In many Latin American cities, peripheral neighborhoods have historically had less access to the resources that make urban life more than just livable. Housing, transportation, and public services are the usual markers of that gap. But there is another gap that is harder to quantify: the absence of places where people can gather, learn, rest, and participate in collective life. When those spaces do not exist, the city not only fails to provide a service. It fails to acknowledge a presence.
In recent decades, a growing number of projects have tried to address that absence directly. Rather than focusing only on physical infrastructure, they invest in spaces designed to support education, culture, recreation, and community, often merging several of those functions within a single building in neighborhoods where those spaces are otherwise limited.
Mexican sculptor Pedro Reyes has developed a multidisciplinary practice that spans sculpture, architecture, social engagement, and activism. Trained as an architect, Reyes approaches sculpture as both a material and a collective process, combining traditional stone carving with participatory projects that address contemporary social issues. His work frequently explores transformation, whether through physical materials or community action, positioning sculpture as a tool for reimagining social realities. In a 2025 interview with Louisiana Channel, Reyes discusses the influence of architecture on his artistic practice, the concept of "social sculpture," and the importance of preserving craft traditions in an increasingly automated world.
Alex Martínez Suárez, “View of Erwin Cott and Manuel Salvador Gautier, Capilla del Hogar Escuela Salesiana de Haina, Santo Domingo, República Dominicana, built 1965,” 2013. From the 2026 grant to Alex Martínez Suárez for the publication “Concrete under the Sun: Brutalism in the Dominican Republic”. Image Courtesy of Alex Martínez Suárez
The Graham Foundation has announced the recipients of its 2026 Grants to Individuals program, awarding a total of $506,000 to 54 projects that investigate architecture through exhibitions, films, publications, and research initiatives. Selected from more than 600 submissions to the Foundation's September 2025 application cycle, the grants support work by 86 architects, artists, curators, designers, filmmakers, historians, scholars, and writers, reflecting a broad range of interdisciplinary approaches to the built environment and its cultural, social, and political dimensions.
Modern housing was one of the places where modernism made its boldest promise: that architecture could reshape not only the city, but the way people lived within it. As Argentine architectural historian Ramón Gutiérrez has argued, popular housing is "the great unresolved subject, one that usually does not appear in histories of architecture." In Latin America, this absence is significant. Across the 20th century, expanding cities turned housing into one of the clearest ways to imagine urban change, and modernism entered not only plans and drawings, but apartments, neighborhoods, streets, and domestic routines.
Yet once built, these projects entered cities shaped by politics, memory, inequality, and changing ways of occupation. Their meanings no longer belonged only to the original plan, but to the ways they were inhabited, altered, and transformed over time. What this history reveals is not adaptation, but friction: the moment when architecture stops being an ideal model and meets the city it cannot fully control.
Based in Mexico City, Estudio Ome, founded by Susana Rojas Saviñón and Hortense Blanchard, is an architectural and landscape practice working across forests, volcanic terrains, urban fragments, and former industrial sites. Winner of the ArchDaily 2025 Next Practices Awards, the studio develops projects through sustained observation of ecological and territorial conditions, where design decisions arise directly from the behavior of soil, water, vegetation, and ground.
Each project begins with repeated encounters. The terrain is first approached through walking and prolonged observation, letting drainage patterns, erosion, and seasonal shifts become legible before any formal measurement occurs. These visits form the basis for interpreting both visible and subterranean layers—hydrology and historical transformations that continue to exert force on the surface.
When Mexico City hosted the Olympics in 1968, it was the first time the Games had been awarded to a Latin American country as well as the first time for a Spanish-speaking nation to host them. This made the games a good opportunity to project Mexico and its culture internationally, thus prompting the government to constitute an organizing committee with prominent local talent. They appointed Pedro Ramírez Vázquez as its president, a Mexican architect who held significant influence over the state's mid-century building program. His approach was explicit: architecture as a synthesis of international modernist technique with Pre-Columbian references and local material culture. Under his direction, the committee would oversee the construction and adaptation of venues distributed across the southern districts of Mexico City, nearly all designed and built by local architects, engineers, and technicians.
About Competition A Sports Park will be designed as a sustainable space with courts, pedestrian walkways, and spaces suitable for holding outdoor festivals and concerts. Its prime location could serve as a fan fest for World Cups.
The cultural center is an architectural typology that has fascinated architects and urban planners for decades. Whether due to its multifaceted program, its often emblematic scale, or its potential to transform the urban context in which it is inserted, it is a building type that carries strong symbolic and conceptual value. The wide circulation of international references—many designed by renowned architects—reinforces the aura of prestige associated with this program, frequently seen as a privileged ground for formal and conceptual experimentation. Not by chance, cultural center designs are among the most recurring themes in competitions, exhibitions, and academic studios.
Yet behind this contemporary fascination lies a complex history in which the notion of space dedicated to culture has been redefined over time, gradually taking the form we recognize today. This ongoing evolution invites us to reflect not only on the historical path of these spaces but also on the possibilities that will shape their future.
