Architectural Cases

The Concéntrico Festival 2026 is poised to transform Logroño, Spain, into a dynamic laboratory of architectural and urban innovation from June 18 to 23. This year's event will feature over two dozen installations scattered throughout the city's squares, plots, streets, and iconic sites. Renowned international figures such as Smiljan Radić, the raumlabor collective, Matilde Cassani, AAU Anastas, and Sahra Hersi are among the creators participating. A distinctive aspect of this edition is its focus on collective, celebratory, and performative interactions within public spaces, highlighting auditory experiences and initiatives promoting accessibility, inclusivity, and urban revitalization. The festival's program is structured around three core themes: 'Identity and Fiction,' 'Urban Ecologies,' and 'Ephemeral Agents,' presenting projects that range from architectural designs enhancing public rituals to experimental explorations of materials, sound, and sustainable reuse practices.

Highlighting the 'Identity and Fiction' theme, Smiljan Radić will introduce an ephemeral, open, and communal structure inspired by traveling circuses, fostering interaction and play in a vacant lot. Matilde Cassani’s intervention at Arco de San Bernabé reimagines the arch using textiles and commemorative elements, celebrating local traditions and their role in shaping urban identity. Ofreia’s research at Cancha del Cubo delves into the historical uses of the Ebro River, particularly bathing, activating it as a communal space. BeAr’s “Temblores de superficie, vino y Smithson” offers a minimalist interpretation of Viña Lanciano’s wine-growing landscape, creating a field of sensory engagement. PPAA’s work at Plaza del Ayuntamiento will engage in a dialogue with Rafael Moneo’s building, using pillars to extend its structural logic and redefine the public space. CENTRAL and Maxime Delvaux’s “Architecture for Ritual” will convert Plaza del Mercado into a playful beach, culminating in a fire ritual on San Juan eve. Additionally, “Dancing on Architecture” at Paseo del Espolón aims to create a civic choreography using light and human movement, transforming the space into a collective, living monument.

Under the 'Urban Ecologies' axis, NOOF GROUP addresses urban heat islands with “Shade, Breeze, Cooling,” an artificial landscape in Plaza del Mercado that generates shade and cooling through a modular system. Raumlabor’s “Hot, Cool, Soft” at Plaza de la Diversidad features three experimental pavilions that create diverse microclimates using natural materials, inviting visitors to a physical and spatial climate experience. Sahra Hersi’s “The Potting Shed” at Biblioteca Rafael Azcona proposes a civic garden for cultivation and seed exchange, incorporating community-designed ceramics. Suomi-Koivisto & IC-98's “A Third of Life” at COAR site combines a drought-resistant garden with a space for collective sleep, echoing ancient incubation rituals. Boltshauser × Garbizu Collar’s project in the Santiago area explores the relationship between earth, architecture, and wine, creating a tasting chamber from compacted earth and reused barrels. Parabase’s “Transtation” at the Bus and train station site is a prototype of circular infrastructure, reusing elements and generating energy through biodigestion. Zeppelin Design’s “Zubía’s Laboratory” at La Glorieta transforms the space into an open-air laboratory for environmental discovery, linking scientific heritage with urban poetry. Faris Alossaimi’s “Bayn” at Plaza de los Derechos Humanos introduces a mobile courtyard inspired by architectural archetypes, creating a flexible space for connection and reflection. Finally, the 'Ephemeral Agents' theme includes 2050+'s “Frontones Danzantes” at Parking del Revellín, transforming a transit space into an active landscape for play. Amanda Pinatih + Gabriel Fontana’s “SIDELINED: A Game to Rethink Togetherness” promotes inclusive sports through workshops for primary school students. AAU Anastas’s “Catedral para Uno” at COAR Courtyard offers a stone architecture for solitary contemplation, transforming industrial waste into a culturally significant space. “Sounds of Architecture” by Sounds of Architecture Records involves producing a vinyl record capturing Logroño’s soundscapes, encouraging a mindful listening experience. TAELON 7’s installation at Calle Pilar Salarrullana – República Argentina is a lightweight, informal structure made from reused plywood, stained with grape pomace, embodying local connection. Future Firm’s intervention at Puente de Hierro explores how existing urban infrastructures can activate new relationships with their surroundings and the Ebro River. DF DC’s “A Soft Embassy” at Plaza San Bartolomé is a temporary pavilion for public interaction, transforming scaffolding into an open, permeable space. Tło’s “Los Sábados” at Pasaje Chimenea adapts a Polish vernacular archetype into a narrow street, offering shelter and hospitality through reused materials. Lastly, Ignacio G. Galán + Ozaeta Fidalgo Architects + Jordan Whitewood-Neal, with CERMI, will host an open workshop at Plaza de la Diversidad, exploring architecture, disability, and public space from a critical, inclusive perspective.

