Foundations are certainly not the structural elements on which architects spend the most time during the design process. Since they are typically underground and serve a strictly technical purpose, this decision is usually left to structural engineers. However, foundations play a crucial role in construction, as they are the structural elements that transfer building loads to the ground.
"Architectural competitions represent the combination of the art of choosing and the craft of being chosen," says Roberto Fernández about an area of our discipline that is widely recognized as an excellent platform for firms and independent professionals to present their ideas as true manifestos. Meanwhile, in academic circles, competitions often serve as tools for formal, conceptual, and graphic experimentation.
These types of commissions undoubtedly inspire not only architecture and urban planning professionals but also the public as a key player in their evaluation. Whether or not these proposals are built, they demonstrate that we must constantly champion innovation, recognizing the immense effort behind these results. With this in mind, we have selected six award-winning projects that reflect the value of architectural competitions in Colombia.
To mark the commemoration of the February 27 earthquake and tsunami, the creation of “Rubble Hospitals” is being promoted, drawing on recent earthquake experiences in Chile and Mexico.
A new guide for creating these spaces was announced in Concepción by Chile's Proyecta Memoria Foundation, coinciding with the anniversary of the February 27 earthquake and tsunami. The guide compiles experiences from earthquakes in Chile and Mexico, while promoting Rubble Hospitals as spaces to safeguard and reuse debris from large-scale seismic events.
The document is the result of three years of work and details memory rescue initiatives during the 2010 and 2015 earthquakes in Chile and the earthquakes in Mexico.
The official results for the National Competition for the Requalification of the Public Space of the Monumental Axis of Maringá have been released. This central urban area lies between Cathedral Square (Praça da Catedral) and the Vila Olímpica sports complex. Totaling approximately 169,000 square meters, the Monumental Axis includes gardens, public spaces, parking areas, and perimeter paving along the building facades. Due to the site's vast scale, proposals had to be presented in seven sectors to facilitate phased bidding and construction. The winning project was designed by a team comprising Pedro Paes Lira, Manoela Muniz Machado, Julia Marini, Laura Figueiredo, and Juliette Tellier from the firm Natureza Urbana, with landscape consulting by Bianca Vasone, Gabriella Ornaghi, and Lilian Dazzi, and engineering consulting by Alexandre Horiye Ferreira and Felipe Macedo Barbosa.
The jury, composed of architects and urban planners Haroldo Pinheiro, José Gilberto Purpur, Mario Figueroa, Orlando Busarello, and Renato Leão Rego, selected the following winners:
The Catalan archipelago is shaped, across almost its entire length, by a small mountain range running along it, rising from the coastline tangent to the sea to form cliffs, and extending barely a dozen kilometers at its greatest extent.
The architecture native to this coastal strip of land is repeatedly categorized as Catalan architecture, thereby overlooking and overshadowing the architecture of the inland—dark, somber, heavy, and intensely material. An architecture—that of the interior—of slow digestion, backlights, and still air, carrying a different scent.
To the northeast, we find a region where beech trees stand still, growing at a lower altitude than anywhere else in the country. Where the light is softer, more diffused; where shadows are both fainter and deeper. Where it rains differently. Where people speak differently. Where the masias are different. There they live. There they work. We are speaking of Olot. We are speaking of RCR.
The greatest force in the fight against climate change lies in the hands of cities. This is where most people live and where the global economy drives forward. However, according to the new report by the New Climate Economy, titled "Unlocking the Inclusive Growth Story of the 21st Century: Accelerating Climate Action in Urgent Times," urban areas are not leveraging their transformative potential to promote sustainable development. Ultimately, this could mean missing our final opportunities to reduce poverty and halt climate change.
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The “Welcome Mother Nature” project, winner of the June 2016 international competition to redesign Madrid's Plaza España, will ultimately not be allowed to alter the position of the Cervantes monument as initially planned.
The Community of Madrid announced at the Local Heritage Commission its intention to fast-track the declaration of the complex as an Asset of Heritage Interest (BIP). Consequently, the project designed by architects Fernando Porras Isla-Fernández, Aranzazu La Casta Muñoa, and Lorenzo Fernández-Ordóñez Hernández will not be allowed to rotate the statue of the Spanish writer to face the Edificio España, as reported by the Spanish newspaper El País.
The Dolmen Collection is based on an exploration of balance between elements of different materialities. This exercise highlights the physical properties of stone and wood, creating tension between the suspended and supporting elements. Designed by Héctor Esrawe, Manuel Bañó, Federico Stefanovich, and Alejandro Ramírez, it comprises a dining table with chairs and a cabinet.
