This guide covers a workflow that moves from project parameters to generated floor plans, 3D perspective views, exterior design exploration, and site context visualization, using AI tools in place of preliminary CAD and rendering work.

Municipal public buildings, licensed urban spaces, and private buildings of collective interest and use will be required to display the names of the authors of the architectural and/or urban design project, as well as the technical professional responsible for the construction. This is mandated by a bill recently approved by the Maringá City Council. The text now goes to the city's mayor, Ulisses Maia, for approval.

It is rare to find architects who engage with such a wide range of both the theoretical and practical dimensions of the profession. This is the case of Rubén Moreira [1], who approaches architectural design, research, criticism, architectural history, and teaching with equal and outstanding competence [2].

Rubén Moreira not only began his professional practice during a highly fertile period of Ecuadorian architecture, but also witnessed its key quests and transformations [3]. He was part of a generation of architects that reflected deeply on architectural processes, methods, and products [4]. His intellectual curiosity is clearly reflected in his postgraduate studies in Italy under two leading figures of architectural theory: Bruno Zevi and Manfredo Tafuri [5]. He taught design studio and history while pursuing research in architectural history. He also championed the creation of the MAE [6], as well as the Exhibition and Critical Guide of the "Architecture of Quito 1915-1985," which analyzes the context, authors, and landmark projects of each decade.

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The practice of Chilean architects Abraham Schapira and Raquel Eskenazi is notable, among many other aspects, for its use of the balcony as a defining element in facade composition. Their work, located primarily in the municipalities of Providencia and Las Condes in Santiago, and in Viña del Mar, offers a rich diversity of typologies, uses, and layouts through formal treatment, engaging with Chile's modern urban proposals.

Meu Coração Bate Como o Seu, the sculpture designed by Guto Requena and built in downtown São Paulo at Praça da República in honor of the LGBT community, has had its wiring destroyed and its internal light bulbs stolen.

Conceived to celebrate 40 years of community activism in São Paulo, the act against his work is, for Requena, homophobic in nature: "The country is becoming too violent, so I have no doubt that the vandalism of my work was intended to target the LGBT community."

Designed by Andrea Fuentes Núñez, the project Mixed-Use Housing was chosen as one of the 10 winners in the Thesis Projects category of the 2018 Concurso Arquitectura Caliente (CAC 2018), a Chilean competition organized by Grupo Arquitectura Caliente and funded by the Ministry of Cultures, Arts, and Heritage.

Today, there is a pressing need for housing to move beyond domestic specificity. National and global economic shifts have driven individuals to seek new means of livelihood, meeting their needs by clinging to what they own and utilizing their only available land—their own property. By blending work and domestic life, the question arises: to what extent does housing yield to accommodate productivity?

With over 11,000 Instagram followers, industrial designer Juan Cristóbal Lara (@eljuancri) has transformed his account into a photographic essay of Santiago, Chile. His main subjects are the Andes Mountains, San Cristóbal Hill, and the Mapocho River, all bathed in the rich palette of colors that the sky paints as the hours pass.

Here, we invite you to take a closer look at his work, his personal interests, and his vision of the city he photographs. "On Santiago's hills, you can grasp the magnitude of where you live; they offer the true scale of who each of us is in the city," Lara says.

Biomimicry in architecture does not prescribe form, nor does it strive for literal resemblance. Rather, the goal is to develop architectural solutions that execute strategies observed in nature. It is not about form for form's sake, nor is it about copying shapes; instead, it seeks a deeper reasoning behind those forms. Indeed, it goes far beyond merely drawing inspiration from shapes. It examines context, systems, and interrelations, and the true beauty of biomimicry lies in these connections. Architectural creation remains free, as it is guided by a design principle—the strategy of how nature achieves the performance a project requires for a specific demand. It is a process of co-creation between biology and architecture, making it truly transdisciplinary.

