Javier Arpa Fernández
Please Note
63 records found
1
This is practice
Spatial design, expanded
Alwah House
RCR Arquitectes, 2022, Dubai, UAE
Housing Acts
A timeline of manifestos, legislation, and resistance
Housing Acts starts from that desire and moves outward—tracing how wishes for housing have been imagined, legislated, and resisted. The exhibition brings together a selection of 20th-century books written by architects who believed that housing—and the city—could be otherwise. These books were manifestos: statements that shaped the discourse of their time and offered new directions for dwelling.
Each is placed within a larger timeline—alongside key moments of Dutch housing legislation and three waves of public protest. The rent strikes of the 1930s, the squatting and housing movements of the 1980s, and the national demonstrations of 2021 are rendered through archival collages, capturing a recurring tension between everyday realities and institutional response.
Together, these fragments tell a story of housing as a field of conflict and invention. They remind us that homes are not neutral spaces—they are the outcome of decisions, negotiations, and sometimes resistance.
Housing Acts is an invitation to reflect on what kind of housing, and what kind of city, we still wish for. ...
Housing Acts starts from that desire and moves outward—tracing how wishes for housing have been imagined, legislated, and resisted. The exhibition brings together a selection of 20th-century books written by architects who believed that housing—and the city—could be otherwise. These books were manifestos: statements that shaped the discourse of their time and offered new directions for dwelling.
Each is placed within a larger timeline—alongside key moments of Dutch housing legislation and three waves of public protest. The rent strikes of the 1930s, the squatting and housing movements of the 1980s, and the national demonstrations of 2021 are rendered through archival collages, capturing a recurring tension between everyday realities and institutional response.
Together, these fragments tell a story of housing as a field of conflict and invention. They remind us that homes are not neutral spaces—they are the outcome of decisions, negotiations, and sometimes resistance.
Housing Acts is an invitation to reflect on what kind of housing, and what kind of city, we still wish for.
The Other Tourist
Designing for Coexistence
In recent decades, tourism has become one of the most powerful forces shaping the planet. After the slowdown caused by the Covid-19 pandemic, international arrivals surged again, reaching 1.46 billion in 2024 . Today, tourism represents 11.6% of global GDP and continues to expand.
This exhibition explores the threshold where tourism slides into overtourism—where the pleasure of travel collides with it planetary and social limits. Mass tourism generates new forms of extraction and exhaustion. Sites such as Rome’s Trevi Fountain or Mount Everest have become symbols of this saturation: destinations drowning in their own appeal. Beyond questions of overcrowding, overtourism places additional strain on already fragile systems. Responsible for nearly eight percent of global carbon emissions, the tourism industry disrupts ecologies and communities, often displacing residents and sparking protest. Tourism, once celebrated as a bridge between cultures, now exposes a contradiction: it consumes what it seeks to admire.
Design plays a key role in breaking this cycle of commodification, commercialisation, exhaustion, and degradation. Rather than rejecting tourism altogether, The other tourist: designing for coexistence asks how design can help us travel differently. Through design interventions, acts of care and gestures of recalibration, design can reveal other ways hosting, moving and sharing space. The exhibition highlights projects and policies—selected and interpreted by students— that shift tourism from exploitation toward coexistence, showing how architecture and urbanism can become tools for a slower, fairer, and more responsible relationship with our planet.
The other tourist: designing for coexistence invites us to look at tourism from both sides: as travellers and as designers. The exhibition is divided in five interconnected chapters, rather than a fixed route, encouraging the viewer to wander through them intuitively. Hanging from the ceiling, the installation Measuring overtourism exposes the data behind global tourism’s expansion, translating numbers into tangible spatial realities, and is complemented by Tourism dystopia, a collage depicting overtourism’s practices and consequences in the built environment. Beneath the tribune, Histories of Hospitality revisits designs that once shaped the culture of travel. At the centre, Designing for Coexistence gathers real-life design initiatives proposing another kind of tourism, one grounded in care, slowness and shared responsibility. Finally, the postcards covering the wall in Addressing the audience turn outward, transforming awareness into action through public imagination.
This exhibition stands on the fine line between awareness and hope. It asks how to communicate the urgency, and how design can turn awareness into agency. The other Tourist: designing for coexistence displays emergency while proposing design as a practice of hope—a reminder that understanding crisis is the first step toward imagining alternatives. This is where design stands: between the world as it is, and the one still possible. ...
