This single-stage international architecture ideas competition invites all architecture students, young architects, and young professionals with a degree in architectural studies (≤ 40 years old) to develop and submit ideas for the design of the ‘Site Mausoleum,’ located at the Jasper Quarry, ‘Serra da Arrábida,’ Portugal.
The book series 'Plan para Chile', by prominent Chilean architect Raúl Irarrázabal, consists of three volumes that invite the reader to envision a new urban planning scheme for Chile through an avant-garde, bold, and inclusive lens.
Anales de Arquitectura is an annual publication that compiles a selection of articles presenting the results of research projects developed within the School of Architecture at the Pontificia Universidad Católica de Chile. This volume presents the work of professors, research groups, and theses developed within the various master's programs, as well as contributions from the Doctoral program of the Faculty of Architecture, Design, and Urban Studies. The objective of Anales de Arquitectura is to disseminate disciplinary arguments and debates emerging from the University regarding research on design, the city, landscape, heritage, technology, sustainability, and the theory and history of architecture.
The digital version of the catalog for the XI Ibero-American Biennial of Architecture and Urbanism (XI BIAU) is now available. It includes documentation regarding the XI BIAU Ibero-American Prize awarded to César Ortiz-Echagüe Rubio (Madrid, 1927) and Jorge Enrique Scrimaglio (Rosario, 1937).
Light plays a decisive role in the execution of architectural and interior design projects. However, most literature on the subject consists primarily of catalogs from light source and lighting equipment manufacturers. Until now, with the publication of Manual de Iluminación, there has been no single document consolidating all the information necessary for approaching a lighting project. The author drew from a wide range of sources, including books, catalogs, and manuals from international organizations and renowned manufacturers such as Philips, Osram, General Electric, Erco, Iguzzini, Lamp, Flos, Zumtobel, Westinghouse, Deltalight, Targetti, and Reggiani, among others. This information is synthesized into tables, charts, and practical recommendations, serving as an essential guide for students and professionals in the field.
Studying canonical or exemplary buildings brings the researcher and the reader closer to the methods and design processes of the masters who shaped humanity through architecture. This work focuses on the study of the house for Edith Farnsworth, an archetype of the finest modern architecture designed by the German architect Mies van der Rohe in the mid-20th century. The analysis unfolds by tracing—from the initial design schemes to the construction of the house—a series of architectural operations the architect employed to achieve this sublime building.
The ‘argument’ series compiles the results of the annual lecture program from the Department of Architectural Design at ETSAM. Each academic year proposes a research theme around which all public events in the cycle are developed.
If you work in the world of architecture and find that your daily routine doesn't allow you to accomplish everything you would like, this book will be a great help.
The work of Andrés Jaque has brought about a radical transformation in how architecture is understood, communicated, and practiced. Its impact is global, though particularly notable within Spanish architecture. Through microhistory, his work reveals architectures seemingly omitted from architectural histories, their archives, and their operational platforms. While grand narratives have focused on works, figures, and events that confirm the relationship between the discipline and power structures, Jaque emphasizes the role of human and non-human agents that operate in daily life and are fundamental to understanding contemporary spatial politics.
Mies y la gata Niebla is the first publication to collect the essays of Andrés Jaque and the platform he founded in 2003, Office for Political Innovation, from which he operates.
Just as the city of Barcelona cannot be understood without its coastline and its port origins, its future will be defined by its ability to manage the unpredictable effects of climate change on this unique space. The coastal front stretching between Barceloneta, the city's beaches, and the surroundings of the Besòs River is the most iconic stretch of coastline and the one with the highest intensity of use. Although scenarios regarding the effects of climate change on this maritime front by the year 2100 are not conclusive—as they are subject to global dynamics related to global warming mitigation—various studies indicate that intense changes in climate-related marine phenomena will occur in the coming years. Far from viewing these climatic dynamics as a risk, the proposal is to use them as an opportunity to reconcile the relationship between the city, its inhabitants, and the sea.
We live in a globalized world where, due to hyperconnectivity, information is stored and accumulated online without filter. But can there be something more behind an image than mere visual information? What distinguishes an image from a memory or a postcard? What can we convey through a graphic document? MOMENTUM emerges as a response to an atmosphere in which the image is reduced to a swift, ethereal tool that transmits superficial information. Conceived as a reaction to the incredible amount of unfiltered input and imagery we access online with a single click, it proposes opening a new dialogue and returning, for a moment, to carefully chosen personal references that allow for the illustration of an opinion on a specific subject, uncovering new conversations, viewpoints, or ways of thinking.
Residential spaces conceived by architects in private practice address diverse social segments. By engaging with the substance of architecture, their formation and realization transcend individual cases, coalescing into a valuable experience.
Ediciones Pichoncito and the real estate firm Morada present their latest publication, titled David Mutal Arquitecto. The book features a photographic compendium of the work of one of the most prominent contemporary Peruvian architects, who has been recognized, among other honors, with the 2012 Hexágono de Plata for the Hotel B project and the 2015 Premio Casas from Grupo Editorial Cosas for the Residencial Santa Rosa project. The architect also received First Place in the Commercial Category at the Peruvian Architecture Biennial (2018).
This issue of ARQ presents a broad critical discussion on the supposed neutrality of instruments. This emphasis is evident in the conversation between Andrés Jaque and Enrique Walker, in the texts by Zeynep Çelik Alexander, Ignacio G. Galán, and Gonzalo Carrasco, as well as in the debate surrounding the Promotion Law, which seeks to support architecture produced in Chile through a legal instrument. Furthermore, it explores a territory where architecture can make a contribution: the creation of instruments.
It was Vasari who, in the 16th century, accustomed us to reading the history of architecture through the careers of great artists—exceptional figures whose talent elevated various art forms to the superior state we still recognize today by Vasari’s own term: the Renaissance. It is not difficult to identify in this the seeds of a way of writing history—and, by extension, of understanding the very tradition of architecture—based on so-called "masters," figures whose oeuvre defines the range of possibilities within an institutionalized system of knowledge we commonly call a "discipline."
Does everything really deserve to be published and preserved? Or perhaps we publish out of an anxiety to insert ourselves into a larger history, with the vague hope that the future will take notice of what we do today? The excess of publications must be weighed against the mathematical impossibility that everything is worthwhile. Naturally, this includes us. In this age of suspicion, as defined by Boris Groys, criticism—and above all, self-criticism—is an intellectual duty. This is the spirit that frames this 100th issue of ARQ. For despite the urge to celebrate, we could not help but ask ourselves: what are we celebrating? Mere survival?
Gabriel Rivera views architecture as the experience of dwelling—as the architect's response to user needs, site conditions, and the built or natural environment. Architecture as experience and as a reflection of the self; a search for joy, clarity, and calm. Architecture that serves as an experience for the senses, defined by materiality and ideas; it is the pursuit of life's flow, a human design act with a purpose and a rationale, always born from reflection on ways of dwelling, being, feeling, and living to uncover its motivating meaning. Architecture that acts as an extension of its inhabitants and a reflection of the architect. Architecture that seeks to restore our essence and reconnect us with our own nature. Life flows, and we must flow with it; for Gabriel Rivera, this translates into an architectural duality: stillness and movement. It involves understanding the void around which everything is built and organized—a void understood as space and as a possibility for introspection—alongside the flow, the freedom of movement, of coming and staying.
Acoustics as a science encompasses various areas of human knowledge. It is a discipline present in all human activity, including the field of architecture.