Portugal will be home to another project designed by Álvaro Siza. The renowned Portuguese architect was invited by the authorities of Oleiros to design the revitalization of the Miradouro do Zebro, a prominent tourist attraction located in the country's central region.
Budgeted at two million euros, the revitalization project will also feature the construction of a suspension bridge connecting Oleiros, Pampilhosa da Serra, and Fundão.
Based on the Urban Design Planning and Implementation Scheme for Banxuegang High-Tech City, this international competition was launched to implement the phase results of the implementation scheme through four sub-projects. The project evaluation meeting has been successfully concluded. Following the competition rules (the jury has provided evaluation opinions on the top two winning agencies of each project and recommended them to the host; the host will further study and determine the final ranking of the top two winning agencies based on full respect for the expert evaluation opinions, and the top two winning agencies will receive different bonuses and undertake corresponding follow-up work), the host has decided to launch a public consultation based on these results to widely collect opinions and suggestions as an important reference for the final ranking and subsequent design refinement. The competition consists of four sub-projects, covering planning, architecture, landscape, and art, with two winners selected for each category.
Winners of the International Competition for the Architectural Conceptual Design of Banxuegang Art Center and Surrounding Plots: URBANUS Architecture & Design, Architectural Design & Research Institute of South China University of Technology & Shenzhen WAAO Architects (Consortium)
Winners of the International Competition for the Conceptual Design of the Integrated Connectivity of Characteristic (Country) Parks Around "Bantian in the Forest": Guangzhou Landscape Architecture Design and Research Institute, MLA+ B.V.
Winners of the International Competition for the Landscape and Greenery Enhancement of Urban Streets and Nodes in Banxuegang High-Tech City: Shenzhen Meidao Landscape Architecture & Urban Planning Design Institute Co., Ltd. & Beijing Vision 4D Directional System Planning & Design Co., Ltd. (Consortium), Beijing Zhonghai Huayi Urban Planning & Design Co., Ltd. & Shenzhen Gardens Co., Ltd. (Consortium)
Winners of the International Competition for the Visual Identity (VI) and Application Design of Banxuegang High-Tech City: Shenzhen Shida Creative Design Co., Ltd., Thonik Design Studio
On Friday, December 22, 2017, the inaugural MUGAK Basque Country International Architecture Biennial opened the exhibition "The City We Lost: Urban Heritage Management in San Sebastián, 1950-2017" at the Santa Teresa Convent in San Sebastián, Spain. The exhibition showcases recognizable local buildings that have disappeared over the last few decades.
Curated by the Áncora association, the exhibition traverses San Sebastián's neighborhoods to examine a city that now exists only in collective memory—specifically, buildings lost over the past seven decades. Stretching from Martutene to Igeldo, and including Alza, Amara, El Antiguo, and Ibaeta, the survey goes beyond the city's iconic heritage, looking past San Sebastián's most prominent areas to highlight other architectural works.
Designed by Camila Chaler, the project Cloister Typology as an Opportunity for Urban Reintegration was selected as one of the ten winners in the Thesis Project category of the 2018 Arquitectura Caliente Competition (CAC 2018), a Chilean awards program organized by Grupo Arquitectura Caliente and funded by the Ministry of Cultures, Arts, and Heritage.
Santiago's urban fabric is home to numerous religious orders. These properties (convents and monasteries) are currently facing obsolescence because they operate under outdated models. This is due to two main factors: their urban incongruity, which isolates them as inward-facing cloisters within the city, and their programmatic obsolescence relative to the scale of the buildings, driven by a decline in religious vocations.
Barcelona photographer Víctor Enrich (b. 1976) has defined himself as a "professional in architectural visualization" since 1998. His ultra-high-quality photomontages trick the eye. Is there really a Guggenheim on the periphery of Bogotá? No, it is the work of Enrich. What about that replica of the Chrysler Building dome in a residential neighborhood? Not that either; it's Enrich.
He is currently working on three simultaneous projects: the fiasco of the 'Castor' case in Spain, a series on the phenomenon of gentrification, and a final series on the political situation in Catalonia—all while venturing into oil painting. "But that is a whole other world," Enrich explains in the following interview.
On Wednesday, February 28, global consulting firm Quacquarelli Symonds (QS) released the 2018 edition of its established annual ranking of the world's top universities. In the field of architecture, the Massachusetts Institute of Technology (MIT) in the United States secured the top spot for the fourth consecutive year.