This festival transcends the mere display of architectural works; it is a profound testament to the power of creative expression in reimagining urban environments. By fostering community engagement and addressing contemporary challenges such as climate change and social inclusion, Concéntrico demonstrates that architecture is not merely about erecting structures but about crafting experiences that enrich lives and cultivate a sense of belonging. The installations encourage residents and visitors alike to interact with their city in new ways, promoting dialogue, reflection, and a shared appreciation for the spaces we inhabit, ultimately shaping a more vibrant, resilient, and inclusive urban future.

Palmas 555, a distinguished corporate office building situated in Mexico City, stands as a testament to innovative design and volumetric mastery. Conceived in 1975 by the renowned architect Juan Sordo Madaleno, in collaboration with José Adolfo Wiechers and José Ignacio de Abiega, this structure has consistently captured attention for its groundbreaking aesthetic and integration into the city's urban fabric. Its design ethos reflects a modernist approach, emphasizing both functionality and a striking visual presence that continues to influence contemporary architectural thought in the region.

Completed in 1975, Palmas 555 quickly established itself as a landmark within Mexico City's bustling corporate sector. The architects, Sordo Madaleno, Wiechers, and de Abiega, embarked on a mission to create a workspace that transcended conventional office building designs of the era. Their vision materialized in a building characterized by its unique geometry and an innovative use of materials, primarily glass, stone, and concrete. This combination not only contributed to its distinctive appearance but also offered practical benefits in terms of durability and environmental responsiveness. The structure's 5000 m² footprint was meticulously planned to maximize both interior space and natural light, fostering an efficient and pleasant working environment. The strategic placement of windows and the thoughtful selection of building materials allowed for optimal thermal performance, a crucial consideration in Mexico City's climate. Furthermore, the building's robust construction reflects a commitment to longevity, ensuring its enduring presence in the city for decades.

The architectural language of Palmas 555 is rooted in the principles of Brutalism, characterized by its emphasis on raw concrete and large, unadorned surfaces. However, Sordo Madaleno and his associates skillfully softened this industrial aesthetic with elegant touches, including extensive glass facades that introduce transparency and connect the interior with the surrounding urban environment. The interplay between solid concrete volumes and expansive glass panels creates a dynamic contrast, lending the building a sense of both strength and lightness. This blend of Brutalist robustness and modernist elegance allows Palmas 555 to command attention without overwhelming its surroundings. Its design also carefully considers the urban context, contributing positively to the streetscape while providing a distinct identity. The building’s influence extends beyond its immediate vicinity, serving as an important reference point for architects studying corporate design in Latin America.

Palmas 555 remains a significant example of mid-20th-century corporate architecture in Mexico City. Its design, characterized by an innovative volumetric approach and a harmonious blend of materials, set new standards for office buildings. The collaboration between Juan Sordo Madaleno, José Adolfo Wiechers, and José Ignacio de Abiega resulted in a structure that is both functionally superior and aesthetically compelling, leaving an indelible mark on the city's architectural heritage.