The international architecture festival Open House Madrid returns with a surprise for 2022, offering free access to five “magical” locations to enjoy the city from above, from September 23 to 25.

On November 21, we celebrate World Television Day, a communication tool that has transformed social relations since its invention in the late 19th century and its industrial widespread adoption beginning in the 1920s. Since then, television programs—inheriting theatrical genres—emerged, evolved, and multiplied, taking center stage in daily life and sparking widespread curiosity about how they work. Among their various aspects, we explore the set designs and present the logic behind television environments. 

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William Morris was one of the leading figures of the 19th-century Arts and Crafts movement. Guided by his political ideals, his practice spanned architecture, decoration, and design, eventually extending to writing—always striving to foster workplaces as spaces of pleasure and contemplation.

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Architecture is one of the oldest professions in the world, with its origins, as we understand them today, dating back to the dawn of humanity. Historically, however, architectural education was initially passed down collectively through oral traditions and practical, hands-on learning from one generation to the next. With the rise of Fine Arts schools and universities, this training became institutionalized and evolved into the academic models we know today.

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According to announcements on the UNESCO website, the World Heritage List represents an invaluable legacy of monuments, natural beauty, and cultural treasures belonging to all humanity. The sites inscribed on this list serve as milestones on our planet, symbolizing regional and national awareness of the significance of place and shared wealth, while preserving this collective heritage for future generations.

The history of Cine Ópera dates back to 1949, when the iconic venue—designed by architect Félix T. Nuncio with interiors by set designer Manuel Fontanals—held its first screening, quickly becoming one of Mexico City's most popular movie theaters. Located at 9 Serapio Rendón Street in the San Rafael neighborhood, the Art Deco building features a facade framed by a large window with two stone-carved sculptures depicting the comedy and tragedy masks.

Contrary to popular belief, it is impossible to separate law and urban planning. Both disciplines have served as instruments to establish the rampant inequalities we live in—one through the administration of state force, the other through the accumulation of territorial power. Yet both also hold the keys to creating more equitable cities. The only way to build a true right to the city is through interdisciplinary dialogue, particularly now that a reform proposal seeks to recognize this right in the Political Constitution of the United Mexican States. This article aims to open a space for dialogue among those of us working in law, architecture, and urban planning.

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Today, August 13, commemorates two pivotal events in Mexico's history: the approximate founding of Tenochtitlan, capital of the Mexica civilization, around 1325 on an island in Lake Texcoco in the Valley of Mexico; and the fall of this empire in 1521 to the Spanish army led by the conquistador Hernán Cortés.

These are just a few of the many events that shape today's Mexico City, making it nearly impossible to summarize them all. Nonetheless, revisiting some of these milestones helps us understand the very ground we stand on and, above all, reflect on the future of our actions as architecture professionals: from the pre-Hispanic period, colonization, Independence, and the Revolution, to the foreign influences of the Modern Movement and the diverse interpretations that culminate in what we recognize today as contemporary architecture.

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Various authors such as Michel Foucault, Maurice Merleau-Ponty, and contemporary thinkers Marina Garcés and Judith Butler have brought the body to the forefront of global philosophical discussions. This has gradually permeated different disciplines where the body is the focus of study, and even some where this relationship seems less obvious.

In the dawn of humanity, communities instinctively organized themselves based on local conditions, available resources, and their way of life. While nomadic groups created solutions for temporary occupation—often carrying shelters among their belongings—settled groups also developed ways to occupy available spaces, establishing construction techniques that have evolved to this day.

One such way of dwelling, which conventional architecture eventually sidelined—to the point of it acquiring a fantastical status in popular culture—was the occupation of cavernous or excavated spaces. Yet, this remains an ancient practice that leverages vernacular techniques to adapt to climate conditions and expand architectural possibilities.

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The role of fire in human development is undeniable. Our ancestors leveraged this discovery to cope with low temperatures, protect themselves from predators, and cook food to make it more digestible. Over time, the ritual of cooking evolved from a simple open-air campfire to enclosing fire within chambers. These chambers gradually became more sophisticated over the years, eventually transforming into the complex, modern elements that served as the starting point for the emergence of kitchens as social architectural spaces.

Regardless of its size or layout, the kitchen as a shared space has preserved its ritualistic nature to this day. In ancient times, we gathered around the fire to prepare food and tell stories; today, we meet in our home kitchens to connect with one another. The importance of this space in daily life is enhanced by kitchen furniture lines like Wasser, a brand distributed by CHC that balances aesthetics and functionality, conceiving kitchens as utilitarian and social spaces, with special attention paid to design.

