This guide covers a workflow that moves from project parameters to generated floor plans, 3D perspective views, exterior design exploration, and site context visualization, using AI tools in place of preliminary CAD and rendering work.

2023 broke temperature records worldwide. People across different regions of the planet are already facing historic heatwaves, wildfires, and droughts with just 1.1°C of warming above pre-industrial levels. Under current policies, which put the world on track for a warming scenario of 2.5°C to 2.9°C by 2100, the stifling heat felt this year is just a small taste of the future ahead.

The Instituto Corrida Amiga works to bring people closer and connect them to the spaces they inhabit, aiming to transform citizens' daily lives through the perspective of active mobility, access, and the right to the city.

Part of the institute's initiatives consists of educational practices designed for diverse audiences, featuring playful-educational activities that encourage active participation and collaboration. This allows participants to express their opinions and desires, fostering decision-making, critical thinking, and empathy.

The interaction between architecture and human well-being is a field drawing increasing interest in the contemporary world. The role of architecture in daily life extends far beyond its aesthetic or practical functions; it directly shapes the experience and well-being of those who interact with built spaces. This fundamental link between architectural space and human well-being is being increasingly explored by researchers and practitioners seeking to understand and optimize the impact of the built environment on people's health and quality of life.

In the context of contemporary design, glass partitions have gained prominence in the world of interior design due to their versatility in harmoniously combining elegance, functionality, natural light, and spaciousness. One of their primary advantages is transparency, which allows for spatial division without obstructing natural light, offering a sense of openness and connectivity between areas. This is particularly beneficial in small spaces where light can make a significant difference in the interior atmosphere.

At the same time, construction methods are simplified by the clean and rapid installation of glass walls and doors, as well as their multiple mounting options, which adapt to structural conditions and construction sequencing. Moreover, while transparency is a key feature, glass partitions can also incorporate options to ensure privacy when necessary, utilizing various types of glass with digital printing, silkscreening, or satin finishes.

ArchDaily's curatorial team strives every day to present our readers with the most significant, inspiring, and innovative projects, while also ensuring a diverse representation of global architecture.

As part of our 2023 Year in Review retrospective on ArchDaily, we look back and reflect on what was published over the past year. Residential architecture remains one of our most visited categories of built projects, generating immense interest among our users worldwide. With this in mind, we have selected the 50 best houses published this year on ArchDaily en Español, offering a brief showcase of the form and character of residential architecture across the Spanish-speaking world.

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ArchDaily's curation team strives daily to present our readers with the most significant, inspiring, and innovative projects, expanding the knowledge and repertoire of students and architects worldwide. From small renovations to projects designed from scratch, residential architecture is a constant in the daily practice of most firms. Year after year, we see the deep interest this typology sparks: it remains the most popular category among our audience.

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When we think of the residential designs of Italian architect Lina Bo Bardi, the immediate image that comes to mind is her private residence in São Paulo (1951)—more precisely, the image of its glazed social pavilion, captured from a low angle. This perspective further dramatizes the contrasting relationship between that light, suspended orthogonal volume and the steep natural slope of the terrain.

I would venture to say that no other work of Brazilian architecture is as well-known from a single photograph. This image, which has illustrated nearly every publication on the architect since the building's completion nearly 70 years ago, and which indeed justifies its famous moniker, the “Glass House,” exposes the unequivocal modern condition of this project—or, at least, the portion revealed by the angle of this celebrated photograph: a transparent, prismatic volume suspended on slender pillars set back from the edge of the floor slab and, consequently, free-standing within the elevated space.

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Nicolás Valencia speaks with Chilean architects Matías González Ulloa and Sofía Carrión Bobadilla, creators of Área Verde and leaders of ⁠Arquitectura Maulina⁠, a digital platform focused on the architecture, territory, and reflections of Chile's inspiring Maule region.

Nicolás Valencia speaks with Chilean architect Germán Valenzuela about the book ⁠Del territorio al detalle⁠ (Bifurcaciones), a selection of the most interesting contemporary architects in Latin America, from Al Borde to Rozana Montiel, including Mauricio Rocha, Inés Moisset, and Solano Benítez.

What happened at the conventual Church of Saint Francis of Assis in Salvador is yet another sad chapter in a process afflicting Brazilian cultural heritage, which has intensified in recent years with the fires at the National Museum in Rio de Janeiro, the Cinemateca, and the Museum of the Portuguese Language in São Paulo. Consequently, over the last few days, there has been intense debate regarding who is to "blame" for what occurred in Salvador, or who bore the "responsibility" to prevent this disaster, which also claimed the life of a young tourist: whether the church administrators, IPHAN (the National Institute of Historical and Artistic Heritage), or local cultural and heritage agencies. This is a difficult and indeed important issue to discuss, demanding careful investigation into the causes of the incident. Yet the debate must be broader, aimed above all at considering how we can prevent such events from happening: greater investment, greater appreciation of artistic and architectural heritage, stricter and more effective safety protocols, preventive conservation, and heritage education. In the days following the incident in Salvador, numerous colonial-period buildings were closed across the country under the claim that they, too, might collapse. Our heritage demands attention—in many cases, urgently.