The modernization of Bogotá between 1940 and 1970, captured through urban and architectural photo essays, has been documented in various books, magazines, and photobooks of the era, as well as in the city's public and private archives. These images reveal an intentional, even critical, approach to how modern architecture reconfigured city centers, bridging new buildings and urban spaces with the existing cityscape.
When analyzing the impact of photojournalism, it is essential to examine the work of Sady González, Manuel H. and Daniel Rodríguez. In their work, architecture and the city serve as the backdrop for scenes of urban life, figures, historical events, and daily activities; their photographs offer an indispensable visual record for understanding the city's transformation and its historical context.
In this edition of Bogotá through the Eyes of 10 Photographers, we explore the legacy of Manuel H.:
Designed by Rogelio Salmona, the Bogota Museum of Modern Art (MAMBO) appeared on Monday morning with a "For Rent" sign on its facade, drawing the attention of local media outlets like Dinero and La W.
The latter contacted the phone number listed on the sign and spoke with a Carlos Muñoz, an alleged real estate agent who confirmed that "the museum's spaces, totaling 4,200 square meters, have been put up for rent for 120,000,000 pesos a month" (equivalent to approximately 43,200 USD). The alleged agent provided details about the building's program as if marketing any other real estate listing. Furthermore, as the newspaper Dinero confirmed, calls to the MAMBO communications office went to a recorded message confirming that Salmona's building was indeed for rent.
One of the most representative houses by Mexican architect José Díaz Infante that served as an experiment to study urban processes was the 'Earthquake-Resistant House' located at Ámsterdam 270. Also known as 'Kalikosmia,' this house addressed themes that broke with the purist forms common at the time, making it highly controversial. Furthermore, it was the result of an analysis based on the aftermath of the 1985 earthquake in Mexico City.
The Mexican architect defined himself as a "spatial designer," saying, "(...) I am timeless, I am not in history because I am more in science than in style. I do not belong to an era. My work has evolved in accordance with the different structures I have built. I treat each program differently, and in each project, I contribute something that I deny in the next." This was reflected in his career: in addition to being an architect, he collaborated with NASA and studied under Buckminster Fuller. As the designer of major works like the TAPO terminal and the Mexican Stock Exchange, he is today among the forgotten.
Dampness from water ingress, condensation, or leaking and burst pipes; cracks and fissures in partition walls, facades, columns, or beams; corrosion, deformation, and spalling are some of the most common building pathologies that can affect a structure throughout its lifespan. Detecting these issues is essential to address them, keep the building in good condition, and prevent accidents or structural failures.
To address this, the Official Association of Architects of Madrid (COAM) has launched its first public awareness campaign, titled ‘Arquitecto de la Casa’ (House Architect). The initiative aims to raise awareness about the necessity and benefits of ongoing building maintenance, highlighting specialized architects as the most qualified professionals for the job.
Earlier this week, the mayor of the municipality of Recoleta (Chile), Daniel Jadue, announced the creation of a municipal real estate agency. The initiative, unprecedented in the South American country, consists of the construction of two 5-story buildings with a total of 38 apartments of 55 square meters, available for rent to vulnerable families in the municipality.
According to a report by 24 Horas, the newscast of Chile's state-owned television channel, one out of four families in the municipality shares a home with another household, a common phenomenon in Chile known as allegamiento (cohabitation). At the same time, Recoleta is experiencing rapid residential densification due to saturation and rising costs in neighboring municipalities such as Santiago Centro and Providencia.
When discussing cities like Amsterdam, we inevitably recall its network of canals and streets interwoven with water. Yet water is also one of the most pressing challenges the city faces. With 60% of its territory below sea level, climate change—and the rising sea and river levels that come with it—is a matter of survival not only for Amsterdam, but for the entire country.
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An inseparable figure from Brasília, Athos Bulcão is responsible for works that bring color and geometric patterns to the purity of the federal capital's architecture. To promote the artist's work, the National Institute of Historic and Artistic Heritage (Iphan) launched the book Athos, Colorindo Brasília, the first volume of the Patrimônio para Jovens collection, an initiative by Iphan's Federal District office and the Federal District Department of Education (SEDF).
Designed by Fabián Leiva, the Floating Cemetery project was selected as one of the 10 winners in the Thesis Project category of the 2018 Arquitectura Caliente Competition (CAC 2018), a Chilean contest organized by Grupo Arquitectura Caliente and funded by the Ministry of Cultures, Arts, and Heritage.
