Beyond its vast and diverse geography, the Iberian Peninsula is a map of architectural examples that have successfully adapted by reinterpreting materials, technical methods, and human needs.

In this regard, vernacular architecture in Spain—referring specifically to traditional dwellings—might not be as robust today as in its heyday; nevertheless, numerous examples still stand, some even continuing to serve as viable living spaces.

Below is a selection of the most representative traditional houses across Spain's diverse regions, offering a journey through the territory to inspire new architectural perspectives.

Alberto Campo Baeza, one of today's most internationally renowned architects, has been selected for Honorary Fellowship in the American Institute of Architects [AIA]. Founded in 1857, the organization represents the interests of American architects, much like the CSCA (Superior Council of Colleges of Architects) does in Spain. It currently has more than 90,000 members, of whom only a select few are chosen to join the Institute's ‘College of Fellows’ with the title of FAIA.

Campo Baeza joins the exclusive roster of Honorary Fellows of the American Institute of Architects. In doing so, he joins fellow Spanish architects such as Rafael Moneo, Juan Navarro Baldeweg, Enrique Sobejano, and Fuensanta Nieto, alongside other equally renowned European architects like Álvaro Siza, Eduardo Souto de Moura, and David Chipperfield.

Fifty of today's leading architects—answering the call of the Now Institute and its director, Thom Mayne—were convened to assess the architectural legacy of the last century. Their goal? To compile a definitive list of 100 buildings that represent, in their view, the 100 most remarkable architectural achievements of the 20th century. Prominent figures such as Tadao Ando, Steven Holl, Richard Rogers, Kazuyo Sejima, Toyo Ito, Rafael Moneo, Kengo Kuma, and Denise Scott Brown, among others, formed the voting panel.

Sometimes, architecture presents itself as an object of responsibility—an exercise in recognizing authorship, aiming to define and delimit it. We feel an urgent need to know who its author was, to credit whoever was capable of such inventions. Just as often, however, architecture does not claim any author; hence the terms anonymous architecture or "architecture without architects"—that is, a merely vernacular architecture. In the case of Carme Pinós, what is built inevitably speaks of who built it. Her architecture offers a glimpse of the energy that emanates from her persona: a vibrant, direct, tense architecture, swept by a continuous, dominating agitation. Within it, elements are in constant motion in a completely ungrounded way, rather than by their own virtue.

The core of Castilian modern architecture, and indeed of the 20th century, emerged from the work of Rafael Aburto [1913-2014] and his contemporaries—this forgotten generation. An interwar generation whose trenches were fought not only on the battlefield, but also within architecture. This cohort of architects had to confront both the ravages of the Spanish Civil War and a sterile traditionalism, surrounded by professionals who had read, known, and seen almost nothing. Tradition—specifically, Spanish tradition—was what sustained everything. Unsurprisingly, the Civil War itself dealt a generational setback to the profession, impacting not only Aburto's peers but also those to come. 

The generational divide was defined solely by the experience of having fought in the war. Oíza was eighteen when it broke out; Sota, Cabrero, Coderch, and Aburto were called to battle, mostly fighting on the Nationalist side. Once the war ended, Spain was unrecognizable compared to its pre-war self, and architectural thought was no exception. Returning to the profession in the 1940s, architects faced an outdated, practically useless tradition, alongside a precarious modernism devoid of depth or knowledge. This is why figures like Aburto broke through—these postwar architects who took on the role of pioneers, or at least demonstrated their determination to break free from academic constraints and embrace their own modernism. 

The conventional city model establishes very clear and concrete boundaries between the public and the private. Within this model, what is defined as “urban” has always corresponded to the public realm, whereas “domestic” defined the boundaries of the private. Yet societies are not immune to change and evolution, and neither is urbanism. Those traditional concepts of the urban and the domestic are becoming obsolete, transformed into expanded and more updated understandings. It is precisely around this blurred boundary—between what appears urban and what appears domestic—that the new public sphere is being constructed. 

This is the leitmotiv driving the ‘Dom Project’ intervention: to establish a gradient of spaces where the urban and the domestic are not clearly demarcated, but instead colonize one another, bringing certain public uses and programs to the surface within the ‘Housing Block.’ The project was submitted to the international architecture competition ‘Open International Competition for Alternative Layout Designs in Standard Housing’, organized by the Ministry of Construction, Industry, Housing and Infrastructure of Russia alongside the Unified Development Institution in the Housing Sector and the firm Strelka KB, winning second prize.

