Cinema Tamayo
Presents:
Female Protagonists
Aquarius

DERIVAS proposes, through the lens of a place's everyday life and the serendipity of tourism, to understand and construct new and alternative ways of living and thinking about urban life.

In previous decades, Ediciones ARQ published the first "Compendium ARQ" volumes, focusing on the work of an emerging generation from the 1990s and later, in the mid-2000s, on vacation homes, recognizing a new spirit in Chilean architecture that, at the time, sought to innovate in form and its relationship with the landscape, unique to our national territory.

This masterclass is divided into a theoretical session and a practical workshop focused on vertical gardens, combined with outdoor ornamental plants. Upon completion, one of the plant totems created during the session will be raffled off among the attendees.

This is an intensive three-week design workshop (the first week in Querétaro, the second—four days in San Miguel de Allende—and the third, concluding week in Querétaro), held from June 10 to June 28, 2019. As a highly relevant hub—not only for its regional importance but also for its recent growth—the goal of this workshop is to conduct a critical study of the context and, based on various variables, develop a significant project.
The proposed content covers three fundamental themes:

Choosing high-performance BIM software is key to developing efficient projects by automating tasks that traditionally consumed time in conventional design workflows—such as documentation, calculations, analyses, and other repetitive processes.

Designated a National Monument in 2010, the National Headquarters of the Chilean Association of Architects (Colegio de Arquitectos de Chile) is a 1920 masterpiece by the prominent architect Luciano Kulczewski García. This Art Nouveau icon originally comprised two residences, each featuring a grand double-height hall illuminated by large windows, with five commercial spaces on the first floor.

Do you struggle to understand the latest trends in contemporary architecture? Don't worry; few can navigate the landscape of buildings with glossy finishes or envelopes that appear to be in ruins. Moreover, it is difficult to grasp why buildings designed by renowned architects no longer reflect traditional standards of good composition or the Vitruvian triad: firmness, commodity, and delight. In fact, these buildings are often clad in gold leaf, incorporate gargantuan images, are covered in vegetation, or appear to hover above the ground.

This book presents a meticulous investigation into the architecture of the Ferias del Campo (Country Fairs), which developed between the 1950s and 1970s, creating what can now be understood as a true exhibition landscape. The complex holds immense value, both for its careful landscape design—perfectly integrated into the Casa de Campo—and for its unique buildings, which served as a true experimental laboratory for modern architecture. Architects such as Cabrero and Ruiz, along with Sota, Fisac, Aburto, Romaní, and many others, brilliantly managed to combine the bold stylistic and constructive renewal that the country required at the time with a desire to maintain a degree of continuity with vernacular architecture.

This essay examines the role of the architect in contemporary society, aiming to be critical and, even more so, combative. Grounded in a deep understanding of the profession's history, the author seeks lessons from the past to illuminate paths for the architect of the future. It addresses not only the individual but also the collective, operating on the belief that opportunities for professional corporatism still remain.

El Lissitzky (1890–1941) was undoubtedly one of the most significant and multifaceted artists of the Russian avant-garde era, and perhaps the one who exerted the greatest influence on the subsequent evolution of various fields of artistic language and audiovisual communication. At the same time, however, he remains a relatively unknown and mysterious figure.

Description via Amazon. Estudios Patrimoniales presents the current state of the debate regarding intellectual production within the multidisciplinary field of our local heritage. Its authors understand heritage as a phenomenon far more complex than a mere topic or discipline. It is a relational phenomenon that occurs in specific cases, requiring reflective practices for a cross-disciplinary discussion that engages the professional responsibility of academic knowledge. Today, when the word "heritage" is hijacked by the common sense of political correctness, activist voluntarism, and the demands of various sectors, this toolkit becomes necessary. It allows us to rethink heritage by understanding its conceptual evolution, thereby promoting new research, referencing intervention projects, and inspiring public policy, so that the term "heritage" can expand its meaning to encompass what our future generations deserve.

From 1978 to 1993, young Soviet architects Aleksandr Brodsky and Ilya Utkin created an extraordinary series of etchings featuring strange, and at times impossible, buildings and urban landscapes based on a variety of architectural, literary, and visual sources, ranging from classical mythology to science fiction. The drawings present absurd proposals and fictional cityscapes in eclectic mixtures of ancient mausoleums, industrial buildings, neoclassical utopias, and constructivist towers. Some depict an oppressive and alienating modern metropolis, reflecting the experience of living under a totalitarian regime, while others feature strange, cerebral, and human elements layered with historical precedents—from Piranesi to Le Corbusier—that remain breathtakingly complex and beautiful.

While the first issue of VAD. veredes, arquitectura y divulgación focused on "the beginnings"—those origins and principles that provide, tangibly or symbolically, what seeks to exist—this issue aims to broadly explore the parameters belonging to those origins.

This book compiles a record of writings, projects, and works completed by Juan Ignacio Baixas and Enrique del Río between 1968 and 2018—fifty years of continuous professional practice, remarkable in its integrity. It presents a broad repertoire that spans the full range of architectural scales, covering everything from furniture design to houses, buildings, and urban neighborhoods, all executed using the same method, with equal rigor and responsibility.

The work of Andrés Jaque has brought about a radical transformation in how architecture is understood, communicated, and practiced. Its impact is global, though particularly notable within Spanish architecture. Through microhistory, his work reveals architectures seemingly omitted from architectural histories, their archives, and their operational platforms. While grand narratives have focused on works, figures, and events that confirm the relationship between the discipline and power structures, Jaque emphasizes the role of human and non-human agents that operate in daily life and are fundamental to understanding contemporary spatial politics.
Mies y la gata Niebla is the first publication to collect the essays of Andrés Jaque and the platform he founded in 2003, Office for Political Innovation, from which he operates.

Since the turn of the century, the discipline of architecture has focused its attention intently on documenting the contemporary urban condition. Each city has been examined as a repository of architectural concepts, interrogated as an urban manifesto, and recorded as a series of found objects.

In defense of Modernity and against all robotic classicism and buffoonish romanticism, Miranda has always been an uncomfortable presence—a resistor who understands the value of the sedimentation of structured thought and knows that one must preach constantly. A committed intellectual during cloying times when the most pedestrian discipline took over the classrooms, his voice has been beloved by students and scorned by many of his colleagues in an Academy he has always questioned. This doubt has become an instrument for transforming his thinking; we know that doubting is dangerous, as those in power have always fed us certainties that allow for unceasing adoration, yet never for progress or change.