The social housing model currently seems like a utopia in Spain—ruled by developers and real estate firms, and mired in national policies that fail—and have always failed—to address the housing problem.

Over the years, the idea has been promoted that renting a home is almost a crime, throwing away money that could otherwise go toward purchasing property. Welcome to the wonderful world of real estate speculation. Driven by exorbitant rents set by real estate agencies or landlords with absolutely no state or provincial regulation to control them, the system itself pushes the population to take out mortgages and participate in private development. While over 50% of housing in Spain was rented back in the 1950s, those figures are a far cry from the progressive decline that brings us to the present day: nearly 80% of current housing is owner-occupied, while rentals have shrunk to just 20%.

In this project by El Equipo de Mazzanti, Independence Park (Bogotá) reclaims ground by expanding southward, covering a section of 26th Street in the Colombian capital.

Featuring an area of 7,257 square meters distributed across eight plazas, the site has become a key redevelopment space in the city center, where major thoroughfares converge. Nature, seating areas, architectural richness, and urban design transform a space conceived to "reconnect" the city, leveraging the site's native vegetation.

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We Are an Event is a fictional character born from the collaboration between Quentin Laurens-Berge and Lambert Moiroux, both French nationals. Created to address questions about the city in which they reside, this character acts as a sphere of exchange and a tool to establish distance from the work produced. As seen in their recent work, Quentin and Lambert belong to a generation of young architects questioning conventional modes of architectural production through an everyday perspective on aesthetics.

Late last November, we published the winners of the second open call for graduation projects in Colombia, also known as theses, receiving 70 entries from 14 cities and 29 universities. Ultimately, nine projects passed the three stages of evaluation, standing out for addressing pressing systemic issues, developing deep research analyses, and posing both urban and rural challenges, just like in 2016.

In this feature, we take an in-depth look at "BHP: Bioclimatic Multi-Family Housing Prototype," developed by Natalia Carrero and Juan Celis (Universidad Santo Tomás, Bucaramanga campus) and selected for the 2017 edition of Archiprix International.

The mismanagement of water in a city built on a former lakebed—as is the case with Mexico City—has become a daily and cyclical struggle over the years. Consequently, various authors have studied different ways to address the cataclysmic impact of denying a site's geographical history. However, Mexico City's water crisis is not limited to constant flooding; it also involves a drinking water supply that is often insufficient and unequally distributed across different areas. This is due to an inefficient underground distribution system, adding further complexity to an issue that remains a constant challenge in urban planning and infrastructure.

This article was originally published as 'Solving Mexico City's cataclysmic cycle of drowning, drying, and sinking' in Quartz.

Nodes or gathering zones are the key points in urban dynamics, as they facilitate interaction between citizens and the architectural object. Many buildings seek to capitalize on the opportunities provided by their context to connect the architectural design with the landscape, thereby strengthening and introducing new approaches to understanding and viewing urban relationships and architecture from a different perspective.

As an axis connected to the city, a building must understand the relationship between architecture and the urban environment. It should be generous, opening its constituent spaces to the city and its residents to create shared areas for participation, thereby enriching the experience of the city and its surrounding environment.

For this reason, we have selected 5 projects that integrate urban dynamics, providing spaces for civic gathering.  

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Few names fit the label of “cult writer” as perfectly as Raymond Queneau, who boasts a fanatical following of near-militant devotees of the cause: literature as a very serious game. From the outset, and even upon the most cursory reading, Exercises in Style, written by the French author in 1949, is radically different from conventional literature. The book positions itself—or pretends to—in a kind of no-man's-land between literary theory and practice, giving the impression of having been crafted based on the chapters of a style manual. Queneau rejects any preconceived schema that might have grouped the “exercises” by theme, gradual complexity, or simple alphabetical order. He does not even work from a single baseline text. At times, he opts for a purely mechanical game of textual transformation to produce a sense of sheer nonsense.

It is no wonder that this seven-decade-old book still feels revolutionary and remains an essential manual in literary programs. What Queneau showed us then—that playful, mocking creative freedom—remains difficult to match today. For this reason, such an exercise in variation, of refusing to set limits on the imagination, is and must be compatible with the craft of architectural model-making. What Queneau demonstrated, starting with an unremarkable text and transforming it 99 times, is precisely what any architect should attempt to translate into their model-making. It is the art of variation and accumulation—“difference and repetition,” as Gilles Deleuze would say. It means working 99 times on the same idea, watching it transform until, at some point, we are able to recognize its ultimate synthesis.

Emilio De la Cerda, director of the School of Architecture at the Pontificia Universidad Católica de Chile since 2014, has been chosen to assume the newly created position of Undersecretary of Cultural Heritage in the South American country's new Ministry of Culture, the Arts, and Heritage, an institution that began operations on March 1st.

