This article is part of a collaboration with the website coolhuntermx, and was originally published under the title "Decolonial Practice in Design."

If you have not read “Decolonizing Design: Towards an Inclusive Practice” by Ashby Solano, I recommend starting there to engage with a discussion that is gaining increasing resonance—though still not enough—across various design circles. But what exactly is decolonial thinking in design? Can we believe in the decolonization of design in Mexico and Latin America when its professionalization was established under the dogma of Eurocentric thought? In other words, we were taught what correct design is, what good design is, and what deserved to be professionalized.

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Tulum is a region located in southeastern Mexico, within the geographic boundaries of the state of Quintana Roo. Situated along the Caribbean coast, it forms part of the Riviera Maya. Historically, Tulum was a walled city, which is the origin of its name—meaning "wall" in Mayan, a term coined when the settlement was already in ruins.

In contemporary train stations, architectural pursuits associated with innovation and modernity tend to predominate. We often glorify designs with clean lines and gleaming glass buildings that showcase advancements in technology and engineering. Yet, classicism and styles that endure the passage of time—with their solid materials and sculptural details—possess a certain allure. Within their familiar forms, defined by order and symmetry, lies something that allows us to connect with the past.

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The Bamboo Pavilion, a project designed by Mexican architect Lucila Aguilar as part of Design Week 2020, is inspired by the search for spaces that connect directly with the earth. It consists of a series of bamboo structures that create a new space in the plaza of the 'Espacio CDMX' gallery. The pavilion's shape follows the flow of organic forms, combined with a 100% biodegradable, permeable material made in Mérida from natural rubber.

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In collective housing projects, apartments, and residential complexes, design intentions regarding spatial qualities and atmospheres typically focus on the spaces where residents spend most of their time: the interiors of the housing units and, when available, common areas like gyms or multipurpose rooms. Circulation spaces, by contrast, are often treated merely as “transitional areas,” meaning they frequently address functional requirements rather than spatial experiences.

The courtyard is an essential architectural element in many cultures. In Brazil, examples can be found both in historic buildings of Portuguese influence and in modern architecture of the last century. While its use is frequently associated with bioclimatic benefits—improving natural ventilation and daylighting in interior spaces—it can represent much more than that. The void it creates, a subtraction from the built volume, can establish unexpected geometric and visual relationships and foster cross-dialogues between different parts of the building.

On this occasion, Víctor Feingold, President of Contract Workplaces, shares his perspective on how working from home is shaped by the environment, organizational culture, and the drive for innovation.

The letter “I” in the acronym BIM (Building Information Modeling) stands for Information, which is manifested through parameters and the customization they enable within Autodesk Revit, thereby building intelligent BIM Objects. This article outlines the different parameters within this modeling tool, focusing specifically on family parameters. Parametric families arise from customizing these parameters, offering a wide range of possibilities for the BIM Model.

Fungi are everywhere—in the air, in water, on our bodies, on trees, on bathroom ceilings, and underground. They can manifest as mushrooms (including edible, medicinal, psychedelic, or highly toxic ones) or in other simple forms like mold. They can trigger illnesses, but they also produce life-saving antibiotics like penicillin and help ferment excellent cheeses and breads. Could they, then, also become the packaging and construction materials of the future?

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As part of the annual collaborative efforts of the Design Week team in Mexico City, the "Inédito" exhibition opened on October 9 at the Espacio CDMX Arquitectura y Diseño gallery. It marks the sixth consecutive edition of this open call, which aims to support, promote, and showcase utilitarian design projects across several categories: social impact, environmental impact, innovation, function, aesthetics, concept, user experience, materials, and processes. The exhibition is divided into three categories—professional, student, and digital—where, far from competing, participants gain exposure to opportunities in both national and international markets for outstanding design with commercial and production viability.

Intervening in buildings of historic value is one of the most delicate tasks facing architects. Today, preservation is no longer limited to restoring centuries-old buildings; it also encompasses the language of modern architecture.

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Following the first lessons Thinking in Lines and Drawing the World, OSS (Office for Strategic Space), together with Professor Justo Isasi, Chair of Architectural Design at ETSAM (Technical Superior School of Architecture of Madrid, UPM), presents the third drawn lecture: "Stories in Lines."