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"There is coconut candy and peteca
Let the child play
Today is a day of celebration
The ibejada comes to bless."
— Song for the erês

Streets come alive when they belong to the erês and die when they belong to cars. I dream of a project that I intend to put into practice when time allows: writing a manual of the fabulous rules of hopscotch, carniça, button football, preguinho, capture the flag, ring-around-the-rosy, lenço-atrás, slope soccer, dodgeball, and the variations of marbles. The title is already set: "The Loving Ecology of Street Games."

On August 17, Brazil celebrated National Heritage Day, 21 days after a protest set fire to the statue of Bandeirante Borba Gato in the southern zone of São Paulo. This contradiction opens up an important discussion: how are we constructing memory in our cities? What are we valuing as our country's heritage? 

The term historical and cultural heritage refers to the tangible and intangible creations of a given culture within society. What defines a cultural asset as heritage is its historical and social relevance, which can be linked to collective and individual memory, as it is through these memories that we understand the past. From an architectural perspective, the term heritage is constantly associated with historic buildings that typically embody Catholic religious values or the bourgeois lifestyle of the elite.

At the FIESP Cultural Center in São Paulo, Nicolás Valencia sits down with Brazilian artist Giselle Beiguelman to discuss artificial intelligence, data centers, and coup plotters, drawing from her book Políticas da Imagem, her exhibition Venenosas, Nocivas e Suspeitas, and her research project Domingo no Golpe.

Play, as a human activity, is a multidimensional practice: it stems from biology, is socially transmitted, and is situated within the architectural realm. Within this interrelation, while play introduces dynamics and narratives that invite us to explore alternative ways of inhabiting the world, architectural projects provide the physical and sensory support needed to unlock these possibilities, with play structures serving as the medium connecting the two. Consequently, a defining relationship emerges between play, the built environment, and its evolution over time.

Contrast can be widely used in architecture as a tool to highlight what we want to showcase. Do we want to emphasize an entrance? Make the project stand out from its surroundings? Turn our architecture into a landmark in the urban—or rural—landscape? Do we need to create symbolism? Ensure legibility? How do we achieve this? How do we "shine a light" on something?

Whatever we want to highlight is amplified through comparison—by means of an exaggerated, antagonistic contrast. Intentionally, we can intensify the use of darkness to emphasize a single light source, framing a staircase in a dramatic and theatrical way. Or we can introduce solid, opaque walls to make a light, transparent entrance stand out.

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A bamboo structure rises as a space of convergence between technique, ancestry, and collective practice. OCO is the first work by Cambará Instituto, an organization that grew out of the Arquitetas Negras Project. Conceived during an artistic residency at Cerbambu, in Ravena (Minas Gerais), with support from re:arc institute, the project brought together ten black women architects who, over seven days of immersion in July this year, worked alongside master builder Lúcio Ventania to explore the constructive and symbolic potential of bamboo. The process culminated in the presentation of the work at the 14th International Architecture Biennial of São Paulo.

The experience sought to reconnect architectural practice with knowledges rooted in the body and the earth. The process encompassed every stage of production—from selecting and cutting the bamboo to curing and assembling it—resulting in a structure six meters high and five meters in diameter. Its design draws inspiration from the xossas of Benin and features straw from the African country at its top. The installation was also “clothed” with 220,000 beads, known as Our Lady’s Tears, handcrafted by forty elderly women in situations of social vulnerability who live in the same region where the residency took place—strengthening both community and economic bonds.

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An architectural award serves as a legitimizing mechanism, indicating which approaches, materials, and strategies are beginning to take center stage in the discipline's discourse. By bringing together projects with different programs, scales, and constraints, these initiatives bring to light emerging priorities and directions in the field. Within this context, the Shaw Contract Design Awards have established themselves as a global recognition platform for interior design and a barometer of the transformations reshaping the discipline, prompting reflection on the role of design in building more responsible, inclusive, and sustainable environments.

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Taking a deeper look at the interplay of light and shadow in architecture seems to be a recurring topic on the agenda of many professionals in the field. Spaces of light and darkness are conceived to enhance circulation and spatial directionality, as well as to highlight the colors, textures, and forms of specific architectural elements. That said, the impact of natural light on building facades reveals the need to develop strategies that support energy savings, improve the thermal and visual comfort of interior spaces, and promote the reduction of carbon emissions. Considering light as another material in architecture, in what ways could its power contribute to the architectural experience?

