In the midst of today's information age, several Latin American architecture firms are returning to analog formats, ranging from fanzines and illustrations to manuals and postcards.

Against the backdrop of the Taller Social Latinoamericano in Colombia, we spoke with the firms Ruta 4 Taller (Colombia), Coonvite (Colombia), La Cabina de la Curiosidad (Ecuador), and República Portátil (Chile)—all of whom have, coincidentally, explored these formats in their recent work.

More than a trend, industrialization is a necessity in the construction industry. In recent years, we have witnessed its importance in increasing productivity and speed of execution—as well as reducing waste—in architectural projects. Beyond streamlining construction processes, this serial, mechanical, and standardized production increases quality and shortens delivery times. If initial project decisions incorporate the modulation of the various stages that can be industrialized within vertical and horizontal parameters, the outcome is much more efficient than if these are evaluated during construction (when it is no longer possible to reduce waste through modulation). Furthermore, by minimizing waste and reducing the consumption of energy and water resources, it also contributes to a more sustainable industry.

When designing residential interiors, architects increasingly lean toward creating environments where flexibility and space optimization provide solutions tailored to programmatic and functional needs, helping to achieve the well-being and comfort that turn a house into a true home.

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Desde la periferia is an audiovisual project directed by José Luis Uribe, PhD in architecture and professor at the School of Architecture of the University of Talca, Chile. The project consists of three documentaries to be released progressively over the next two years, exploring various aspects associated with contemporary Latin American architecture. The first installment, Volume I: Ugly, Dirty & Bad: A Contemporary Architecture in Latin America, is an audiovisual essay that gathers some of the initial thoughts on its current state through the oral accounts of a group of architects in a hotel room in Asunción, Paraguay.

Architects and designers, as well as psychologists and sociologists, recognize that aesthetics and its underlying philosophy have the power to change how we perceive the world around us. Consequently, a deeper understanding of what is beautiful holds the powerful potential to alter how people respond to their environment.

Exploring the different meanings of aesthetics in architecture, from 'form follows function' to the aesthetics of the metaverse, can help us understand the potential of our physical and virtual environments on the path toward a better world.

Much has been written on the subject, from Alberto Pérez-Gómez's "The Beautiful and the Just in Architecture" to Pablo Caldera's "The Failure of Beauty." Now, however, we want to open up the debate and invite you, our readers, to share your perspectives on what makes a building or a city beautiful.

Share your thoughts in the form below. Selected responses will be published in an upcoming article.

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Every year, the National Fund for Culture and the Arts (FONCA), through the National System of Art Creators (SNCA), recognizes those who represent excellence in national culture through the Jóvenes Creadores Program. By providing grants, the program supports the creative and training processes of young Mexican artists, fostering favorable conditions for the development of original, significant, and positive creative projects.

This article was originally published in La Joven Cuba on June 28, 2022.

A few weeks ago, I visited the rooftop observation deck of the hotel Paseo del Prado and marveled at its immense beauty during the sunset. Ahead, the entrance to the bay and the Castillo de los Tres Reyes del Morro; turning left, the silhouette of the Malecón; turning right, the Paseo del Prado, with the massive Capitol building crowning the perspective. Few cities in the world possess such architectural and landscape beauty, such history and monumentality.

Yet, looking back, what I saw was nothing to be proud of. Though it still held a certain beauty, it was a sad, gray sight: the vast, faded, and deteriorated expanse of the city stretching behind the facades of Prado and the Malecón.

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As is well known, the year 2015 saw a boom in coworking spaces—a type of shared office that typically operates in an open environment (though some companies offer closed offices), located either across entire floors of high-rise buildings or in repurposed historic sites adapted for these new ways of living and working. These new setups speak to a professional community in the midst of self-reinvention, where an increasing number of entrepreneurs, freelancers, and small businesses seek affordable spaces that offer networking opportunities in cooperative environments. These shared workplaces provide access to resources such as high-speed internet, desks, chairs, lamps, filing cabinets, printers, copiers, kitchens, and phone booths in strategic urban locations.

Architectural works from around the world are the primary inspiration for Erika Moreno, the creator of HUAJJE, a digital illustration project. The project was born in 2019, a year after Moreno completed her architecture degree in Tijuana. “The project started by accident; my only goal in making these drawings was to learn how to use more Photoshop tools—it was a personal challenge.” To document her process, she decided to open an Instagram account, which has since fostered an organic community that shares and supports her work. This has encouraged her to overcome her fears and even host workshops on the subject in various formats.

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When we speak of social production, we refer to processes where community leaders are adults who represent and make decisions for their community; however, we often overlook children, who also enjoy and live in these spaces. They are the ones with limitless imagination and creativity, who create scenarios on Mars on a basketball court. They are the ones who hold the best car races in the loose sand of their backyards. They are children who, due to various family or economic circumstances, cannot write a letter, but instead express what they feel and want through the lines they draw.

Originating as protection against low temperatures around 3,500 years ago, carpets and rugs have, over time, evolved into a true art form, reaching a high level of specialization by the 16th century. Rugs, carpets, and tapestries of various shapes, colors, textures, and patterns are integrated into different areas of the home to meet users' needs and enhance spatial comfort, sometimes extending far beyond their original purpose.

