Ireland, and thanks to the extensive network we have forged with institutions worldwide, we have the tools to gain a much broader perspective on current architectural production—not only in Mexico, but globally.