In 2004, the Ralco reservoir in the Biobío Region was unexpectedly and irreversibly flooded, burying the local Pehuenche community's cemetery beneath its waters. Following years of trying to recover the bodies, studies demonstrated that salvage was unfeasible, leaving the inhabitants helpless in the face of the millions of cubic meters of water separating them from the cemetery. This situation sparked the idea to create a space in memory of a sacred, violated, and unrecoverable site—one that would bring the community closer to their deceased and eternally condemn the event.
The “Infinito Vão – 90 Anos de Arquitetura Brasileira” exhibition is currently on view at the Casa da Arquitectura. To bring the ideas of curators Guilherme Wisnik e Fernando Serapião to life, architect João Mendes Ribeiro was commissioned to conceive the exhibition design. We interviewed him to learn about his main inspirations and to find out more about his design process when showcasing major achievements of Brazilian architecture.
An unprecedented initiative for Brazil's representations at the International Architecture Exhibition of the Venice Biennale, the Muros de Ar exhibition allocated one month for submissions and evaluations of public projects to be included in the curatorial selection occupying the Brazilian pavilion starting May 26. The open call selected 17 projects in Brazil that use architecture as an instrument to mediate conflicts, transition between public and private domains, and connect distinct urban fabrics.
Collectively curated by architects Gabriel Kozlowski, Laura González Fierro, Marcelo Maia Rosa, and Sol Camacho, who were selected by the Fundação Bienal de São Paulo to organize the exhibition, the open call received 289 projects from more than 60 Brazilian cities.
As part of the activities of
Yesterday, Monday (September 10), the 3rd Latin American Landscape Architecture Biennial announced the finalists for the competition, which will take place in Mexico City on September 26 and 27. Organized since 2014 by the Mexican Society of Landscape Architects (SAPM), the biennial seeks to highlight the role of landscape architecture in shaping the habitat in Latin America, with a particular emphasis on the environmental and social challenges facing the region.
"We seek to encourage participation in landscape construction to showcase the broad and diverse panorama of local interventions that ultimately help define a region sharing common challenges and solutions," the organizers state in the biennial's guidelines.
The 19 built works, unbuilt projects, and research papers meet the biennial's criteria, focusing on projects that respect the landscape and its values, demonstrate a commitment to sustainability, and integrate and address social issues, among other criteria.
Discover the finalists below:
Registration is now open for the 1st National Public Photography Contest organized by the Council of Architecture and Urbanism of Goiás (CAU/GO), under the theme “Historic Heritage in Architecture and Urbanism.” Submissions will be accepted until 4:00 PM on September 24 at the CAU/GO headquarters.
The term ‘right to the city’ was on the lips of participants in the June 2013 protests, which were sparked by public transit fare hikes across several Brazilian states. It was also emblazoned on banners hanging from occupied vacant towers and abandoned buildings by the Ocupe Estelita movement, which has fought since 2008 to preserve the José Estelita Pier in Recife. Abroad, the phrase was splashed across Turkish signs when trees were felled in Istanbul’s Gezi Park to make way for a shopping mall.
But what, after all, does the right to the city actually mean—an expression vehemently invoked by social movements in recent years and one that, in Brazil, gained territoriality following the 2013 mobilizations?
This month, Mayor of London Sadiq Khan released the draft of the new plan for the city which, according to him, marks a clean break from previous strategies. And he is not exaggerating, given that the targets to be pursued by 2029 include a near-total ban on new parking spaces and the construction of 650,000 new homes. While the plan is still in its initial draft, the British capital's efforts to curb air pollution are pushing forward the pedestrianization of one of its main central thoroughfares, Oxford Street, and even betting on biofuel derived from coffee to power buses across the country.
Architect Francisco Javier Sáenz de Oiza is undoubtedly a pivotal figure in 20th-century Spanish architecture. Designer of iconic works like Torres Blancas and the current Castellana 81, Sáenz de Oiza was twice awarded the National Architecture Award (1946 and 1954), served as Director of the Madrid School of Architecture (1981–1983), and was a figure whose work and theoretical reflections shaped the course of the Modern Movement in Spain.
This year marks the centenary of his birth in the town of Cáseda (Navarra). To celebrate this milestone, the 15th Architecture Week will pay tribute to him with a major exhibition charting his entire career. Titled Centenario Sáenz de Oiza. 1918-2018 (Sáenz de Oiza Centenary. 1918-2018), the exhibition is organized by the COAM Architecture Foundation in partnership with the Directorate-General for Architecture of the Ministry of Development, and curated by his children, architects Vicente, Javier, and Marisa Sáenz Guerra.
