The São Paulo - Morumbi Station is part of the second implementation phase of the São Paulo Metro’s Line 4 – Yellow and is currently nearing completion. The project features two external entrances located at the intersection of Francisco Morato and Jorge João Saad avenues, as well as integration with the SPTRANS bus terminal.

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Through the Center for Sustainable Development Research (CIDS), Infonavit launched an open call for architecture and engineering firms to design the "Materials, Energy, and Water Laboratories" Building. Aiming to research and experiment with new materials, industrialized components, and spatial characteristics that foster the development of social housing, the building will be part of the complex named "Infonavit Housing Practical Research and Experimentation Laboratory" in "San Miguel del Arco," Apan, Hidalgo.

The brief required the proposal to be designed as a program container. Specifically, the design for this Ideas Competition had to house three major research spaces (materials, energy, and water) tailored to the specific testing and research needs of each laboratory, which will be developed in detail during the executive project phase with the winning firm. A key requirement for these spaces was spatial flexibility and versatility in both plan and section.

On the evening of November 2, Rem·Koolhaas held a book launch for Elements of Architecture at the Central Academy of Fine Arts (CAFA). Hosted by Dean Zhu Pei, the event featured a roundtable discussion with artist Xu Bing, Mohsen·Mostafavi (Dean of the Harvard Graduate School of Design), and Stephan·Petermann, the book's editor. Koolhaas opened with a brief presentation introducing the book and the journey behind its publication. During the panel, the speakers engaged in an in-depth discussion on architectural details, differences between Eastern and Western book cultures, and the relationship between books and space. Below is a recap of this remarkable event.

In this edition of International Women's Day, we have joined forces with the Colombian print publication de-Arq (Universidad de los Andes) to explore the work of five contemporary Colombian women architects, who represent distinct, complementary approaches within our discipline: design, research, teaching, and experimentation.

Today, we profile María Cecilia O'Byrne, an architect from the Universidad de los Andes. She is an academic, manager, and researcher with a particular interest in Le Corbusier's legacy both in Colombia and worldwide. "To be able to say anything about Le Corbusier, I had to study, learn, and understand both his work and the vast world of knowledge that it encapsulates," O'Byrne comments. "I have Le Corbusier to thank for turning me into a person with a certain cultural background," she adds.

Listed as a World Heritage Site, the Historic Center of Salvador, Bahia, in the heart of the Pelourinho neighborhood, is home to the city's Cathedral Basilica, which dates back to the 17th century. One of Brazil's most significant sacred buildings, the basilica underwent a three-year-and-eight-month restoration process. Beyond returning its celebrated features to public view, the intervention revealed spaces and artifacts previously unknown or long thought lost.

Mark Wigley asserts that architects, rather than builders, are talkers. "Architects do not make solid objects. They make discourses about objects," Wigley argues in “Typographic Intelligence” (2002). This becomes particularly relevant when linked to philosopher Michel Foucault's concept of discourse. In *The Order of Discourse*, Foucault argues that discourses consist of a series of statements or propositions that communicate a certain idea, defining everything that can be said about a topic by shaping a specific way of understanding reality.

Discourses, then, are not merely a specific glossary of words; rather, they encompass the meanings or ideologies conveyed through them. With this in mind, I want to suggest that architecture can be understood as a discipline in which a set of discourses operates, managed by a regulatory body that constantly validates which of them generate architecture and which do not. When examining the discourses that operate within architecture, we find that several can coexist and justify one another, while others ignore and exclude each other—shaping different statements of truth. There may even be discursive strategies that appear extinct due to disuse or deliberate concealment.

On this occasion, architect Rodrigo Rieiro Díaz, from the ARKRIT Collective, presents an article that explores how certain contemporary architects have refused to hide building scars resulting from material processes in rehabilitation projects, in a bid to emphasize the pre-existing structure as an aesthetic asset.

While it is true that not painting—or covering with joint covers—the marks of material processes during building adaptive reuse projects represents a financial saving, there seems to be a desire among certain contemporary architects that goes far beyond simply cutting a line item from the budget.

Indeed, there is a contemporary tradition—the reuse of industrial buildings as art spaces—where this practice is common. This model of an exhibition space, halfway between a gallery and an artist's studio and geared toward a young, urban audience, already has a history of at least forty years. Yet there is a certain consecration of the method in its adoption by the city councils of major European cities for their cultural institutions, and in the highly favorable reception of these interventions in academic and professional circles.

After evaluating 94 submissions from across Colombia, ArchDaily announced the six winning projects of the third ArchDaily Thesis Competition in Colombia. The selection, chosen by our editorial jury, includes built works, historical research, and master plans: ranging from a rural residential prototype to an in-depth study of the *Edificio de Renta*, a popular residential format in Bogotá between the 1940s and 1970s.