In recent decades, tourism has become one of the most powerful forces shaping the planet. After the slowdown caused by the Covid-19 pandemic, international arrivals surged again, reaching 1.46 billion in 2024 . Today, tourism represents 11.6% of global GDP and continues to expand.
This exhibition explores the threshold where tourism slides into overtourism—where the pleasure of travel collides with it planetary and social limits. Mass tourism generates new forms of extraction and exhaustion. Sites such as Rome’s Trevi Fountain or Mount Everest have become symbols of this saturation: destinations drowning in their own appeal. Beyond questions of overcrowding, overtourism places additional strain on already fragile systems. Responsible for nearly eight percent of global carbon emissions, the tourism industry disrupts ecologies and communities, often displacing residents and sparking protest. Tourism, once celebrated as a bridge between cultures, now exposes a contradiction: it consumes what it seeks to admire.
Design plays a key role in breaking this cycle of commodification, commercialisation, exhaustion, and degradation. Rather than rejecting tourism altogether, The other tourist: designing for coexistence asks how design can help us travel differently. Through design interventions, acts of care and gestures of recalibration, design can reveal other ways hosting, moving and sharing space. The exhibition highlights projects and policies—selected and interpreted by students— that shift tourism from exploitation toward coexistence, showing how architecture and urbanism can become tools for a slower, fairer, and more responsible relationship with our planet.
The other tourist: designing for coexistence invites us to look at tourism from both sides: as travellers and as designers. The exhibition is divided in five interconnected chapters, rather than a fixed route, encouraging the viewer to wander through them intuitively. Hanging from the ceiling, the installation Measuring overtourism exposes the data behind global tourism’s expansion, translating numbers into tangible spatial realities, and is complemented by Tourism dystopia, a collage depicting overtourism’s practices and consequences in the built environment. Beneath the tribune, Histories of Hospitality revisits designs that once shaped the culture of travel. At the centre, Designing for Coexistence gathers real-life design initiatives proposing another kind of tourism, one grounded in care, slowness and shared responsibility. Finally, the postcards covering the wall in Addressing the audience turn outward, transforming awareness into action through public imagination.
This exhibition stands on the fine line between awareness and hope. It asks how to communicate the urgency, and how design can turn awareness into agency. The other Tourist: designing for coexistence displays emergency while proposing design as a practice of hope—a reminder that understanding crisis is the first step toward imagining alternatives. This is where design stands: between the world as it is, and the one still possible.
Indigenous Intelligence
Ancient knowledge, current design
Projects range from matriarchal place-making and ecological governance to vernacular construction and cultural storytelling. All have been recently produced by students, PhD researchers, and educators at the Faculty of Architecture and the Built Environment.
Indigenous Intelligence invites visitors to reflect on how Indigenous knowledge can inspire future design and education. It challenges assumptions about technology and nature and explores how architecture and urbanism can shape not just spaces, but relationships between people, environments, and generations — with humility and care. ...
Projects range from matriarchal place-making and ecological governance to vernacular construction and cultural storytelling. All have been recently produced by students, PhD researchers, and educators at the Faculty of Architecture and the Built Environment.
Indigenous Intelligence invites visitors to reflect on how Indigenous knowledge can inspire future design and education. It challenges assumptions about technology and nature and explores how architecture and urbanism can shape not just spaces, but relationships between people, environments, and generations — with humility and care.
Asunción
Il diritto di abitare la città
La lotta per il centro di San Paolo
The struggle for São Paulo’s centre
Smoke on the water
Rosario and the burning Paraná Delta
Architects disseminate
Books, media, and the performance of practice
The works on display reveal that architecture is not only practiced through building, but also through storytelling. Dissemination becomes a strategic act: a way to shape public image, to participate in broader discourse, and to claim a place in history. Whether in the form of an idealized villa, a monumental portfolio, a carbon-conscious website, or a speculative film, these acts of publishing expose something of the architect’s vision—not just of buildings, but of their own role in society.
The exhibition juxtaposes early treatises by Sebastiano Serlio and Andrea Palladio with 17th-century publications by Philips Vingboons and Jacob van Campen; the self-fashioned mythology of Frank Lloyd Wright in the Wasmuth Portfolio; and the methodical compilations of Le Corbusier’s “Oeuvre Complète”. Alongside these, contemporary formats expand the field of architectural communication: Koolhaas and Bruce Mau’s “S,M,L,XL”; Zaha Hadid’s manifestos; Norman Foster’s Foundation; the algorithmic interface of Vylder Vink’s website; La-Di-Da’s low-carbon platform; the visual grammar of Sub’s sortable thumbnail system; and selected Instagram feeds that stage architecture as performance and persona.
