This book by Manuel Olveira served as the basis for the exhibition 'How to Live with Memory: Artistic Attitudes Toward Architecture and Francoism,' held at the Museum of Contemporary Art of Castile and León (MUSAC), Spain, between February 17 and June 3, 2018. It includes images of the exhibited works and texts by Manuel Olveira, Alberto Tellería, and Alejandro S. Garrido. The book explores how the seventeen selected artists examine the architecture of the Franco regime and the transition period to analyze the legacy of the dictatorship.

In this edition of Revista Trama, small and large-scale urban developments, as well as multifamily buildings and complexes, address the need for economic sustainability and compliance with current regulations. Within this framework, architects explore both existing and new spatial organizations that link the part—the housing unit—with the whole—the overall concept. Each project prioritizes the optimization and integration of energy resources.

The 34th edition of the Revista de Arquitectura from the Faculty of Architecture and Urbanism (FAU) at the University of Chile, covering the first semester of 2018, explores the relativity, acceleration, and dilation of time inherent in contemporary urban life.

This book, an anthology of José Manuel López-Peláez's finest writings, compiled with the perspective gained from a long career in teaching and criticism, focuses on the primary themes to which the author has dedicated his attention—particularly the Spanish masters of the second half of the 20th century with whom he was closely associated, such as Sota, Oíza, Fisac, or Coderch, as well as, of course, Erik Gunnar Asplund and Nordic architecture.

A manuscript that is erased to be written over, yet retains the traces of what was previously written: that is a palimpsest. This is how Alberto Campo Baeza presents in this book “layers of ideas, images, and feelings”—as De Quincey wrote—in which his reflections, his architectural passions, his sources of inspiration, and his favorite poets, architects, philosophers, and writers are superimposed. He revisits, once again, not what is fashionable or ephemeral in architecture, but what is constant, eternal, and universal: light, time, gravity, space, beauty…

We live in a globalized world where, due to hyperconnectivity, information is stored and accumulated online without filters. 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 inputs and images we access on the internet 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 given subject, uncovering new conversations, viewpoints, or ways of thinking.

This collection of texts by Chilean architect Smiljan Radic spans twenty years of written work. These texts were written for various reasons: for book publications, as lectures, or to accompany exhibitions. They serve as an invaluable complement to better understand the work of this magnificent architect, yet they can also be read independently as insightful, personal reflections on themes in architecture and other disciplines.

The Pirate Tower in Ibiza is one of the most famous defensive structures on the island, attracting hundreds of tourists each year. It is the tallest tower in Ibiza, though its primary appeal lies in the unique view from the top, which encompasses the islets of Es Vedrà and Es Vedranell, and even the Montgó massif in Denia on clear days.

The Fast Wood Festival is an association of architecture, engineering, and design professionals and students that hosts workshops throughout the year, culminating in an itinerant festival. Held during the summer months, it brings together around 80 wood enthusiasts with the primary goal of constructing a project using this material, while also enjoying the experience and expanding their knowledge.

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We are currently in a period of profound productive, social, and value-based transformation. In architecture, beyond the advancement of architectural representation systems and the evolution of construction types, there is an increasingly urgent need for a profound renewal of theory and criticism. This book presents a theoretical and practical refounding of architecture based on the explicit connection of three instrumental axes: diagrams, experiences, and actions.

Second edition of Tools of the Past, first published in 2016. Winner of the Amster Coré Award that same year. This deluxe volume brings together Francisco Dittborn’s tool collection, recounts the origins of collecting, and includes a brief history of tools, testimonials from individuals working with tools and wood across various fields, as well as a chapter on the origins and objectives of the Museo Taller.

99 Ideias para um Cinema de Rua presents ninety-nine speculative responses to the same question: what forms of occupation could a large building in the heart of the city accommodate, having been conceived as a street cinema at a time when film screenings were still an event capable of drawing crowds to the city center?

Between 1950 and 2000, SEA, SEM, or SEL focused primarily on the design, real estate management, and construction of apartment buildings. At its core, the firm was composed of the husband-and-wife team of Abraham Schapira and Raquel Eskenazi, alongside a succession of partners: León Messina (1966–1978), Mario Lifschitz (1978–1981 and 1984–2000), and Pedro Iribarne (1980–1983). SEA defined its work as "purely commercial, yet always dignified and of high quality in terms of design and finishes"—a hallmark that became its brand in the real estate market.

The impact of using representation systems in general, and the dihedral system in particular, on architectural thought has historically remained an underexplored topic in architectural theory. It is only in recent decades that the voices of prominent critics like Stan Allen, and above all the seminal research of Robin Evans, have focused attention on how designing from flat orthogonal projections—plan, elevation, and section—conditions, rigidifies, and "cubifies" architectural thought.

Since its construction in 2005, Casapoli has become a reference point for contemporary visual arts in Chile, serving as a venue for diverse activities linked to artistic production and fostering national and international connections.

The texts that make up this selection—light yet lucid, and often considered minor (lecture introductions, forewords, journalistic articles, and short essays)—allow Iñaki Ábalos (Professor of Architectural Projects at ETSAM, Chair of the Department of Architecture at the Harvard GSD from 2012 to 2016, distinguished architect, and prolific author) to explore what 21st-century architecture might look like and what the role of the "architects of modern life" will be. In these writings, he discusses peers of his generation who are establishing innovative theoretical and practical positions (Johnston&Marklee, Sergison&Bates, Lacaton&Vassal, Amid.cero9, Lateral, Christ&Gantenbein, Liu Yichun, David Adjaye, Ciro Najle, Beigel, Christou, Moe...), critically revisits his mentors—at times heterodox, at others unjustly forgotten (Taut, Hilberseimer, Mies, Fuller, Goldsmith, Le Ricolais, Price, Branzi, Cook, Higueras, Peña Ganchegui...)—and elegantly ignores the star system.

Ways of seeing and inhabiting are interrelated in the photographic representation of architecture. Beyond the two dimensions of its physical medium, the image contains an interior space. We visually distinguish material elements and planes of depth, yet among them all lies another type of space: voids. Much like binary language expressed through sequences of 0s and 1s, our gaze tracks and separates solid objects, intermediate spaces, gaps, and silences. The act of reading the image transforms into a movement of introspection, provoking physical emotions within the viewer. This void is a direct consequence of the creator’s intent, offered to the viewer for their own occupation and interpretation. This yielding is not unconditional; it is not free from conflict. It entails a permanent struggle and tension, of enormous significance to the processes of construction and inhabitation of architectural space.

This book is the second volume in the "Cuadernos romanos" collection, which analyzes a group of fundamental buildings in architectural history. In this installment, Hadrian's Villa is studied in detail and placed within its deep historical context. By comparing the transformations its surroundings have undergone over time and assessing the consequences of these changes on the redefinition of three-dimensional scale, these masterpieces are brought into the present in a revealing cross-cultural exercise.