in architecture from Universidad Pontificia Católica (2006), who currently serves as Undersecretary of Heritage at the Ministry of Culture, Arts, and Heritage. Until then, he had devoted himself to teaching and, before graduating, had worked alongside Alejandro Aravena on the Quinta Monroy project in Iquique—the first housing complex developed by ELEMENTAL. At the same time, he founded OWAR Arquitectos, together with Álvaro Benítez and Tomás Folch, and they designed social housing on Juan Fernández Island and heritage projects in Valparaíso, among others. He now views his call to join the public sector as something that came about naturally. In 2011, Magdalena Krebs, director of DIBAM, appointed him Executive Secretary of the National Monuments Council (CMN). He left his office, thinking it would be a temporary arrangement, and participated in the organizational discussions for the creation of the Ministry of Culture, Arts, and Heritage. President Sebastián Piñera signed the bill to establish it in May 2013, and it became Law 21,045 in October 2017, during the administration of President Michelle Bachelet. During that period, he also participated in shaping the first draft of the Cultural Heritage Law and in the restoration of the Pereira Palace, a project that became an emblematic case and a concrete reflection of the broader, more abstract discussion regarding public policies related to heritage. With regard to the specific agenda related to this issue, he is keen to highlight the bill for the new Cultural Heritage Law (which was introduced in Congress in 2019, revised in 2021, and approved by the Chamber of Deputies in 2022) and which is expected to be enacted shortly. – You have argued that Chile was at the forefront of heritage issues. Where do we stand today in the Latin American context? – In terms of regulations, we lag behind countries like Brazil, Co- lombia, and Peru. But not in terms of social recognition. Heritage Day attracts more than 2 million people, and the renovation project at the Palacio Pereira is a flagship initiative throughout Latin America, on par with similar projects around the world. So, I see a significant disconnect between the institutional regulatory sphere and the professional one. Emilio concludes that “we can no longer view heritage as a barrier to urban development. It must be seen as another factor in develop- ment. And that means there is room for new architecture, that certain typological and environmental aspects must be respected, that some projects cannot be carried out because we must respect these cultural assets that require protection, that heritage is not limited solely to built structures, and that there are intangible dimensions,” he notes. !
In October 2011, Rodrigo Guendelman published a column in the newspaper La Tercera titled “Santiago Adicto,” and a year earlier, he had launched the hashtag with the same name on X (then known as Twitter), at a time when many people were using #Santiasco. “It was as if a campaign had been launched by people who wanted to denigrate their own city,” says the journalist from Universidad Diego Portales, a columnist for the aforementioned newspaper and host of Santiago Adicto on Radio Duna. His connection to the city began when he was working at Radio Zero; after the show, he would go for walks looking for sculptures, which was his hobby at the time. “I would set myself goals, such as looking for Federico Assler’s work, which is in a social housing complex designed by Alejandro Aravena in Renca, or Samuel Román’s fountains on Avenida Matta. So I would go to different neighborhoods and districts, and that’s how I began to come across the trees, the buildings, the museums, the squares, and the people, and I realized that the city was even more interesting than I had thought,” he explains In this way, he has become a leading voice when it comes to discuss- ing the city—not just its infrastructure and public spaces, but also the relationships that are formed there and the cultural agenda it offers. With his deep knowledge of the history of national architecture and public art design, he recommends places and experiences, and delves into these topics from a citizen’s perspective. “I’m not an architect or an urban planner; I’m a communicator, and so I’m always asking questions. So, I use what I learn, but always with the understanding that I won’t delve into technical details, because my role is to help people appreciate and enjoy the city they live in. If we know it, we’ll love it, and if we love it, we’ll take care of it. So it’s a virtuous cycle,” he concludes. !
AOA Medal for Outstanding Young Architect
Urzúa Soler Arquitectos Architecture as a Bridge to the Landscape
With projects on various scales, the firm based in Talca has specialized in the design and construction of buildings using industrialized wood.
Architects Nicolás (39) and Mauricio (37) Urzúa Soler, both graduates from Universidad Católica with honors, have been running their firm for 10 years. They not only design architectural projects but also oversee construction, which allows them to be involved in the entire process and achieve more precise results. Based in Talca, they have undertaken a variety of projects both in Chile and abroad, and while they have ex- perimented with different materials, engineered wood has become the focal point of projects such as Casa Vigas, the Cinerario and Capilla Sur, Casa Uruguay, and, soon, a project in Matanzas and a residential club on Lake Muskoka in Canada, after the firm Combeau Murtagh Arquitectura invited them to join the team, which also includes Studio Caban. When reflecting on the projects they have developed and their ap- proach to architecture, the intersection between architecture and con- struction immediately comes to mind, as they seek to make the structure the focal point and ensure it is clearly visible—not merely a supporting element, but the very solution to the project, whether through the use of wood, concrete, or brick. Architect Mauricio O. Urzúa was an important mentor. “He taught us a lot, especially everything we know about structure and the craft itself. From a very young age, we always had his guidance—going to
AOA Medal for Institutional Contribution to Architecture
Rodrigo Guendelman “My role is to help people appreciate and enjoy the city where they live.”
The multimedia platform Santiago Adicto was awarded the AOA Medal for Institutional Contribution to Architecture. Its founder explains how it began and evolved into a strong community that today approaches the city, architecture, and heritage from a positive and proactive perspective. “It's not that people love cities because they're beautiful; cities are beau- tiful when people love them.” This quote, which appears in the profile of the Santiago Adicto account on X (formerly Twitter), Instagram, and its website, reflects the positive outlook that defines this multimedia platform, which boasts a large community.
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