In each edition of the Ibero-American Biennial of Architecture and Urbanism (BIAU), the event honors masters of Ibero-American architecture with the Ibero-American Architecture and Urbanism Prize.

The Ibero-American Architecture and Urbanism Prize recognizes work "directly related to architecture and/or urbanism, highlighting its aesthetic, functional, technical, social, economic, and environmental aspects. This may include built work, planning, heritage conservation and restoration, knowledge production, or social commitment," as outlined in the competition guidelines.

From La Candelaria to Teusaquillo and Santa Fe, Bogotá's modern architecture not only stands in stark contrast to the historical legacy of local forms, but also served as a call to rethink the modernization of the Colombian state around 1930.   

The featured city sites serve as a starting point—an invitation to explore the capital and discover an architectural heritage that is distinct, yet remains an integral part of the urban fabric and the daily lives of Colombian citizens. 

Mexico City is a sprawling metropolis of layered temporalities, where architecture operates as a continuous negotiation between deep-seated history and intense urban mutation. Built over the aquatic traces of Tenochtitlan, the city's fabric is an ongoing dialogue between eras: the monumental scale of the Pre-Hispanic Templo Mayor and the Viceroyalty architecture of the Catedral Metropolitana coexist with the modern and contemporary impulses that define its skyline. This dense juxtaposition creates a unique urban canvas where sacred geography, colonial imposition, and 20th-century ambition intersect.

The mid-century marked a definitive era of experimentation, forging a Mexican Modernism that masterfully synthesized international structural rationalism with local identity and materiality. This synthesis is epitomized by the sweeping, plastic integration of art and architecture at the Ciudad Universitaria, the structural poetry of Félix Candela's hyper-parabolic shells, and the raw, monumental brutalism of Teodoro González de León and Abraham Zabludovsky. Parallel to this, the intimate, introspective mastery of Luis Barragán and Juan O'Gorman redefined domestic space, experimenting with light, vernacular color, and tectonic honesty to create spaces of profound spatial stillness.

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In our current cities, urban density and rising land values often force a choice between large-scale civic buildings and open public space. Traditionally, plazas have been treated as areas surrounding a building's footprint, but this strategy was modified when pilotis were introduced by the early 20th-century modernist movement. While the original intent was to create a sense of lightness that would allow circulation and light to flow beneath a structure, contemporary requirements for seismic loads, fire egress, and heavy occupancies render thin columns insufficient for the needs of current large-scale civic projects.

However, the pursuit of architectural lightness is not a strictly contemporary phenomenon. Following the modernist introduction of pilotis, several mid-century projects began experimenting with the illusion of suspension to achieve civic transparency. In 1953, the National Congress of Honduras in Tegucigalpa, designed by Mario Valenzuela, applied these principles to a legislative setting. The building consists of a solid assembly chamber elevated on a series of slender columns. Because the site sits on a terrace at the end of a sloping street, the resulting void does more than just provide circulation; it frames views of the city, creating the impression that the heavy legislative mass is lightly suspended above the urban fabric.

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In the western part of Bogotá, between Calle 80 and the Juan Amarillo Wetland, lies one of the most interesting urban and architectural projects in the history of Colombia: the Ciudadela Colsubsidio. Created in 1983 as a response to Law 21 of 1982, which required social security organizations to provide housing for their members. Colsubsidio, the project manager, hired Germán Samper to tackle a 130-hectare plot located between two well-established neighborhoods (Santa Bárbara and Bolivia). The challenge was to connect these neighborhoods while creating a citadel that would consolidate various essential services for a population that, due to its geographical location, was distant from the center of Bogotá.

The challenge Samper faced was to develop a clear urban structure that would articulate the existing neighborhoods along the east-west axis and, along the north-south axis, connect the Juan Amarillo Wetland with Calle 80, the main road that would serve the entire neighborhood. From the initial design, it was evident that the architect was concerned with creating and developing a spatial experience for the residents, where the neighborhood itself would be the manager of spaces that directly integrate daily life with architecture, responsible for defining the spatial boundaries they aimed to create.

In the mid-20th century, in the heart of Bogotá, Colombia, one of the greatest architectural landmarks in the history of this city was taking shape. At that time, Luis Ángel Arango, the manager of the Banco de la República, began to work on establishing a library to house the collection of books that the bank had been acquiring over 30 years and which continued to grow. It was then that the firm Esguerra Sáenz and Samper appeared on the scene, to whom the design of this space was attributed, created in several stages over a span of twenty years.

Germán Samper is one of the freshest minds in the country, despite his advanced age. Even after all these years, it is possible to see with great skill how his genius remains as relevant today as it was half a century ago, and the Biblioteca Luis Ángel Arango is a perfect example of the aesthetics, urban integration, and respect for scale that characterize this architect so much.

Talking about the Gold Museum means discussing an ambitious project resolved through simple design principles and sobriety. Inaugurated in 1968, this building, located on the eastern side of Santander Park, aims to establish itself as a humble capsule that intrigues visitors and takes them on a captivating journey through the world of Colombian artisanal skills.

The Gold Museum establishes an architectural parallelism with the Church of San Francisco de Asis (1567) located across the street, conveying the raw purity of the material in front of the city through the expression of its facades,  ultimately leading to the radiant burst of light that emanates from the very heart of the volume.

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Bogotá is a metropolis that celebrates the convergence of different architectures, reflecting a significant part of Colombia's diverse culture and geography. Limited by the Eastern Hills, it is not only one of the highest capitals in the world, reaching almost 2,600 meters above sea level, but its history dates back to its foundation as the center of the New Kingdom of Granada in the year 1538.

This guide aims to provide an overview of its colonial, modern, and contemporary architecture, highlighting its main buildings and architectural points of interest. From its civic spaces to renowned public projects such as museums, libraries, and cultural centers, this list of 30 sites showcases works by modern architects like Rogelio Salmona and Germán Samper, as well as contemporary ones like Equipo Mazzanti and TAB. We hope it helps you get to know the city!