Looking specifically at Latin America, the list shows some changes compared to the previous year, with a Mexican university returning to the top three. Regarding Brazilian institutions, however, the same four from last year—USP, UFRJ, Unicamp, and UFRGS—remain on the list.
As part of the commemorations marking the 30th anniversary of the passing of architect Luis Barragán, Cosentino and Arquiphilia invited 20 Mexican architecture firms to participate in a group exhibition titled "Inspiración, magia y embrujo 2018" (Inspiration, Magic, and Spell 2018). The initiative proposed an exercise to demonstrate how collaboration and creativity are key to design, challenging participants to create a sculpture using Dekton® by Cosentino to pay tribute to the work of the 1980 Pritzker Prize laureate. The resulting models were subsequently exhibited at the Instituto Cabañas in Guadalajara.
Operational coordination was led by Arquiphilia, represented by architects Bertha Elia Gutiérrez Gómez and Carlos Lassala Mozo, who previously organized the Do It Yourself exhibition in Guadalajara in September 2015. Mónica Urbán, from Cosentino's corporate team, was also part of the coordination team, serving as the liaison between the brand and the architecture firms. Before fabrication, the participants selected their materials from a catalog, evaluating different characteristics to find the ideal match for what they wished to express in their pieces.
I recently learned that the word "testa" means "head" in Italian. It made me think of Clorindo Testa and how fitting his last name was.
Yesterday marked the 95th anniversary of his birth. Possessing infinite creativity and charisma, he was one of those personalities that appear once every century. In him, the intelligence of the architect coexisted with the sensitivity of the artist, the precision of the professional with the joy of a child, and greatness with humility. His hand did not tremble when curving a line or adding color to a plan.
To mark this anniversary, we look back at some of his quotes and anecdotes.
Earlier this week, we reported that New York-based Catalan architect Eva Franch i Gilabert was selected as the new Director of the Architectural Association in London. Prior to this appointment, Franch served for seven years as Chief Curator and Executive Director of Storefront for Art and Architecture in New York.
Architect Antonio Miranda, writing for the ARKRIT Collective, invites us to reflect in this article on romantic subjectivism in criticism, presenting a simple example in defense of the objective criticism of the object, which speaks to us much more honestly and sincerely than the author of the work themselves. He puts this assertion to the test by comparing two famous buildings in Madrid's Plaza de España: the Edificio España and the Torre de Madrid.
What does the Swiss architect, urban planner, and Bauhaus director Hannes Meyer have to do with the eccentricity and ostentatiousness of US President Donald Trump? This article, written by the Arkrit Collective, reflects on this connection.
The site of a fire that left part of Luz Station in ruins in 2015, the Museum of the Portuguese Language, located inside the iconic station, had its new roof completed this week. Built with nearly ninety tons of certified timber from the Amazon, the new roof structure is another completed element of this project, which will ultimately cost around R$ 60 million.
From September 28 to October 7, Madrid will host the 15th Architecture Week, organized by the Official Association of Architects of Madrid (COAM) and the COAM Architecture Foundation, in collaboration with the Madrid City Council and the Embassy of Italy, with ArchDaily as a media partner. This year's edition will feature Milan as the guest city, following in the footsteps of Paris, New York, and Berlin in previous years.
With this new edition of Architecture Week, COAM's primary goal is to continue bringing architecture and urban development closer to society as a whole, while showcasing the valuable architectural heritage that makes Madrid one of the world's leading capitals for the discipline.
In 2010, humanity marked a new milestone: more than half of the world's population lives in cities. And by all accounts, this process only seems to be intensifying, alongside rising consumption, resource depletion, increased pollution, traffic congestion, water scarcity, and a lack of planning. Is urbanization spiraling out of control?
Drawing on a published study by Daniel Hoornweg and Kevin Pope, British newspaper The Guardian reflects on an extreme scenario: if countries are unable to manage fertility rates and urbanization continues unabated, over the next 35 years, more than 100 cities will each have a population exceeding 5.5 million.
Today, July 25, Sérgio Ferro celebrates his 80th birthday. Born in Curitiba, he graduated in Architecture and Urbanism from the University of São Paulo (FAU-USP) in 1962, where he was invited by João Batista Vilanova Artigas to join the faculty between 1962 and 1970, teaching Art History. In academia, he also taught at the University of Brasília (UnB) from 1969 to 1970. A multidisciplinary intellectual, architecture is only one of his many facets; he is also an accomplished visual artist.