For this edition, we introduced a new evaluation stage: a second jury made up of prominent Colombian architects was tasked with choosing the Grand Winner 2018. The members were Lina Toro, Carlos Cano (OPUS, Medellín), and Jorge Noreña (Ruta 4, Pereira).

"While architecture requires rigor, dedication, and communication skills, it also demands strengthening connections with urbanism and landscape, as well as with other disciplines that make transformative ideas viable," comments Carlos Cano in the jury's evaluation, which we invite you to read below.

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In this second installment on the ongoing transformations in New York City, Kosme de Barañano focuses on the project that, at the turn of the 21st century, triggered one of the city's most profound transformations: the High Line park.

The Architecture and Design Festival "Concéntrico 04" is preparing for its fourth edition, taking place from April 27 to May 1, 2018. This public event invites residents and visitors to discover and rediscover key sites in the historic center of Logroño, Spain, through temporary urban installations.

As part of the temporary architectural installations for Concéntrico 04, the festival launched design competitions for interventions in Plaza de San Bartolomé, Viña Lanciano and the creation of an information pavilion in Plaza Escuelas Trevijano to serve as a landmark and starting point for the festival's routes and activities. These will be built, assembled, and dismantled by the winners themselves.

The "Floating Cemetery of Alto Biobío" project, developed by Universidad de Chile architect Fabián Leiva, proposes a memorial for the Quepuca cemetery—one of 14 flooded following the construction of the Ralco hydroelectric plant. The design features a monomaterial concrete volume positioned over the flooded cemetery to establish a vertical communication between the living and the dead, creating a point of connection between them.

A few days ago, we welcomed @archdailyco to Instagram. ArchDaily Colombia's dedicated account on the platform serves as a new showcase for local architecture. To mark this milestone, we invited our readers to share their best photos of Colombian architecture using the hashtag #ArchDailyCo.

Today, we present six of the best photos, along with ArchDaily Colombia's featured project of the week on our Instagram account. This inaugural selection spans Bogotá and Medellín, contrasting concrete and brick, while showcasing both bird's-eye cityscapes and architectural details captured by our followers.

Remember to tag your future photos of Colombian architecture on Instagram with the hashtag #ArchDailyCo for a chance to be featured in our next roundup.

The integration of art and architecture to build a crucial public space at the Paz Soldán roundabout—one of the most iconic and highly trafficked areas in Lima's San Isidro district—was one of the major challenges presented by the Municipality of San Isidro and Grupo Centenario when they launched the Paz Soldán Plaza National Competition. The competition is part of the "2021: Bicentennial Projects" initiative, directed by Gary Leggett.

Among its primary objectives, the competition seeks the transformation of the primarily vehicular roundabout into a freely accessible pedestrian plaza. Additionally, it proposes the spatial integration of the new Paz Soldán Plaza with the monumental area of El Olivar forest, not only establishing this new area as a gateway to the park but also making it a benchmark for other areas of the city. Meanwhile, the anticipated public art proposal offers a reflection on the role of art in public space. It is also worth noting the broad vision of the roundabout as an urban complex, extending beyond the specific area of intervention.

The three finalists and two honorable mentions have already been announced. Out of 160 registered teams, 60 submitted entries. The jury comprised architects Óscar Borasino, Sharif Kahatt, and Michelle Llona, along with art specialists Max Hernández Calvo and Natalia Majluf. The process was advised by specialists including Juan Carlos Dextre, on mobility and traffic impact, and Patricia Dias, on heritage. Finally, the selection of the winner will include a double-weighted vote from the San Isidro Neighborhood Boards.

In the late 19th century, Santa Lucía Hill in Santiago, Chile, underwent a radical transformation, evolving from a rocky outcrop in the center of the capital into a vibrant green space. During the hill's redevelopment, the mayor of Santiago at the time, Benjamín Vicuña Mackenna, converted one of its structures, Hidalgo Fort, into a castle that housed a history museum. Reduced to an administrative warehouse during the 20th century, the fort—originally built in 1816—was converted into an event venue in 1997 and is now preparing for its most significant renovation since its construction.

According to the Chilean newspaper La Tercera, Castillo Hidalgo will be transformed into a cultural center featuring “a convention center and a laboratory.” This will allow the venue to open its doors for more than just private events, especially since Santa Lucía Hill receives over 600,000 tourists annually, according to figures from the Municipality of Santiago.

The website Enterreno is building the first “collaborative time machine” using historical images, allowing thousands of people to travel through time via their mobile devices from anywhere in the country or the world. The platform features over 45,000 photographs revealing what Chile was like in both the distant and recent past, shared by everyday people from their family archives and other sources.

By the end of 2018, at least five cities in Germany could test a model approach to combating pollution. The trial will discourage private vehicle use while offering free public transit—a solution currently adopted in only a few places.