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At the helm of architectural discourse on sacred architecture, attention almost always settles on the monument. Temples, mosques, monasteries, and churches dominate architectural histories, design criticism, and photography alike, becoming the physical symbols through which faith is understood. For millions of pilgrims across India, the most consequential architectural experience begins long before the shrine comes into view. It unfolds across mountain roads, river ghats, shaded streets, temporary camps, queue systems, bridges, water kiosks, medical stations, and countless ordinary pieces of infrastructure through which pilgrimage actually takes place. The architectural work of pilgrimage may lie less in the shrine itself than in the environments that allow millions of people to reach it.

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Buildner has announced the results of its Re-Form: New Life for Old Spaces, second edition, an international ideas competition examining the adaptive reuse of small-scale existing buildings. The competition invited architects and designers to propose transformations of used, abandoned, or overlooked structures with an approximate footprint of 250 square meters, located anywhere in the world. With no fixed site or program, participants were encouraged to explore alternatives to demolition and new construction through reuse strategies grounded in contemporary social and environmental concerns.

Almost certainly, everyone has their own ritual when entering a pool. There are those who dive in without hesitation, those who start with their toes, those who swim for sport, and those who submerge themselves for pure pleasure. Private or shared, intense or contemplative, every experience with water takes place within an environment carefully constructed to receive it.

Architecture and water are of opposing natures. While one delimits and contains, the other insists on spreading, and it is from this tension between solid and liquid that aquatic centers emerge. In these buildings, the presence of water transforms everything around it. Light fragments into shimmering reflections, sound acquires a distinct reverberation, and temperature and humidity define the atmosphere of the spaces, while materials and structural systems are constantly put to the test. Yet their uniqueness is not merely technical.

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On December 20, 2019, the opening press conference for the eighth **Bi-City Biennale of Urbanism\Architecture (Shenzhen)** (hereinafter "UABB") was held at the **Shenzhen Museum of Contemporary Art and Urban Planning (MOCAPE)**, marking the official launch of this year's biennale.

Under the theme of "**Urban Interactions**," this year's UABB is chief-curated by architect and director of the MIT Senseable City Lab **Carlo Ratti**, academician of the Chinese Academy of Engineering **Meng Jianmin**, and renowned curator and art critic **Fabio Cavallucci**. The South China-Turin Joint Lab (Politecnico di Torino and South China University of Technology) serves as the academic curator. The exhibition **opens on December 21, 2019, at the main venues—the Shenzhen Futian High-Speed Railway Station and the Shenzhen Museum of Contemporary Art and Urban Planning—and will officially open to the public on December 22**. In addition, **nine sub-venues** across various districts of Shenzhen will interface with the main venues, establishing an organic network of interaction throughout the city.

The exhibition comprises two main sections, "**Eyes of the City**" and "**Ascending City**," each exploring the evolving relationship between urban space and technological innovation from distinct perspectives. **The main venues showcase over 140 works, bringing together more than 280 exhibitors from 24 countries and regions**. These include renowned international and domestic architects, artists, and institutions such as MVRDV, Liam Young, Stefano Boeri, Sou Fujimoto, Thomas Heatherwick, Ryoji Ikeda, Wang Shu, Yung Ho Chang, Dominique Perrault, Philip F. Yuan, Liu Cixin, and Academicians Cui Kai and Wang Jianguo.

"The history of architecture is incomplete. Not wrong, but incomplete," said Lesley Lokko when announcing The Laboratory of the Future, the theme of the 2023 Venice Architecture Biennale. Echoing the curator's statement, a new study published by Studio Autonoma, led by Paulo Tavares, reveals deep disparities in representation within the Brazilian pavilion at the world's largest architecture event.

Titled Historical Census of the Brazilian Pavilion at the Venice Architecture Biennale (1980-2021), the study reveals a significant discrepancy in the profile of curators and participants over these three decades, with a predominance of white men from Brazil's Southeast region, particularly from São Paulo.

What has architecture done for democracy in Portugal—and what has the democratic era done for Portuguese architecture? These are the questions guiding the exhibition O que faz falta. 50 anos de arquitetura portuguesa em democracia [What is Needed: 50 Years of Portuguese Architecture in Democracy], organized by Casa da Arquitectura, which celebrates the fifty years since the 1974 Carnation Revolution.

Curated by Jorge Figueira with co-curator Ana Neiva, the exhibition highlights the intimate relationship between architecture and the democratic regime in Portugal, exploring how Portuguese architects contributed to democratic consolidation by transforming the country's public and private spaces over five decades.

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