Contrary to some beliefs, climate change is not simply some unidentifiable threat perpetually on the horizon, but a phenomenon that has already had real impact on real world places. To illustrate the effects of our changing environment, the New York Times has launched a new multi-media series called “Changing Climate, Changing Cities,” written by architecture critic Michael Kimmelman, that aims to expose how climate change is “challenging the world’s urban centers.
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Changing Climate, Changing Cities: The New York Times Launches Series on the Urban Effects of Climate Change
As the common phrase attests, “history is written by the victors.” We therefore know that the story of the West is that of Europe and the United States, while the other actors in world history are minimized or invisible: it happened to the Chinese and Japanese during World War II, to the Ottoman Empire in sixteenth-century Europe, and to racial majorities in the common reading of Latin American independence. The same thing happens in architecture.
We experience our cities daily through ordinary acts, whether it’s commuting, looking for a quiet place, having lunch downtown, or even exercising. However, one of the most exceptional ways to experience the different roles of a city's urban space is through traditional festivals, rooted in local cultures presented through different clothing, culinary arts, dances and other arts.
Over the past ten years the development of intelligent construction models, closely tied to energy efficiency, has introduced new materials that have one or more properties modified, in a controlled and partial way, by external stimuli such as radiation, temperature, pH, humidity, wind, and other environmental factors.
Wall thickness, color, scale, solar dynamic, spaces built with a subtle metaphor immersed around the meaning of life, seem to be elements immersed in all of Luis Barragán's architecture. Elements of an enduring legacy, away from the ephemeral world of fashion, textiles and haute couture; however, it’s the search for the heightening of the senses, present in the architecture of Barragán, that inspired designers to put the name of the architect on catwalks and the world of apparel.
Now in its eighth edition, Design Week Mexico, in collaboration with Museo Tamayo, has unveiled the design for a major public architectural pavilion designed by leading German architects Nikolaus Hirsch and Michel Müller. Until Spring 2017, the installation will be a cultural attraction at Chapultepec Park, Mexico City’s largest public park.
I want you to let me do all the ideas I still have in my head.
After four months of research identifying works in Latin America and the Caribbean that met the eligibility criteria of the 'Latin American Architecture Prize Rogelio Salmona: open / collective spaces' a list of finalist has been compiled. Members of the International Curatorial Committee, architects Ana Maria Duran (Andean Region), Ruth Verde Zein (Brazil Region) and Fernando Diez (Southern Cone Region), and Art History background Louise Noelle Gras (Mexico, Central America, and the Caribbean Region), postulated a total of 62 works covering the four regions.
Edward James, one of the most eccentric and interesting twentieth-century collectors of surrealist art, arrived in Xilitla, Mexico at the end of the 1940's. The British writer was captivated by the splendor of the landscape of "Las Pozas" (The Wells), where he created a fantastic home, which includes a unique sculptural space unlike any other in the world.
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