Jean-Philippe Martin
The new tourism icons of cities: Creative discovery in Santa Marta (Colombia)
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Jean-Philippe Martin
The new tourism icons of cities: Creative discovery in Santa Marta (Colombia)
In the history of cities, architectural icons have always played a fundamental role in shaping urban identity and attracting tourism. From the Eiffel Tower in Paris to the Sydney Opera House, these landmarks become symbols that transcend mere functionality to transform into cultural, emotional, and even spiritual representations of a place. Today, in the heart of the 21st century, cities are creating their own icons, blending tradition, innovation, and sustainability.
Thanks to the generosity of my friend Antonio Santos, president of the Tourism and Society Think Tank (TSTT), and of Noah Laurent, I have received a series of architectural proposals from the young Colombian designer Ciro Sánchez Peñaranda, founder of the Contrasto Studio, developed for the city of Santa Marta in Colombia —a city I first visited about six years ago on my way to Cartagena de Indias. These proposals emerge as a creative laboratory where architecture and urban planning engage in dialogue with the Caribbean Sea, the Sierra Nevada, and the joyful spirit of its citizens.
These works, which reached me as refreshing creations infused with Caribbean light and air, are not merely projects, but true urban manifestos that reveal the path toward a new tourist iconography, one that is highly relevant within international trends.
When I am asked what a tourism icon is, I respond that it is not just a striking building; it is a shared experience that embodies values of belonging while at the same time projecting modernity. Cities employ them as catalysts for investment, drivers of tourism, and narrators of identity.
In the case of this Caribbean city, and although I am not fully up to date with the current reality of Santa Marta —known as the oldest city in Colombia— these proposals enrich its symbolic repertoire, going beyond its colonial heritage or privileged natural setting, and providing new landmarks that connect with the younger generations of travelers.
In this context, Ciro Sánchez Peñaranda’s architectural proposals address a dual challenge: on the one hand, revitalizing the urban image through innovative projects, and on the other, ensuring that these new landmarks engage in dialogue with historical memory and environmental sustainability.
The creations of Ciro Sánchez, from the Contrasto studio, are examples of how architecture can function as a cultural narrative. Among them stands out Arena SMR Eduardo Santos, a sports and entertainment complex with a bioclimatic focus that incorporates cross ventilation, rainwater harvesting, and integrated green areas. This stadium is conceived not only as a sports venue, but also as an urban park open to tourism and to the daily life of the residents.
Another project with a distinctly touristic profile is La Perla, a seaside space that integrates heritage, culture, and nature. The design respects historic buildings such as the San Juan de Dios Hospital while proposing water features, vegetation, and pedestrian pathways that link the marine landscape with urban memory. It is a design that elevates heritage into a contemporary dialogue, creating an accessible and vibrant cultural landmark.
Likewise, the La Esperanza project represents the idea of a symbol of change and transformation, especially now that I see online that the city is celebrating the 500th anniversary of its founding. More than a building, it is conceived as a new lung for the city, with walkable green roofs, solar energy, and areas dedicated to government offices, coworking, and recreation. The message is clear: a tourism icon can simultaneously function as an administrative engine and a civic space.
Finally, Taiku is envisioned as a hybrid between a habitable sculpture and an entertainment center. With concert areas, climbing walls, and inclusive spaces for children and the elderly, the building rises as an intergenerational and cultural meeting point. Its geometry, inspired by ocean waves, turns the complex into a true Caribbean symbol.
Beyond the works themselves, Sánchez is an architect who combines technical rigor with artistic sensitivity, and I believe his projects reveal a commitment not only to innovation but also to the environment, always seeking to integrate nature, community, and tourism.
What is most surprising and refreshing about his portfolio—particularly given his youth, which I can sense from the photograph I received—is his ability to create contrasts: spaces that are both spectacular and functional, avant-garde and respectful of heritage. From shopping centers such as Ocean Mall to housing projects in Minca or Neguanje, his work explores Caribbean diversity without losing aesthetic coherence—something that we European creators, often trapped in the cloning of projects since the 1990s, would do well to remember.
Architect Ciro Sánchez Peñaranda. Contrasto Studio
In his proposals for Santa Marta, Sánchez—whom, I repeat, I came to know through Antonio Santos and Noah—manages to convey the freshness that characterizes the Colombian Caribbean: the intense light, the sea breeze, the urban rhythms, and the cultural roots. Each project becomes a microcosm of the city, a potential icon to attract visitors while at the same time improving the lives of its citizens.
Taking Sánchez’s creations as an example, the construction of tourism icons cannot be understood merely as a matter of marketing. They are strategic commitments that involve urban planning, social participation, and a vision for the future. In the case of Santa Marta, these projects demonstrate that a new Caribbean urbanism is possible—one that values sustainability, inclusion, and heritage.
Globalization has shown us that the cities capable of positioning themselves in the collective imagination are those that possess powerful symbols. Santa Marta now has the opportunity to redefine its identity through these works. Tourism, which represents one of the most important economic drivers for cities, finds in these icons a tool to diversify its offerings and extend the stay of visitors.
As a European architect, I am thrilled to see how powerful urban icons are emerging in Latin America, carrying great symbolic weight. Contemporary architecture does not need to copy foreign models; it can and must draw inspiration from its own environment, its culture, and its people.
Today’s tourism icons are not limited to being postcards; they are sustainable, inclusive, and creative experiences. This is where visionary architects are paving the way to gift the world with a new repertoire of unforgettable symbols.
Author: Jean-Philippe Martin
Architect, academic, and constantly on the move
The authors are responsible for the choice and presentation of the facts contained in this document and for the opinions expressed therein, which are not necessarily those of Tourism and Society Think Tank and do not commit the Organization, and should not be attributed to TSTT or its members.
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