Building sandcastles on the beach is an ancient practice that allows us to dive deep into our imagination, ideas, and dreams. For many, it was likely our first approach to construction. Water and sand merge, transforming into space—something greater than the sum of its parts. While fortresses, bridges, and moats are a thing of the past for some, another typology has emerged to take their place: the house.

Below, we present a selection of Argentine houses built on sand dunes, designed by architects who turned castles into houses, sand into concrete, and dreams into reality.

EMS Arquitectos, Pantoja Arquitectos and ALCUADRADO Arquitectos present their second-place winning proposal for the public design competition for the preliminary design of the infrastructure replacement of the UIMIST hospital unit in the municipality of Bucaramanga. The concept is based on redefining the traditional role of the hospital through four perspectives: urban, clinical, landscape, and technical.

Upgrading skills, renewing oneself, or reinventing a career can sometimes feel like a pipe dream. Indeed, work and family obligations, or simply where we live, often make it nearly impossible.

The artifacts found on public streets in most Latin American cities—wherever they are permitted—vary in function and use. These range from mobile street-vending carts and temporary stages to containers for collecting discarded waste, ready to be given a new life by others. 

Ruta 4 Taller together with Coonvite created this workshop format to reflect on the artisanal artifacts or contraptions (cacharros) placed in public space, aiming to foster new encounters through trans-architecture.

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The following project, commissioned to architect Sebastian Castro Aedo alongside Bowlpark, proposes seven new interventions and a series of repairs to the skatepark originally designed by Plan Rampa in Parque Araucano. Located in a public park in the eastern sector of Santiago, in the commune of Las Condes, the project demonstrates various ways to activate specific areas, enabling new, more fluid ways of navigating the circuits.

“In this house are the books that helped me write the history of Argentine literature, which is the history of Argentine pain; here is the copious correspondence exchanged over half a century with many wise minds; here is my archive—all of which I have been unable to organize or classify, because my work did not allow it, but everything has been cared for and arranged by my wife. With her consent, I say today that all of this no longer belongs to me: it belongs to the homeland, so that future researchers may find here the elements that will allow them to know how the heart of the country beat...”

These words welcome visitors to the Ricardo Rojas House Museum. A prologue, if you will. Ricardo Rojas's house is an enigmatic piece that encompasses several cultural layers. In the library rest the masters: Borges, Arlt, Walsh, Rojas. In the courtyard, fountains and mermaids, suns and stars. Symbols that appeal to our memory.

The Kalmanani Prize is an annual event held in Mexico City that has recognized the work of various prominent architects over the years, including SANAA, Sou Fujimoto, Steven Holl, and Álvaro Siza. This year, NODE is honored to present Bjarke Ingels of BIG in Mexico City, recognizing the career of one of today's most innovative and prominent architecture firms. Recently named Chief Architect of WeWork, Bjarke Ingels will deliver a keynote lecture in addition to receiving the eighth edition of the Kalmanani Prize.

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As part of the cultural program of Jardín 17 –a space designed by Luis Barragán as an extension of his House-Studio that for 20 years has hosted various universities from around the world to present major design and architecture exhibitions–, Japanese architect Go Hasegawa presents 'Flying Carpet,' a pavilion suspended in a corridor amidst the vegetation originally planted by Luis Barragán and later intervened by Mexican architect Alberto Kalach.

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For the third time, the Architecture and City Festival MEXTRÓPOLI is hosting the competition Arquine No. 21 | MEXTRÓPOLI Pavilion 2019. On Monday, January 14, from 10:00 am to 7:00 pm, all registered proposals were submitted. Following a deliberation at the Arquine offices at Avenida Ámsterdam 163 in Mexico City to evaluate the 297 proposals submitted (out of 371 registered), the jury—composed of Víctor Alcérreca, Sol Camacho, Mario Corea, Hernán Díaz Alonso, Jimena Hogrebe, and Fermín Espinosa (as technical juror)—reached the following decisions:

The Maestranza de San Bernardo, an abandoned railway complex declared a historical monument that was once one of the largest railway hubs in South America, located south of Santiago, Chile, is making progress on its restoration and conversion into a boulevard. Designed by the firm Uno Proyectos, led by architect Gonzalo Martínez de Urquidi, the project aims to revitalize the area by introducing a program of economic and civic exchange spaces.

On September 25, the winners of the International Ideas Competition for the design of the new Public Space, Main Boulevard, and Connection Bridge to be built in Tecnópolis for Expo 2023 were announced. Organized by the Central Society of Architects (SCA) and the Association of Architects of the Province of Buenos Aires (CAPBA), and sponsored by the Argentine Federation of Architect Entities (FADEA), this is the last of the six international competitions launched this year within the framework of Expo 2023. Across all competitions, a total of 199 proposals were submitted, with the participation of at least 2,000 architects and engineers from around the world.

On the occasion of the recent XXI Chilean Biennial of Architecture and Urbanism, the curatorial team consisting of Beatriz Coeffé, Juan Pablo Urrutia, Vesna Obilinovic, Tomás Villalón, and Joaquín González spoke with Chilean architect Enrique Walker. An academic and former director of the Master of Science in Advanced Architectural Design program at Columbia GSAPP from 2008 to 2018, Walker has explored throughout his career an interest in the everyday in architecture.

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The tenth edition of the "Single-Family Home" Architectural Design Workshop, organized by the architecture firm Cota Paredes Arquitectos, has concluded. The workshop invited graduate architects and senior architecture students to develop a single-family home over four weeks, in either in-person or online formats.