Led by Cazú Zegers and GrupoTalca, AndesWorkshop 2017 took place last May and June in Patachoique, Lonquimay (Chile), in collaboration with the Arenales Mapuche community. The project aims to design the Mirador de la Corona alongside students and local communities, a structure that has already had a significant impact on Pehuenche communities, serving as a catalyst for the macro-project Ruta Pehuenche.

2018 has been a special year for ArchDaily in Colombia: not only did we celebrate the first three years of our local site in Bogotá alongside prominent architects, and are now poised to set a new annual traffic record, but we also launched ArchDaily Colombia's Instagram account—which, thanks to you, has already reached 10,000 followers in just six months.

To wrap up this great year, we have selected the most popular projects—measured by total engagement, excluding reposts—on @archdailyco:

One of the most traditional festivals in Brazil's South region, Oktoberfest has launched a sustainability-focused initiative. In addition to serving thousands of liters of draft beer, the event's 2018 edition will support the environment by transforming plastic cups used during the 19-day festival into bricks and furniture for community gardens.

Dubbed "Oktober Consciente" (Conscious Oktoberfest), the initiative was created by the Instituto Gigantes da Ecologia (IGE), a non-profit civil association based in Blumenau, Santa Catarina. The project aims to raise awareness and promote environmental best practices among attendees of what is considered one of the largest German festivals in the world.

Fundación Arquia has published a new issue of its digital magazine Arquetipos, featuring an interview with sculptor and artist David Bestué, conducted by architect Moisés Puente with photography by José Hevia. The issue also includes articles on Olympic urban planning, the relationship between architecture and sculpture in the work of Chillida, Enric Miralles, Sert, Kiesler, and much more.

In the interview, titled "Language as Object," David Bestué (Barcelona, 1980) discusses how he approaches architectural space in his work, the influence of artists such as Dan Graham, Robert Smithson, Gordon Matta-Clark, and Juan Muñoz, and his interest in the formal qualities of work by architects Enric Miralles and Carme Pinós (the "local modern").

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Lake Verea is composed of Francisca Rivero-Lake Cortina (Mexico City, 1973) and Carla Verea Hernández (Mexico City, 1978). They have worked as a duo since 2005. Their practice focuses on experimenting with photographic techniques and formats to achieve a personal and intimate perspective. They live and work in Mexico City and around the world. Their research interests center on the portraiture of architecture and the architecture of portraiture, the search for modern ruins, and the emotional interpretation of the spatial journey.

Their latest contribution is a series commissioned by Gabriela Etchegaray for the 16th International Architecture Exhibition of the Venice Biennale. Featured in the Mexican Pavilion, “Echoes of a Land,” they conceive architectural portraits through an intimate approach, using fragments to compose a narrative where the architectural subject is personally reinterpreted.

For this feature, the Fundación Arquia Blog, alongside architect Sabrina Gaudino Di Meo, brings us a conversation with architect Nerea Calvillo on how the project "In the Air" came to be. This multidisciplinary work, bridging data and ecology, visualizes urban air components to understand the behavior of microscopic agents and the implications of their concentrations for navigating the city.

Videos

Like any port city, Barranquilla, Colombia, has historically turned its back on the Magdalena River, a waterway of over 1,500 kilometers flowing down from the Andes Mountains to empty into the Caribbean Sea. Although its urban fabric overlooks the river, the road known as Vía 40 has been the city's true boundary. Between this highway and the river, industrial zones and vacant lots serve as buffers.

"For many years we had a wall blocking this view for 70 years," said Barranquilla Mayor Alejandro Char last February during the inauguration of the second section of the River Boardwalk, an urban project that seeks to restore the city's relationship with the river, which runs through 11 of Colombia's departments.

With more than 350 Colombian projects now published on ArchDaily, we celebrate this milestone with a curated selection that highlights the value of drawings in conceptualizing, designing, and constructing contemporary Colombian architecture.