Among his responsibilities, De la Cerda will coordinate the activities of the new National Cultural Heritage Service and will "propose policies, and design and evaluate plans and programs in areas related to folklore, traditional cultures, indigenous cultures and heritage, tangible and intangible cultural heritage, heritage infrastructure, and citizen participation in collective memory and heritage definition processes," according to the official regulations for the position.

In just over three months, Érica Oiticica and Sâmyla Souza, students at the School of Architecture and Urbanism (FAU) of the Federal University of Juiz de Fora (UFJF), designed a Complete Street project that earned them an award and the opportunity to present their ideas to a global audience at a conference in Tanzania. The “As Cidades Somos Nós” (Our Cities Ourselves) competition inspired the duo to put their best urban planning ideas onto paper to transform a street in Belo Horizonte.

This week, the National Institute of Historic and Artistic Heritage (Iphan) released the call for applications for a civil service examination that will open 411 positions across the country. Organized by the Brazilian Center for Research in Assessment and Selection and Promotion of Events (Cebraspe), the selection process was authorized on May 3 by the Ministry of Planning, Budget, and Management (MP) and is the result of a strong national mobilization aimed at highlighting the importance of preserving Brazilian cultural heritage to society.

This article is adapted from a South China Morning Post report titled "China's architecture should focus more on public space." In this interview, Peter Schubert, Design Partner at Ennead Architects, discusses how Chinese cities can achieve a "renaissance" amid today's rapid urban expansion. Below is the full interview:

Today, urban construction in China is expanding at an unprecedented rate. Skyscrapers are mushrooming, while various infrastructure projects and commercial complexes emerge one after another. Indeed, China has surpassed the rest of the world to become the nation with the largest volume, grandest scale, and fastest pace of construction. Monolithic, single-use, supertall buildings define city skylines, symbolizing the modernization and globalization of Chinese society.

Museums are vital sources of knowledge, housing some of the most significant works of architecture in history and bringing learning closer to the curious minds who experience them. On May 18, International Museum Day was celebrated with various activities taking place across some of Mexico's most representative venues. Because the country's cultural wealth deserves ongoing celebration, we have compiled a selection of iconic museums where art and architecture merge to define unique spaces. What are your favorite museums in your city?

The fourth edition of Open House Madrid has come to a close with record-breaking attendance. The open-door events, the Open House Madrid architecture congress, and more than 30 activities held throughout October drew nearly 82,000 visitors.

According to festival co-directors Paloma Gómez Marín and Pati Núñez, these figures confirm the city's interest in the initiative: “Open House Madrid includes a variety of activities that reach highly diverse audiences, from architects, interior designers, and students to residents curious to learn more about their surroundings. We are also seeing a growing number of visitors from outside Madrid who travel here specifically for the festival.”

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The Open Museum is a project designed by Mexican architect Fernanda Canales as part of the Arch Days CDMX and Design Week 2018 activities. It consists of three courtyards of different sizes that extend the museum into the park, creating a new meeting point alongside the Tamayo Museum. The pavilion's shape follows the natural flow of pedestrian paths in the area, introducing a new experience based on linked spaces that frame the existing trees, the sky, and the museum's sloped side wall, which is transformed into a new agora.

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Shifting the street design paradigm that has been applied for decades in Brazil is challenging. Viewing every road through the eyes of someone who thinks first of people, rather than automobiles, is an increasingly necessary and urgent exercise in urban planning. Against this backdrop, the Complete Streets concept seeks to build safer, healthier, and more equitable streets.

To help professionals from various fields understand and implement the principles of Complete Streets, WRI Brasil and the National Front of Mayors (FNP) created the Complete Streets Online Seminars. Eight webinars were held throughout 2018, exploring various topics related to the stages of project development. Hundreds of people from 150 Brazilian cities attended presentations by 17 specialists representing ten different organizations.

While the founding of Spanish-American cities has always been linked to the availability of water sources, they have not always successfully integrated their urban development with the rivers that run through them. In the case of Córdoba, this is evident in its relationship with the Suquía River, which the city turned its back on during the twentieth century, treating it as an industrial boundary.

Conversely, the partial channelization of the La Cañada stream is perceived almost as an inherent element of the city, becoming a defining feature of the urban landscape both as a structuring, organizing axis and as a major scenic and tourist attraction.

The modernization of Bogotá between 1940 and 1970, captured in urban and architectural photographic reportages, has been documented in various books, magazines, and photobooks of the era, as well as in images from the city's public and private archives. These photographs reveal a deliberate, even critical, approach to how modern architecture reconfigured city centers and put new buildings and urban spaces in relation to the existing urban landscape.