Contemporary Mexican market architecture frequently draws inspiration from its pre-Hispanic precedents. The Tlatelolco Market in ancient Tenochtitlan, for example, featured a large, stone-paved open square with designated "streets", which were divided into sections for specific goods, serving as a significant gathering point for social and economic exchange. Similarly, the tradition of the Tianguis, an ephemeral market typology within the broader Mesoamerican tradition, also arranged stalls in aisles within a public plaza, reflecting organizational principles seen in Tlatelolco. These historical models established a base for the tradition of marketplaces in Mexico and the countries in Central America, where they merge public space and structured layouts for commerce. Today, even though many of Mexico's commercial spaces, notably Mexico City's Central de Abasto and other markets such as the Jamaica, Merced, and San Juan Markets, have taken on a stationary approach to serving their communities, tianguis maintain their foothold in Mexican society.
Titled "Chinampa Veneta", the Mexican exhibition for the 19th International Architecture Exhibition – La Biennale di Venezia seeks to promote reflection on how we inhabit, cultivate, and design the world we share. In the face of the global ecological crisis, the project draws attention to chinampas, an ancient Mesoamerican agricultural system with more than four thousand years of history. This ancestral knowledge, interweaving landscape, infrastructure, and technique, is reimagined in the context of the Biennale, activating a living environment within the city of Venice. The Mexican Pavilion consists of two "enactments," one located in the Arsenale and the other built on water.
Every year, World Population Day is observed on July 11th, aiming to increase people's awareness of various population issues, such as the importance of urbanization, genderequality, poverty, health, and human rights. In 2025, under the theme "Empowering Youth to Build the Families They Want," the United Nations draws attention to the largest generation of young people in history, many of whom are coming of age in rapidly urbanizing contexts. Urban centers remain key to understanding these demographic patterns, as cities continue to attract populations seeking opportunity, stability, and access to essential services. Today, more than half of the global population resides in urban areas, a share projected to increase to 66% by 2050.
Children Running in the school at Nebaj, Guatemala . Image Courtesy of Solis Colomer Arquitectos
Founded in 2002, Solis Colomer Arquitectos has established a strong reputation over the past two decades, designing and constructing projects with both social and commercial impact across Latin America. With over 200 completed works, the firm specializes in institutional architecture with social impact and user-centered commercial architecture. Its mission is clear: to use architecture as a tool to dignify the human experience, especially for those in greatest need.
Space has become a luxury in many of the world's most densely populated cities—a growing reality that's hard to ignore. Megacities like Tokyo, Shanghai, Mumbai, Mexico City, and São Paulo already have populations exceeding 20 million, while other urban centers across Asia and Africa continue to expand rapidly. Among these, Delhi stands out: if current trends continue, it is projected to become the most populous city by 2028. As these cities expand, housing—especially new developments—follows a new logic: as square meters shrink, furniture adapts, and daily life learns to fit and thrive in high-density environments. This change isn't just about size; it reflects a new way of living. Where spaciousness once dominated, density now rules. Every corner gains spatial and commercial value, with the kitchen emerging as one of the biggest challenges in housing design today.
The Architectural League of New York has announced the winners of its 44th cycle of the Architectural League Prize for Young Architects + Designers. Each year, the competition centers around a theme developed by a committee of past winners. This year's theme, Plot, invited participants to explore the role of plot in architecture, whether understood as land, drawing, or scheme, and consider how these frameworks shape design narratives and processes. Established in 1981, the annual competition recognizes early-career architects and designers in North America.
This year's programming follows a hybrid model. A virtual lecture series will launch on June 11 and feature presentations by the winners alongside moderated discussions. Installations by the winners will be presented either onsite or in digital formats and showcased in an online exhibition.
2025 promises to be a landmark in architecture, heralding a vibrant renaissance of creativity and exploration. As societies confront challenges such as climate change, rapid urbanization, and technological evolution, architecture is both a mirror to these dynamics and a compass pointing toward a sustainable and inclusive future. This year's architectural calendar offers abundant opportunities to celebrate the discipline's transformative power — from boundary-pushing festivals to thought-provoking exhibitions that explore pressing cultural and environmental narratives.
From well-established biennials to inaugural gatherings, including the World Architecture Festival 2025, Desert X Al Ula, and the COP Climate Conference, the 2025 calendar highlights themes such as sustainability, heritage, and community. These events underscore architecture's unique ability to shape a better future, addressing global challenges while honoring cultural diversity and design ingenuity.
A look at most of the cities within Latin America reveals striking commonalities across countries, from Mexico down to Argentina: most cities have a well-defined area known as "El Centro" (The Center), anchored by a main plaza (Plaza Mayor), flanked by a church on one side and key buildings like the city hall on another. This is no coincidence, as it can be traced back to an urban planning system established during the Spanish colonization of the Americas in the 17th and 18th centuries. It gave standardized guidelines for city design across its viceroyalties. Unlike French and English colonies, Spanish settlements adhered to regulations that contributed to the emergence of a shared urban identity, with cities displaying similar spatial logic and architectural cohesion despite differing scales and contexts.