While drawing is often associated with a project's earliest conceptual stages, Colombian architects continue to use sketching to explain structure, program, and even construction details in an era otherwise dominated by the efficiency of 3D modeling and rendering.

This selection ranges from single-family homes to public parks, including mixed-use facilities, kindergartens, and university buildings across Colombia.

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In this piece, Daniel Morales Escudero offers a reflection on the Terminal 2 project in Valparaíso, addressing the proposal through the lens of Chile's three legal grounds for abortion.

The ATRIO Towers —the tallest project in Colombia— reached a new milestone in Bogotá with the structural completion of its North Tower, the first of the development's skyscrapers, which has topped out at 201.6 meters and 46 stories.

During a ceremony held on Friday, August 24, on the rooftop of the North Tower, the final two steel beams—each 10 meters long and weighing 3.3 tons—were installed. The event symbolically marked the completion of 20 months of construction for the first phase of the skyscraper complex.

The Chilean City in the Press is a new section on ArchDaily en Español where we cover the key urban issues facing Chilean cities across the country. This is our editorial roundup of everything you need to stay up to date.

In this first edition, we cover the University of Chile's proposal to rehabilitate the Villavicencio Tower in Santiago, the National Monuments Council's interest in preserving the birthplace of the late poet Nicanor Parra, and urban news from Valparaíso, Concepción, and Valdivia.

The Council for Architecture and Urbanism of Tocantins – CAU/TO has launched a design competition to select the best proposal for the construction of its headquarters in the city of Palmas. 

The team comprising Giovani Valeria, Nitzy Vera, Sofía Vargas, and Stefanía Ruiz (Universidad San Sebastián) has been awarded third place in the XXXII CAP Chile Competition. Designed for Teja Island in Valdivia, the competition jury praised the greenhouse system's "innovative and well-thought-out steel structure, with exterior and interior pathways that highlight the flora. It must, however, pay close attention to the scale of the structural elements in the smaller spaces."

For 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 different complementary approaches within our discipline: design, research, teaching, and experimentation.

Today we speak with Beatríz García Moreno, a Colombian architect, professor in doctoral and master's programs at local universities, and a member of the World Association of Psychoanalysis. "Women contribute not only to the traditional areas of architecture for which they are fully trained, but also to the ancestral themes that have shaped their dwelling in the world," comments García Moreno.

Summer break can be an excellent opportunity to pick up a new read or update a space in your home. With this in mind, we present a curated selection of books to inspire and deepen your understanding of wood.

Spanning architecture, games, and novels, this selection is geared toward both children and adults, with wood as the central theme. Additionally, all of these titles are available for purchase online.

Architecture reveals the realization of a society's cultural processes at a specific moment in history, reflecting in its elements both the modus operandi of an economy and the dominant values governing its organization. The conceptualization of an architectural project sparks an intense, interdisciplinary process of formal development and technical verification for each construction component and its execution procedures. Architecture is tasked with transforming these diverse languages into a gestalt, or a formal reality that articulates and tests vital properties of reality.

Numerous factors introduce distortions into the architectural process in different regions of the globe. The state of architecture depends directly on the quality of professional training, interdisciplinarity, and available resources. A given context's culture and economy determine what architecture can do—and how it can operate.

An icon of Rio de Janeiro's landscape and a must-see destination for tourists from around the world, the fascination surrounding Christ the Redeemer conceals a compelling construction history. Standing 38 meters tall atop Mount Corcovado and weighing nearly one thousand tons, the monumental project was designed by engineer Heitor da Costa Silva and took approximately five years to build (1926–1931). Based on Silva's initial drawings, the project was finalized with contributions from artist Carlos Oswald and French sculptor Paul Landowski, who was responsible for modeling all the components that make up the statue.

The concept for the project began to take shape in 1921, following discussions among Rio de Janeiro's government officials. In 1923, a design competition was held, which was won by Costa Silva. Construction did not begin until 1926, after full funding had been raised to bring the monumental project to life, which was finally completed in October 1931.