creation of high-quality public spaces. Beyond what the law requires or permits, we must have that instinct that allows us to think about the collective good. There is one fact that cannot be overlooked: much of the architecture that is celebrated today—and to which many architects aspire—is based on exceptionalism; that is, building self-contained, iconic structures that do not embody the collective spirit that every building in the city should necessarily represent. Exceptionalism has become a very complex epidemic among architects—that desire to stand out. There’s something very beautiful about the public projects I work on, and that is that a large part of urban spaces is a continuation of what someone else had already been doing. And surely someone else will come along to build on what we’ve done. It’s a way of building the city— keeping it relevant and vibrant—but from behind the scenes. You’re not thinking about your own legacy, but rather about the city’s permanence, vitality, and constant renewal. -How do you envision the future of cities? -The 21st century will likely be the century in which the planet becomes practically artificial to an extent never before imagined. By around 2050, 70% of the population will be living in urbanized areas. This underscores the importance of how we live. And I believe that a question that concerns all architects is how we want to live. In that sense, I believe that the city of the future is very complex, one that should combine the values of the compact city—in terms of com- plexity and the interrelation of different land uses—with the necessary density, while incorporating into those values—which we draw from the compact city—continuity, the ability to create public spaces, and nature; in other words, to renaturalize the city. -Given the housing crisis facing the country and your experience in this area with projects such as the Mapuche Housing Project and the La Ermita complex, what do you think is the best course of action? -The biggest problem with public housing isn't the housing itself, but urban segregation. What's a disaster are these areas on the outskirts: hectares and hectares of housing with no sense of community or social purpose. We all need doctors, hospitals, good education, and services. If we have a city with a diverse population, we'll be able to access all those services much more effectively. - In 2026, the magazine will celebrate its 20th anniversary. What do you think has been its contribution to the architectural community? -History must be written and recorded; it is important for future gen- erations. We build upon the work of those who came before us, and one way to learn about them is through publications. I believe that AOA now fills a void, allowing us to establish connections with history—which is a way of reconstructing or building upon a legacy and doing so in a way that makes it new and vital. I’m not interested in being original—it’s not an option; if one is original, it’s a consequence. !
AOA Medal for Architectural Achievement
Elton Léniz Arquitectos Narrative, precision, and continuous exploration
The firm, led by Mirene Elton and Mauricio Léniz, was recognized for its established practice of excellence, reflected in architectural work that has successfully integrated quality, innovation, and sensitivity into projects from a wide range of scales and programs. The architects from Universidad Católica trace the founding of their firm to 1996, the year they designed the Mima chair—their first commission, which came before they had even graduated—and completed the Casa Pirihueico (located in the Los Ríos Region, in the municipality of Panguipulli), which won the Grand Prize at the Pan-American Biennial two years later. Since then, they have designed a wide range of projects, including the renovation of the former Machasa textile factory, the Patricia Ready Gallery (in collaboration with Izquierdo and Lehmann), and the Arauco Cultural Center, but they have specialized in residential homes, having designed or renovated more than 100 throughout the country. Among the milestones that complement their early projects is their presentation at the 2016 Venice Architecture Biennale with Andes Shadow, in the international exhibition Reporting from the Front, a video installation exploring aspects of daily life in five schools in Peñalolén, Santiago. Additionally, they were part of the general exhibition with the Pavilion of Shadows in San José de Maipo. All of these projects are part of the book they hope to launch this year, which brings together processes, history, and projects from the past 30 years. “It is, in part, a celebration and also a moment when we look ahead to what’s coming—namely, a deeper exploration of what we’ve realized we’re capable of and where our contributions lie in the development, innovation, and thinking behind architecture and the profession. While designing homes in different places continues to move us—and is part of our essence—projects related to education, culture, and art motivate us immensely. Collaboration with other fields, the exchange with other people, the creativity, playfulness, and fun involved, and the trust in our teams will continue to be the cornerstones of our firm in the coming years,” say Mirene and Mauricio. !
Emilio de la Cerda AOA Medal for Academic Achievement Architecture, Heritage, and Public Service
His career has been marked by his systematic contributions to the development of the profession across the public, institutional, educa- tional, and practical spheres. “I’m interested in that relationship, that balance between different worlds,” he says.
The 2010 earthquake marked a significant milestone in the professional career of Emilio De la Cerda, an architect and holder of a master’s degree
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AOA / n°54
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