A massive fire caused the collapse of a 22-story skyscraper in downtown São Paulo overnight. Located at the intersection of Avenida Rio Branco and Largo Paissandu, near Vale do Anhangabaú, the building previously served as the headquarters of the Federal Police and was occupied by about 90 families from a housing movement.
According to residents, the fire started around 1:30 a.m. following an explosion on the fifth floor and quickly spread throughout the structure, also affecting neighboring buildings, such as the Martin Luther Church located on the square and another high-rise facing the collapsed structure.
Whenever I cross the imaginary line on the Monumental Axis connecting the National Congress to the Itamaraty Palace, catching a glimpse of the Three Powers Plaza from the top of the ramp leading into it, I am overcome by a genuine emotion that never fades with repetition. This privileged view of the plaza as a whole, flanked by its three main buildings and framed by the perspective of the Itamaraty Palace on the right, is an image comparable only to the great iconic urban spaces of the world.
The Three Powers Plaza is a contemporary construction that evokes classical urban planning tradition, whether that of the "people's Versailles," as Lucio Costa envisioned, or the ancient Greek agora. Yet, there are also references to the "plazas mayores" or "plazas de armas" of Iberian and Spanish-American cities, as well as the plazas of the Brazilian colonial period. This mix of influences could have resulted in a postmodern pastiche of styles were it not for Lucio Costa's genius in translating it into the clear, elegant synthesis of a modernist design, complemented by Niemeyer's architecture, which has already been so widely discussed and praised.
The open course Arquitetura Paulistana, organized by Marco Artigas, took students to visit the Congonhas Airport Pedestrian Bridge project, designed by Estúdio Artigas in partnership with the firm H2C Arquitetura. Begun in 2014, the project took four years to complete and featured the participation of Nitsche Arquitetos, who were responsible for the project's visual communication.
How can we foster data-driven discussions during elections and ensure urban mobility indicators are integrated into planning agendas to be implemented once elected officials take office? With this question in mind, the team at the Institute for Transportation and Development Policy (ITDP Brasil), in partnership with Purpose Climate Lab, has been working to influence campaigns in the cities of São Paulo, Rio de Janeiro, and Recife.
The strategy is to foster collaboration among local organizations and social movements active in mobility and sustainability agendas. Equipped with indicators compiled and made available on the MobiliDADOS platform, these organizations gain critical resources to influence the electoral debate. The tool presents illustrated, contextualized data on transportation realities across various cities and metropolitan areas, offering the necessary insights to challenge proposals from executive and legislative candidates.
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Croquiseros Urbanos is a group of primarily Argentine architects who meet periodically to explore the city and document it using sketching as a tool. Launched in late 2010, this initiative aims to promote analog work while reflecting on space and its construction.
The collective establishes a meeting time and location, from which attendees freely and spontaneously explore the surroundings, capturing the situations or details that stand out to each of them. Afterward, participants gather at a prearranged spot to share their experiences and work.
Over the years, the group has expanded its reach to various cities across the continent through "special visits," arriving in Santiago this past April.
As the end of the year approaches, we would like to thank our readers and contributors once again for making 2018 such a rich year for architecture. With your continued support, we are reaching more architects, students, and those outside the architectural community worldwide, inspiring them to build a better environment for everyone.
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The definition of a dream home has been updated—at least for those passionate about minimalism and sustainability who discover the home of Martin Freney and Zoe. Located in Adelaide, Australia, the residence was built by the couple inspired by Earthship, a sustainable architecture movement based on reusing materials to minimize environmental impact.
Tatiana Bilbao is an internationally recognized Mexican architect who has helped position Mexico on the global architecture scene. One of the core principles of her practice is "creating dignified spaces to elevate people's lives" and building communities through spatial design.
On Saturday, May 12, at 12:00 p.m., the exhibition Perspectivas. Tatiana Bilbao Estudio opened at the Museo Amparo in Puebla, Mexico. The exhibition was first presented at the Museo de Arte Contemporáneo de Monterrey (MARCO) in 2017.
In an interview with El País, Bjarke Ingels discusses with architecture journalist Anatxu Zabalbeascoa the motivations behind his work and the factors that have made him one of the most prominent figures in global architecture.
Moving between the formal concepts that give his buildings their names—such as "snowflake" or "labyrinth"—and the competitive nature of the architecture world (his proposal replaced Norman Foster's for Two World Trade Center in New York), Zabalbeascoa questions Ingels more sharply than might be expected, at one point asking if "architecture can turn into a joke."
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