Under the title “La vida de los edificios” (“The Life of Buildings”), the latest book by Spanish architect Rafael Moneo—1996 Pritzker Prize laureate—was presented in late December. The volume represents an attempt to view architecture from “within, from its very core,” focusing on three structures: the Mosque of Córdoba, the Lonja of Seville, and the Carmen de Rodríguez-Acosta in Granada. These three buildings, located in three different cities, are considered by Moneo to be essential for anyone wishing to understand Spain and its architecture.

As such, the book is structured around three essays, each dedicated to one of these buildings. Written under different circumstances, they have been compiled to shape this volume by the renowned Navarrese architect and 1996 Pritzker Prize laureate.

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“A thesis is like a pig; everything in it can be put to use,” concluded Umberto Eco in his book How to Write a Thesis. Indeed, these research projects, developed through four or five years of intense effort and sacrifice, become extraordinary tools and inexhaustible sources of information for both students and professionals looking to delve into a specific topic within their field of knowledge.

In Spain, the 2008 economic crisis triggered a notable increase in the number of architects who chose to pursue a doctoral thesis as a way to continue their academic training and expand their career options. Coupled with the rigorous training that Spanish architects typically receive, this has led to a vast body of exceptionally high-quality research, serving as an invaluable reference resource for both students and practitioners.

This article compiles 10 doctoral theses focused on major Spanish architects whose careers spanned the 20th century and who, for various reasons, left an indelible mark on the history of Spanish architecture during this period.

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.

Buenos Aires is once again joining the global urban walking festival, Jane's Walk. The seventh local edition of the event will take place from Friday, May 4, to Sunday, May 6, aiming to foster a connection between urban space and citizens to encourage a more human, active, and pedestrian-friendly city.

The more than 20 free walks taking place throughout the city are organized by Urbanismo Vivo, which has coordinated the local event since 2012, featuring routes through different neighborhoods and covering a variety of themes.

Find more information about the event and a few words from the organizers below.

This article is part of our new Opinion section, a format for argument-driven essays on critical questions shaping our field.

Who designs architecture today? In a professional landscape increasingly defined by collaborative workflows, generative software, and distributed teams, the figure of the architect as a singular creative author feels both anachronistic and inadequate. This article argues that architectural authorship is no longer an individual act, but a collective and distributed condition shaped by institutions, technologies, and shared forms of labor. The transition from individual to collective authorship is not simply a consequence of larger offices or digital tools; it signals a deeper structural shift in how architecture is produced, communicated, and validated.

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In a world facing ecological exhaustion and spatial saturation, the act of building has come to represent both creation and consumption. For decades, architectural progress was measured by the new: new materials, new technologies, new monuments of ambition. Yet today, the discipline is increasingly shaped by another form of intelligence, one that values what already exists. Architects are learning that doing less can mean designing more, and this shift marks the emergence of what might be called an architecture of restraint: a practice defined by care, maintenance, and the deliberate choice not to build.

The principle recognizes that the most sustainable building is often the one that already stands, and that transformation can occur through preservation, repair, or even absence. Choosing not to build becomes a political and creative act, a response to the material limits of the planet and to the ethical limits of endless growth. That Architecture moves beyond the production of new forms to embrace continuity, extending the life of structures, materials, and memories that already inhabit the world.

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In an increasingly diverse world, the emergence of multi-faith spaces represents a significant shift in architectural design, reflecting the evolving religious landscape of contemporary society. These spaces, which began to be formally established in the 1950s in public buildings like airports and hospitals, serve as microcosms of social transformation and peaceful coexistence. They allow various traditions to harmoniously share environments, embodying principles of inclusivity, flexibility, and adaptability.

As communities grow more multicultural and increasingly diverse, these spaces serve as physical manifestations of religious inclusion, encouraging the acceptance of religious and ethnic minorities within multicultural landscapes. Their proliferation reflects a growing need for inclusive environments that cater to diverse spiritual needs while promoting interfaith understanding. However, designing and implementing these spaces presents complex challenges, often sparking debates about representation, neutrality, and the very nature of sacred space. These discussions underscore the delicate balance architects must strike in creating spaces that are both universally welcoming and spiritually meaningful.

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