Perhaps the term ‘Fiction Architecture’ means little without a context to frame it. Providing that context is one of the challenges that the team at ENORME Studio has set for itself. Their approach to architecture—probing its very limits—is rooted in a radical, disruptive attitude. Their goal? Simple: to create ‘architecture without architecture.’ In other words, to strip away the fashions and trends that clothe contemporary architecture and reveal it, without shame, for what it really is: a grand lie.

On Tuesday, February 19, the book ‘Años alejandrinos’ was presented at the Ivorypress Gallery in Madrid. Luis Fernández-Galiano, the author, presented the work accompanied by two Pritzker laureates: Rafael Moneo on one side, and Norman Foster on the other. “It is very difficult to find a critic with Luis’s background,” noted Moneo, while Foster shared an anecdote about how he insists his children read the work of the Calatayud-born critic.

“On Growth and Form”, written by biologist and mathematician D’Arcy Wentworth Thompson [1860-1948], is considered the greatest work of prose in twentieth-century science, highlighting the role of physics and mechanics in determining the form and structure of organisms. The book immediately became a classic for exploring natural geometries in the dynamics of growth and physical processes. Thompson reveals himself to be a great scientist, sensitive to the fascination and beauty of the natural world, writing in a style that led the specialized press to call his work “as much good literature as science; a discourse on science as if it were a matter of humanity.”

After a year of work in Sintra, Portugal—a UNESCO World Heritage site since 1998 known for its extraordinary architectural and natural heritage—comes the new documentary 'FASCÍNIO.' With a population of 30,000, the town receives over 3 million tourists annually. The film was created by Left Hand Rotation and produced by Criaatividade Cósmica for the 'Festival Aura 2019.'

Sintra, widely recognized for its architecture, has been undergoing a process of "touristification" in recent years, as evidenced by the statistics. The town center is now almost entirely devoid of permanent residents, having been overtaken by mass tourism. The documentary, which serves as a clear critique of urban and social issues, will be presented at the upcoming fifth edition of the Festival Aura 2019, taking place from August 1 to 4 of this year.

The Conservation and Restoration Service of the Alhambra in Granada is working on the wall of the Fuentepeña ravine, located in the sector known as ‘Cuesta del Rey Chico,’ to stabilize a section that collapsed in the early hours of Friday, February 8.

The Board of the Alhambra and Generalife announced this on its official Twitter account. According to the director of the Board, Reynaldo Fernández Manzano, the wall was built in 1915 by the architect and conservator of the Alhambra, Modesto Cendoya. The wall was constructed using poor materials that gradually deteriorated over time, and plans were already in place for its demolition and reconstruction. Following the sudden collapse, the Conservation and Protection Service will rebuild it with the original materials in a first phase before undertaking the comprehensive project.

The book is simply another design tool—indispensable to many, but of limited use to others. When I speak of books, I am not referring to the common association with literature (novels, poetry, fiction, …), which are also useful within the abstract and diffuse design process. Enric Miralles, for instance, used to turn to verses by Lorca or the creative world of Queneau to anchor those early design intuitions. Yet I am not referring to this kind of reading, which is equally recommended, but rather to what is specific to our profession—to our unique and sharp gaze. Architects look for inspiration in books, but it is only when they reflect their thoughts on paper that they reveal their true, intangible nature. 

Architects are fortunate to have access to a wide variety of print subgenres. These range from deep written reflections on the discipline to illustrative volumes of architectural images, construction details, plans, and drawings. We are shaped by what we see; that is undeniable. Consequently, this entire wealth of knowledge stays with us throughout the design process, surfacing unpredictably as we address the challenges that arise. Simply turning to a book can open doors along this design path, just as it can close others. We navigate by intuition, but we are always guided by parameters established from the very beginning. Looking for external references in books and magazines is a difficult exercise at first, as the siren song of countless sources can lead us astray. Knowing how to choose these references and initial guidelines will outline a clear, feasible path where the design becomes more manageable, accessible, and adaptable to future changes. 