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Today, the availability of information and data has vastly expanded our ability to analyze, interpret, and understand life in our cities. In urban planning, some of the most valuable and highly sought-after data for analyzing urban mobility dynamics comes from the use of the SUBE system (the Unified Electronic Ticket System, used in Argentina to pay for public transit). By gathering this information, millions of digital footprints can be aggregated and visualized, allowing us to interpret and anticipate citizen transit behavior. This, in turn, helps us understand urban trends based on the time of day and the day of the week.

Have you ever had to alter an original design due to construction difficulties or budget overruns, yet never because it negatively impacted the environment? 

That is why we want to give our readers the opportunity to openly express their views on this matter. If we were fully aware of the environmental costs of materials today, or their potential future consequences, or the real, global challenges that arise during construction, would it change the way we select and create our designs? Would it be easier for us to advocate for our projects to others and fellow professionals? 

MAD’s Beijing office is currently seeking talented professionals to fill several open positions.

Senior Architect | Design Direction

This article by María José Pizarro and Óscar Rueda was originally published in the 3rd issue of rita journal under the title "Ernesto N. Rogers y la 'Preesistenza Ambientale' en las Escuelas Nacionales de Arte de La Habana" and is part of a joint collaborative dissemination effort. The present text seeks to delve into the influence of Rogers' theoretical corpus on three of his outstanding students: Ricardo Porro, Vittorio Garatti, and Roberto Gottardi, and how this thinking informed the design of their first and most significant work: the National Art Schools of Havana.

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In 2014, a group of friends from Ciudad Juárez, Chihuahua, driven to contribute to their city's resilience and recovery, came together to dialogue and share ideas for reclaiming streets, plazas, and parks through sociocultural projects and urban interventions in public space. This gave rise to Nómada Laboratorio Urbano. Ciudad Juárez is an industrial city located on the northern border with the United States, directly adjacent to El Paso, Texas. Over the years, Juárez's economy has been dominated by the maquiladora industry; the city was also once considered one of the most violent in the world due to a wave of crime between 2008 and 2012.

Scattered throughout cities and standing as landmarks in the landscape, what do these statues represent, having driven humanity around the world to pay such singular attention to their size? 

At the time of writing, it is still difficult to envision the post-pandemic world of COVID-19, which spread across the globe in just three months after the first cases were detected in Wuhan, China, in December 2019. Dystopian scenarios of human and economic devastation managed by totalitarian regimes still run parallel to visions of societies successfully returning to the streets with more sustainable and secure patterns for their habits, modes of production, consumption, and social organization. Regardless, there is a lingering sense that the world will never be the same and that we will have to reorganize a significant portion of our collective and individual lives. The global suspension of activities triggered by COVID-19 could point to solutions—not only for the pandemic but also for other pressing crises that have been knocking on our door for some time, notably climate change and persistent, brutal social inequality.

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Housing is a fundamental architectural inquiry. How we interact with the spaces we inhabit daily, and the lifestyles we cultivate within them, are constant subjects of debate in the discipline—discussions aimed at achieving a higher quality of life and discovering new ways of living. Beyond this, other contemporary factors—such as real estate speculation, high density in urban centers, the desire for a nomadic lifestyle, or even simply following current trends—have made the discourse around small-scale living increasingly relevant and urgent. Consequently, we must ask ourselves: what is the absolute minimum space we actually need to live?

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For a long time in Mexico and around the world, the architecture of pioneering Modernist architects like Luis Barragán and Juan O'Gorman, among many others, has been presented as sacred and untouchable to ensure its preservation over time.

Ficciones is a graphic experiment created by the architectural visualization and communication studio Pinxcel. Set in highly diverse backdrops—mostly in the city of Quito, Ecuador—these explorations alter the built environment through digital methods to propose, via a fictional visual narrative, an alternative reading of the city.

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One of the most critical factors in architectural design is the site's specific climate. While this can present challenges in extreme conditions—requiring insulating materials to adapt to shifting environments—Mexico's privileged climate works in the architects' favor. It allows them to create microclimates and spaces that blur the boundary between indoors and outdoors.

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Periferia: Ecatepec de Morelos is a project by emerging photographer Zaickz Moz created to document the transformation of Mexico City's edges, while drawing attention to the aesthetics emerging in areas like Chalco, Nezahualcóyotl, and Naucalpan. Projects such as Soy de Azteca have focused on these forgotten territories, seeking to redefine the expressions of community and identity within Mexico City's periphery—a region that is increasingly blurred and constantly spilling over its geographic boundaries.