Barcelona is a city that has been studied countless times—for the blocks of the Cerdá Plan, its chamfered corners, its historic center, the wars waged there, and the architecture of the Modernistas and their monumental buildings. However, there is little record of it ever being studied in depth through the lens of a traditional cladding material and artistic medium like sgraffito.

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Over the years, interior design has evolved in response to changing needs, and above all, to the experiences it seeks to evoke for the user. Over the last two years, we have witnessed a radical shift and a heightened interest in this field, as the pandemic forced us to pay closer attention to how we configure the spaces we inhabit. This has brought about much more holistic designs aimed at user well-being, combining colors, sensory experiences, technology, and natural elements that promote health.

The contemporary urban footprint seems to expand its boundaries virtually without restriction while increasing in complexity. Major cities like Barcelona have expanded to the point where political boundaries merely represent the lines of administrative jurisdiction—which, in satellite imagery or everyday experience, often virtually cease to exist or are barely recognizable. On the other hand, a contemporary reading of its Metropolitan Area, stretched between mountain ranges, rivers, and the sea, demonstrates that this progressive expansion has always been shaped by its unique geographical enclave.

From April 11 to June 30, the Young Architects Festival (YAF), developed by Constructo, is taking place at the Ruinas de Huanchaca Park and Museum in Antofagasta, Chile. Within this space, Siglo 22 Arquitectos has created an immersive architectural installation activated by a series of events, including international lectures and a free public exhibition.

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Charles-Édouard Jeanneret-Gris, better known as Le Corbusier, is one of the leading figures and great masters of the Modern Movement. Directed by Gerardo Panero, the feature-length documentary “Plan for Buenos Aires” explores the architect's attempts to shape the layout of the city of Buenos Aires with his ideas.

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As part of the cultural programming for Mexico City's Art Week, PEANA presents the exhibition Por debajo del árbol at Agustín Hernández's Architecture Studio, which opens its doors to the public for the very first time. The show brings together contemporary works by fifteen artists in dialogue with Agustín Hernández's creative universe. Curated by Ana Pérez Escoto and Carlota Pérez-Jofre, the exhibition will run from February 10 to March 4.

Today, understanding the properties of materials used in vernacular construction is essential to ensuring a better quality of life and spatial habitability, both of which have evolved alongside new technologies in the market. Spatial design now represents a commitment to the natural environment and, consequently, to improving quality of life.

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Italian law never explicitly denied women access to university. Nevertheless, their minimal presence in the 19th century—only 224 women graduated in Italy between 1867 and 1900—demonstrates how a double discrimination, based on both gender and social class, operated through an inherently elitist and dualistic educational system.

It is well known that the construction industry is one of the largest producers of CO2. Although significant progress has been made in technology and in design and construction processes, there is still a long way to go to minimize or nearly eliminate carbon emissions in the development of the built environment. 

Indeed, as revolutionary as the construction industry may seem today, it remains responsible for nearly 40% of global carbon dioxide emissions, 11% of which result from the manufacturing of building materials such as steel, cement, and glass.

What are the latest trends in reducing emissions in both design and material manufacturing? How should the industry transition toward net-zero architecture? These are some of the questions we want you to help us answer. 

To showcase the valuable work emerging from Latin American and Spanish universities, this year we launched an open call inviting architecture students to submit their graduation projects completed in 2021.

After thoroughly evaluating 137 proposals, our editorial team has selected and highlighted 10 projects that demonstrate rigorous critical thinking in response to their self-defined challenges. The selection valued not only those projects that delivered the best possible architecture through efficient design tailored to their context, program, and users, but also those that paid significant attention to human scale, the environment, experimentation, and new ways of addressing architecture in cities.

Today, technology is increasingly ubiquitous in major cities, driven by the rapid pace of capital-driven movement. A popular term to describe the relationship between urbanism and technology is “Smart Cities,” which centers on leveraging data to enhance building connectivity. However, widespread access to these new technologies has revealed how our unique experiences as citizens—driven by a strong desire to document urban environments—allow us to map and experience cities from alternative perspectives.

Publishing architecture is necessary for the discipline itself to be understood as such. Without it, architecture becomes an endeavor devoid of public inquiry, confined to private practices. Yet its presence opens up a field that translates a material language into a written one, reformulating the discourses emerging from this arena. Among the “smallest” of these publications are fanzines—mediums that arise from a desire for self-management and low-cost, small-run production, capable of adapting to diverse content, whether in the form of a booklet or simply folded paper.

The playful potential of the fanzine has sparked growing popularity in Chile, culminating in its inclusion in the XXI Chilean Biennial of Architecture and Urbanism in 2019. Although awareness of this medium predated this event, there is still a gap in understanding its characteristics. This necessitates asking simple, almost naive questions about the specific conditions of its production—discussions that ultimately reveal an invisible network woven among individuals who, without knowing it, were already connected.

It is well known that the construction industry is one of the world's largest producers of CO2. While significant progress has been made in technology and design and construction processes, a long road remains to minimize or virtually eliminate carbon emissions in the development of the built environment.