Bonn, Essen, Herrenberg, Reutlingen, and Mannheim are the German cities included in the proposal drafted by the federal government. “We are considering making public transport free of charge to reduce the number of private cars,” German ministers stated in a letter sent to the European Commission. “Fighting air pollution effectively without unnecessary delays is of the highest priority for Germany,” the document adds. 

On June 14, the second and final day of the 5th International Congress of Architecture and Society took place at the Baluarte Congress Center and Auditorium of Navarre in Pamplona, Spain. The day's sessions focused on topics as diverse as urban development, the political ecology of cities, mobility, and the future of our cities.

Architects Farshid Moussavi and Belinda Tato opened the day's first session, focusing their reflections on the importance of public spaces in cities as “generators of citizenship.” Both experts also highlighted the role of people in shaping cities.

The Venice Architecture Biennale has released the list of participants for this year's main exhibition, FREESPACE. Among the 71 selected architects, offices, and collectives, three Brazilians are featured on the list: Carla Juaçaba, GrupoSP and Paulo Mendes da Rocha, recipient of the Golden Lion for Lifetime Achievement in the 2016 edition.

Curated by Irish duo Yvonne Farrell and Shelley McNamara, partners at Grafton Architects, this year's theme seeks to reveal "diversity, specificity, and continuity in architecture." According to Paolo Baratta, president of La Biennale di Venezia, FREESPACE aims to promote "desire" in architecture.

A "common, everyday, and collective" space is the goal set by the curatorial team of the upcoming 2019 Chilean Architecture and Urbanism Biennial. This was announced during the official launch last Thursday, November 8, at the headquarters of the Architects Association of Chile (Colegio de Arquitectos) in Santiago.

The first edition of the Biennial to be held in Santiago since 2013—the last two editions took place in Valparaíso—will be located in the traditional Franklin neighborhood of the Santiago commune, a historic sector of the capital currently undergoing urban transformation driven by real estate pressure, commercial reconversion, and historic preservation.

The modernization of Bogotá between 1940 and 1970, captured in urban and architectural photo essays, was documented in various books, magazines, and photobooks of the era, as well as in images from public and private archives across the city. These images reveal an intentional, and even critical, approach to how modern architecture reconfigured city centers, placing new buildings and urban spaces in relation to the existing cityscape.

In analyzing the impact of photojournalism, the work of Sady González, Manuel H. and Daniel Rodríguez is essential. Architecture and the city serve as the backdrop for scenes of urban life, characters, events, and daily activities. Their photographs offer an indispensable visual testament for understanding the city's transformation and its historical context.

In this edition of Bogotá in the Eyes of 10 Photographers we explore the legacy of Sady González:

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Curated by Oscar Humphries, this exhibition opened on Monday, February 5 at 11 AM, and will run from February 7 to March 24, 2018.

Sean Scully - San Cristóbal is the first exhibition presented at Cuadra San Cristóbal, and marks the first time the artist's sculptures will be exhibited in Latin America.

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The 2018 International Housing Finance Summit, organized by INFONAVIT, brought together experts from various disciplines to discuss the future of cities and the lessons learned to date. Held on May 2 and 3 at the Camino Real Polanco, the event hosted prominent figures who examined urban transformation processes to evaluate models that could guide us toward an integrated urban plan.

The event featured the participation of Al Borde, a firm that has materialized its ideas across various Latin American countries, earning numerous awards and accolades. In 2016, they served on the nominating committee for the Mies Crown Hall Americas Prize (MCHAP) and were part of the official selection at the Venice Biennale, which was themed 'Reporting from the Front.' Currently, they are among the winners of the "Young Architects in Latin America" competition, a collateral event of the 16th International Architecture Exhibition at the Venice Biennale.

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As part of a generation of photographers who in recent years have helped place Mexican architecture on the global map, Jaime Navarro is one of the key figures who has navigated the technological transition shaping a new way of seeing and practicing architecture. As one of the country's most recognized photographers, Jaime Navarro's approach aims for photography that can help document the beauty and goodness of specific historical moments, witnessing how we relate, what moves us, and what transcends disciplinary boundaries to build new futures. Below, we present an exclusive interview that showcases his career and the admiration of the ArchDaily team.

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The 2nd Placemaking Latinoamérica Summit—organized by Lugares Públicos A.C.—took place in Mexico City during the first and second weeks of November. It featured various activities, including the rehabilitation of eight public spaces led by Mexican and Latin American participatory urban planning specialists in the boroughs of Cuauhtémoc, Iztacalco, and Miguel Hidalgo.

These interventions were carried out as part of a broader effort to reflect and act on the Placemaking methodology at a Latin American scale, fostering collaboration between organizations from different countries to improve public space. This process is detailed in the "White Paper on Latin American Placemaking: Tactical Urbanism and Innovation in Public Space Program," presented this week by the Alliance for Urban Regeneration (ARU) and Lugares Públicos.