When analyzing the impact of photography on architecture, it is essential to discuss Paul Beer and Germán Téllez. While both captured a wide spectrum of subjects, these two photographers dedicated themselves more specifically to architectural photography. Commissioned by the most prestigious architectural firms of the era, their photographs reveal distinct yet complementary values, relationships, and aspects of modern architecture and the city.

In this edition of Bogotá in the Eyes of 10 Photographers we explore the legacy of Germán Téllez:

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Projects from Uruguay, Argentina, Chile, and Brazil have been selected as winners of the 2018 CICOP Chile Award. This is the fourth national—and second international—edition of the Latin American competition open to graduation projects that develop interventions on buildings, built complexes, or areas of heritage value.

"Acting with sensitivity and technical expertise regarding built heritage helps unite efforts toward conservation and reinforces the contribution that the professional field can make to transmitting heritage values to future generations," explained the organizers of the competition, which received 92 submissions in this edition.

The competition director was Nicolas Iza, while general coordination was led by Marco Antonio Orellana. The jury comprised Arturo López Bachiller and David Avila, representing the firm Luis Vidal + Arquitectos, along with María Inés Arribas, Mabel Briceño, Antonino Pirozzi, and Carolina Vergara, representing CICOP Chile.

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Description courtesy of the project team:

Located in the heart of this neighborhood, at Marsella #59, Vitrina was born from the desire to create a design-focused exhibition space that goes beyond commercial interests. Inspired by the window displays of early 20th-century department stores, the space fosters a dialogue between designers, pedestrians, and the neighborhood, exploring recent trends in the design scene and how each creator expresses their vision.

The modernization of Bogotá between 1940 and 1970, captured in urban and architectural photographic essays, has been documented in various books, magazines, and photobooks of the era, as well as in images from the city's public and private archives. These photographs reveal a deliberate, and even critical, approach to how modern architecture reconfigured city centers, juxtaposing new buildings and urban spaces with the existing urban landscape.

To analyze the impact of street photography, one must look to Leo Matiz, Armando Matiz and Hernán Díaz. These three photographers captured the people, events, and urban life of Bogotá. From their extensive bodies of work, we have selected and highlighted images of streets, plazas, intersections, and landmark buildings. Whether capturing iconic or anonymous locations, these photographs cement modern heritage in the collective memory, casting architecture and urban spaces as the main protagonists.

In this edition of Bogotá through the Eyes of 10 Photographers, we explore the legacy of Hernán Díaz:

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If you are taking your first steps in Revit, or would like to understand its practical integration with BIM, today's tutorial will be of great help. This course was developed by Mexican architect Alan Rodríguez Carrillo on his YouTube channel, where he has published a step-by-step tutorial to model the legendary Farnsworth House, designed by Mies van der Rohe in the 1940s, in Revit.

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On February 9, residents of Ciudad Bolívar (Bogotá) were able to see the progress of TransMiCable, the Colombian capital's first cable car line, in the sky: two cabins traveling between the future Juan Pablo II and El Tunal stations.

This was one of the technical tests that are part of the verification work led by the Institute of Urban Development (IDU), supervising “the proper functioning of the pulleys, sensors, grips, and the nearly 8-kilometer-long steel cable,” according to the Mayor's Office of Bogotá. Each cabin will have a capacity of 10 people, moving 3,600 passengers per hour over a route of nearly 4 kilometers. Traveling at a speed of 20 km/h, TransMiCable will reduce the current 50-minute travel time to just 14.

In late 2017, downtown Santiago (Chile) added a new temporary pedestrian promenade. This was Paseo Bandera, a colorful, 400-linear-meter intervention by local firm Estudio Victoria, led by muralist Dasic Fernández, gallerist Esteban Barrera and architect Juan Carlos López.

The project began as a temporary intervention backed by the Municipality of Santiago, taking advantage of the street's closure to vehicular traffic due to the construction of Line 3 of the Santiago Metro. Although its dismantling was scheduled for August of this year, today, Friday (August 31), Minister of Transportation Gloria Hutt confirmed to Chilean newspaper El Mercurio that Paseo Bandera would remain a permanent pedestrian space.

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Just hours before the opening ceremony of the 2018 FIFA World Cup in Russia, FIFA will announce whether the hosting rights for the 2026 World Cup will go to the joint bid of Canada, Mexico, and the United States, or to Morocco.

Ahead of the host announcement, Morocco has unveiled the design proposal for its proposed World Cup stadium. Should the North African nation win the bid, the World Cup final would be held in this brand-new, 80,000-seat arena. The stadium is designed by Spanish firm Cruz y Ortiz Arquitectos, which recently completed the Wanda Metropolitano stadium in Madrid. The firm is also designing a stadium for China's Dalian Yifan Football Club and has participated in several stadium projects in Switzerland.