After receiving 216 proposals from 39 countries, the international ideas competition 'Viewpoint of the Fjords' (VOF), organized by arquideas, has announced the winning projects. VOF aims to provide a new space of contemplation for visitors, located near Homlungsaetra in the area surrounding the Geirangerfjord in Norway. The competition seeks to promote values such as appropriate integration into the landscape, alongside sustainability and energy efficiency criteria.

The jury consisted of Peter L. Wilson, Atxu Amann, Magüi González, Svein Lund, and the four winners of the previous arquideas competition (BaBH San Francisco). Following an initial evaluation phase in which 15 proposals were selected as finalists, a second round of judging was held to determine the 5 honorable mentions and 3 winning entries.

These are the winning projects:

The lives of 32 families took a turn —quite literally— when the homes they occupied in the 1980s became a designated tourist attraction in 2009. Some of the residents decided to capitalize on this by offering small tours of their homes. Yet, despite the crowds of tourists that have flocked here since, the community remains as tightly knit as the cubes themselves. 

Curious, inquisitive, and tenacious, Miguel Fisac [1913–2006] learned by doing. Fascinated by technology and construction, his direct on-site experience made up for everything that neither university nor books could teach or convey to him. Although his early work could be described as "academicist," within a few years the architect from Ciudad Real managed to shed this approach, turning instead to organic-patterned masonry and beams with bone-like logic. All of this was rooted in an intrinsic, personal commitment to creating a humanized architecture aligned with technical precision.

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The ICO Museum (Madrid) has extended Francis Kéré: Primary Elements, the first exhibition in Spain dedicated to the Burkina Faso-born, German-trained architect. Originally scheduled to close on Sunday, January 20, the museum has pushed the closing date back to Sunday, February 3.

We find ourselves in the Madrid of the 1980s. Specifically at the Superior Technical School of Architecture of Madrid [E.T.S.A.M.], a school in the shadow of the one in Barcelona, a city optimistic about its urban transformations. The latter was a city that trusted its architects, pushing them to participate in the reconstruction of its identity. Meanwhile, Madrid seemed to come alive through other avenues. The city championed other artistic sectors, leaving young architects with few opportunities to express their shared enthusiasm. Iñaki Ábalos and Juan Herreros belonged to this Madrilenian generation. They, like many others, had to wait and devise intellectual strategies to define the new professional and territorial boundaries that would reconstruct the Madrid of the future.

The work of Ábalos & Herreros is not only a virtuous exercise in surfaces and construction techniques; it also establishes mixtures, connections, and spatial relationships. It establishes links that foster a dialogue between all parts: the existing and the new, people and objects, building and landscape, and so on. Their architecture inherits the legacy of Modernism to translate its gestures into something that, while perhaps appearing new and innovative to a less attentive observer, is intrinsically charged with the accumulated technological experience of the 20th century. They do all of this in an illustratively modest way, seeking to solve age-old problems in a different manner. Theirs is not a revolutionary or radical architecture—understanding the latter term as a desire to dismantle a totality. There are no origins, only discoveries along their path. Established tropes are reconsidered, employing technologies, materials, gestures, and forms that, for various reasons, remain stored in the conceptual archives of many who have not yet figured out how to implement them in an ingenious and creative way.

Hans Scharoun [1893-1972] drew from this language. Along with many of his contemporaries—Mies, Taut, Mendelsohn, and Häring himself—he was shaped by the expressionist milieu of postwar Germany, studying under Poelzig at his Breslau School. This expressionism first appeared in a series of watercolors he contributed to the *“Gläserne Kette” (“Glass Chain”)*, the famous correspondence network among architects and artists in Germany at the time. Conceived by Bruno Taut, this chain of letters served as a medium of communication among the group's members. In these letters, liberated from the constraints of feasibility, the members outlined their visions of an ideal society and a benevolent architecture.

By the 1920s, however, on the cusp of another conflict, a culture of resourcefulness and efficiency took root once again globally. Economic recovery demanded austerity, a trend reflected not only in household management but across many artistic avant-gardes of the period—a collective quest for material, formal, and, consequently, economic efficiency. Rationalism emerged as the dominant trend, championed by architects like Hannes Meyer and André Lurçat, who sought to strip the communicative attributes of architectural language down to zero in favor of addressing the organizational tasks demanded by technological and political developments.