The first thing one notices about the houses and other projects of Fran Silvestre and his studio is their distinct atmosphere of elegance and luxury—extravagantly understated—which is as recognizable in its own right as the work of, say, John Lautner or John Pawson. While this first impression might seem somewhat superficial, it is actually indicative of an elusive quality in their work, something we might call an essential “geist” or “gestalt” deeply rooted in their architecture, and one that is far more complex and interesting than a mere matter of “style” or “brand.” 

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Studying architecture in the mid-2000s meant high exposure to major Spanish architecture firms, which were experiencing a highly productive period of project development, particularly cultural and public works.
That was how I discovered and studied the work of Emilio Tuñón, who was then a partner at the firm Mansilla + Tuñón Arquitectos. Projects like the León Auditorium, the Cantabria Museum, and the MUSAC taught many of us how to engage with the surroundings, study facades, and use color.

In 2012, he founded Tuñón Arquitectos, a firm dedicated to confronting design and construction practice with theory and teaching, which emerged as a natural evolution of Mansilla + Tuñón Arquitectos. They approach architecture from a humanistic perspective: "it is the construction of an architecture made with people, by people, and for people."

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1989 is a digital illustration project founded in 2015 by Chilean architect Fabiola Morcillo. Her work has been exhibited at the Casa Gris Architecture Gallery and Galería Cima, and is also part of the group exhibition "Lights of Chile," on display until May 13 at 193 Gallery in Paris. Her projection mapping work and ephemeral architectural creations earned her a nomination for the next YAP Constructo 2020 pavilion, the results of which will be announced at the opening of the 2019 pavilion.

At first glance, the title of this article might seem difficult to grasp, given that the vast number of visitors to this prominent city—the country’s primary tourist destination—are active walkers and urban catalysts. Why then the demand for a city designed for people? Those who do not just pass through, but actually live there, understand this reality best. Cars are increasingly being prioritized over pedestrians, threatening and endangering the city, its conservation, and its heritage.

I remember experiencing the magic of walking there amid drizzle, stone-paved streets, narrow alleys, colonnades, and cathedrals. It must be one of the most unique places in the world, where walking is a mystical and immersive experience.

Cusco is the historical capital of Peru, declared a UNESCO World Heritage Site in 1983. It was once the capital of the Inca Empire and later one of the most important cities of the Viceroyalty. It preserves a vast number of monuments from those eras, reflected in its churches, palaces, and plazas. The Plaza Mayor, majestically flanked by two cathedrals, is one of its main draws due to its centrality, architecture, and cultural activity, drawing large crowds—but also heavy vehicle traffic. This is the crux of the debate: Should it be pedestrianized? What is the current state of urban mobility?

Just two months ago, the final phase of Parque de la Estación was inaugurated in Buenos Aires, a project that reclaimed underutilized land at the Sarmiento Railway's 11 de Septiembre station to create a public park. One of the most significant aspects of this urban revitalization project was the active role citizens played in the design and planning process, serving as a clear example of how public participation and co-creation can be powerful tools for designing high-quality public spaces that provide real solutions for local residents.

What little we know about the architectural profession is broken. It is no longer applicable to the second millennium, as evidenced by the unsustainable reality facing the vast majority. The experiences of previous generations were unique, tied to a specific historical moment. Today, we must learn to read our own historical moment and reprogram our vision to find the paths forward that currently remain hidden.

The conventional city model establishes very clear and concrete boundaries between the public and the private. Within this model, what is defined as “urban” has always corresponded to the public realm, whereas “domestic” defined the boundaries of the private. Yet societies are not immune to change and evolution, and neither is urbanism. Those traditional concepts of the urban and the domestic are becoming obsolete, transformed into expanded and more updated understandings. It is precisely around this blurred boundary—between what appears urban and what appears domestic—that the new public sphere is being constructed. 

This is the leitmotiv driving the ‘Dom Project’ intervention: to establish a gradient of spaces where the urban and the domestic are not clearly demarcated, but instead colonize one another, bringing certain public uses and programs to the surface within the ‘Housing Block.’ The project was submitted to the international architecture competition ‘Open International Competition for Alternative Layout Designs in Standard Housing’, organized by the Ministry of Construction, Industry, Housing and Infrastructure of Russia alongside the Unified Development Institution in the Housing Sector and the firm Strelka KB, winning second prize.

I first encountered Manuel Gallego's work in Valencia, introduced to it by José María Lozano. There, at the school where I was studying, they had organized a symposium on Galician architecture. 

On November 27, four major works of brutalist architecture in Argentina were declared "National Historic Monuments" four: the Mariano Moreno National Library, the Manuel Belgrano School of Commerce, the 6 de Julio Municipal Palace, and the School of Architecture at the University of Mendoza. These buildings, considered outstanding examples of brutalist architecture, will be protected under Decree 791/2019, which establishes that they cannot be modified, sold, encumbered, or alienated, nor can their facades be altered without the prior intervention of the National Commission of Monuments, Museums, and Historic Places.

In the middle of last year, media outlets and social networks erupted: the debate over Rafael Viñoly's project for the San Rafael Hotel in Punta del Este, Uruguay, had begun.

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In recent years, architectural production in Mexico has faced a series of extraordinary challenges. Some of these stem from natural disasters that severely shook at least nine states, leaving several areas gravely affected across Mexico City, Puebla, Morelos, Oaxaca, Veracruz, Tlaxcala, Guerrero, and the State of Mexico. However, these events also served as a catalyst, prompting the architectural community to increase its focus—and active involvement—on housing and infrastructure for the most vulnerable sectors of the population.