Since the end of the nineteenth century, the planning of cities has been understood as the discipline that establishes guidelines to project architecture for human occupation, with a focus on rationality and functionalism. Nevertheless, the city is a system of many layers and folds, constructed through the interaction of natural, cultural,socioeconomic,and political forces. This choreography, with a variety of purposes and different degrees of synchronization, creates architecture that serves both as shelter and context.Architecture, therefore,does not limit itself to the production of objects but rather appears as a field of study between and through disciplines, called upon to contribute to the organization of those forces that composepublic stages, the space where collective itineraries meet and intertwine.These stages have existed historically.
For Henri Lefebvre, the production of space is not only defined by the material qualities of buildings but also by aspects that surpass their physical context; it is informed by relationships of knowledge and everyday experience. This approach renders the built environment as a stage delimited not only architecturally but also by social exchanges, charged with nuances of power. In this sense, a stage operates as an assemblage, an open system, a multiplicity. Stages are public, housing webs of cohabitation and symbiosis. Public open space, flanked by architecture, is peculiarly sensitive to changing conditions, always in a state of becoming for its transient users continually construct it. In turn, through spatial practices, this architectural assemblage—the public stage—is molded, sometimes zealously preserved and others abruptly modified.