Also featured are the fictional geographies of Design Earth, the dense cartographies of MVRDV’s “KM3”, and the curated urbanity of Atelier Bow-Wow’s “Made in Tokyo”. A monitor screening speculative films by Liam Young adds another dimension, while projects by Andrés Jaque, Teddy Cruz and Fonna Forman, Léopold Lambert, and Studio Folder further expand the figure of the architect—as editor, activist, researcher, and storyteller.
Drawn from the Trésor Collection of TU Delft and complemented by reproductions and digital interfaces, this exhibition highlights how dissemination has always been integral to architectural practice—not only to make architecture visible, but to help it evolve. To publish is to design one’s own reception. To share work is to propose a vision of the future.
...
The works on display reveal that architecture is not only practiced through building, but also through storytelling. Dissemination becomes a strategic act: a way to shape public image, to participate in broader discourse, and to claim a place in history. Whether in the form of an idealized villa, a monumental portfolio, a carbon-conscious website, or a speculative film, these acts of publishing expose something of the architect’s vision—not just of buildings, but of their own role in society.
The exhibition juxtaposes early treatises by Sebastiano Serlio and Andrea Palladio with 17th-century publications by Philips Vingboons and Jacob van Campen; the self-fashioned mythology of Frank Lloyd Wright in the Wasmuth Portfolio; and the methodical compilations of Le Corbusier’s “Oeuvre Complète”. Alongside these, contemporary formats expand the field of architectural communication: Koolhaas and Bruce Mau’s “S,M,L,XL”; Zaha Hadid’s manifestos; Norman Foster’s Foundation; the algorithmic interface of Vylder Vink’s website; La-Di-Da’s low-carbon platform; the visual grammar of Sub’s sortable thumbnail system; and selected Instagram feeds that stage architecture as performance and persona.
Also featured are the fictional geographies of Design Earth, the dense cartographies of MVRDV’s “KM3”, and the curated urbanity of Atelier Bow-Wow’s “Made in Tokyo”. A monitor screening speculative films by Liam Young adds another dimension, while projects by Andrés Jaque, Teddy Cruz and Fonna Forman, Léopold Lambert, and Studio Folder further expand the figure of the architect—as editor, activist, researcher, and storyteller.
Drawn from the Trésor Collection of TU Delft and complemented by reproductions and digital interfaces, this exhibition highlights how dissemination has always been integral to architectural practice—not only to make architecture visible, but to help it evolve. To publish is to design one’s own reception. To share work is to propose a vision of the future.
Madrid: dal collasso al boom
Una storia di diseguaglianza
Next Costa
Regenerating the Spanish coastlines
Lusail
Superlative urbanism
Chongqing
Verticalism beyond skyscrapers
The Green Dip
Covering the City with a Forest
The research group The Why Factory (Delft University of Technology) has produced a series of visualizations of various greened cities (Hong Kong, São Paulo, Dubai and many more). These visualizations respond to the analysis and calculations made for each of the biomes in which the cities are located. The visualizations are accompanied by sets of objective data, from the amount of oxygen that can be produced, via the gallons of water than can be stored, to the number of birds that can be provided with a habitat.
Ultimately, The Green Dip provides an innovative method to calculate the environmental benefits and estimate the costs of greening our cities. The research offers ways to reintroduce nature into our homes and claims that agriculture, forestry and organic production can be the catalyst for other ways of making the metropolis. ...
The research group The Why Factory (Delft University of Technology) has produced a series of visualizations of various greened cities (Hong Kong, São Paulo, Dubai and many more). These visualizations respond to the analysis and calculations made for each of the biomes in which the cities are located. The visualizations are accompanied by sets of objective data, from the amount of oxygen that can be produced, via the gallons of water than can be stored, to the number of birds that can be provided with a habitat.
Ultimately, The Green Dip provides an innovative method to calculate the environmental benefits and estimate the costs of greening our cities. The research offers ways to reintroduce nature into our homes and claims that agriculture, forestry and organic production can be the catalyst for other ways of making the metropolis.