Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

In the following essay, two masterpieces by Juan Martínez Montañés (1568-1649) are analysed: his famous sculpture of the Crucified (1603), which was destined for a retable at the church of Our Lady of Mercy in Lima and whose original pictorical version (already recuperated) gave origin to an engraving (1739), and his partial contribution to the Philip IV on horseback; confronting the iconographic fortune of both “inventions” and their little-known presence in the urban scenery of Lima.

The Historic Center of Oaxaca de Juárez is one of the ten historic Mexican centers inscribed by Unesco as World Heritage Sites. Due to this inscription, a greater interest in the management, conservation and diffusion of the cultural wealth of this area has been generated, which is why the Partial Plan of Conservation of the Historic Center of Oaxaca de Juarez of 1997 was elaborated and proposed as a participatory and concerted instrument that shows the problems of the time and offers some strategies as a solution. However, the objectives of this plan were not fully completed. Today, there are new challenges to face in the historic center of Oaxaca de Juarez that manifest the need for an update of the plan or the creation of other management and ordering tools for its center. It is necessary to learn from this experience to be able to make points of comparison with the various types of historic centers that exist in Latin America.

The process of intervention of the Ruiz Dávila Hospice, a nineteenth-century building located in the Historic Center of Lima, was carried out between 2010 and 2012. Furthermore, the finished works were inaugurated in June of this last year. In the development of the works, there were a series of stages such as the conditioning of the environments, the dismantling of some structures, the construction works, the complementary works, the follow-up, the documentation of the work and finally its inauguration. All this was done not by the work of a single person, but by a group of professionals with diverse skills and extensive experience, whose joint work can be seen today. The final product has had, however, both its critics and its defenders. In the first group, there are mostly university students and some authorities of the culture sector, the reason of their discrepancy being the new use and the introduction of modern materials. In the opposite wing, there is the community of architects, whose approval was clearly manifested with the official delivery of some prizes to those who were in charge of the intervention.

The title of this publication is overwhelming, names the settlements that developed around the year 3,000 a. C. in the valley of Supe fruit of a civilization with its own name: Caral. Nine urban centers in the Supe Valley are considered in this publication by Ruth Shady and her professional team. The discoveries made during the last 15 years in the valley of Supe (and Vichama, on the coast of Huaura) by the archaeologist Ruth Shady and her work team have been so huge that they have allowed her to state the existence of a social system (last title phrase).

This book is based on the original manuscript As Defesas da Ilha of Santa Catarina and Rio Grande de Sao Pedro, made up between 1786 and 1789 by the military engineer José Correia Rangel, a document that contains very valuable information: maps, tables, plants of the fortifications and uniforms of the troops of the time, as well as the history of Santa Catarina's and Rio Grande de San Pedro's fortifications. To this has been added some additional contents and others of didactic character (introductory texts and explanatory notes), which are complemented with photographs of the still existing fortifications, other illustrations of the time and a glossary.

The following review gives the opportunity to talk about heritage in its integral conception, in this chance about the particular case of Madrid's urban landscape and how it has gradually been forgedduring the last two centuries, according to a specific practice of planning. The virtue of the publication consists precisely in describing and analyzing representative urban pieces that make up the current patrimonial landscape of the city: streets, squares, gardens, residential buildings, facilities,infrastructures, uses of public space, etc. It differs meritoriously from those traditional architectural guides that only contemplate the isolated object, indifferently from its surroundings, without thinking about the city as it is perceived by the neighbor, the passer-by, the student.

Hablar de Gonzalo Olivares significa hablar del representante más importante de la modernidad arquitectónica de Arequipa. En su persona se encuentran las características del profesional comprometido, apasionado por los ideales modernos del siglo XX, a la vez que se erige como un arquitecto sensible al patrimonio cultural de su región.

Between the years of 1960 and 1980 a series of political events shook the country, military coups interchanged with dictatorships and democratic elections. Simultaneously institutions were appearing which were given the task of protecting the cultural heritage. Lima and Cusco — for their historical wealth and built heritage — began to benefit from cultural policies proposed by institutions such as UNESCO and the National Institute of Culture of Peru (INC, today the Ministry of Culture). In this context, the presence of women in politics or positions of importance was overshadowed by the social environment. However, during the time mentioned, a number of women at the national level occupied political positions and contributed to the urban changes at that moment. Unfortunately, in historical research this influence goes quite unnoticed, this is the case of Luisa Robles de Dávalos, former mayor of the District of San Jerónimo in Cusco, who completed two terms, the first between 1967-70 and the second between 1979-80. This article is an excerpt from the study on the Gender Approach in the local politics of Cusco, related to the History of Cultural Heritage Management in Peru.

In this article there are analyzed the potentials that there possesses the church Huaman as structuring element of the local identity, since by means of the social appropriation of the heritage a plurality of individuals is recognized like belonging to the same village and to the same territory. This way the identity fortifies and a sense of belonging is generated; therefore, the social appropriation of the heritage also can be understood as the foundation that allows to construct the unit in the diversity and, therefore, generator of new identities. The 89,8 % of the population thinks that the Church Huaman presents a sum of potentials, both historical and patrimonial and architectural that allow it to turn into an structuring axis of the local identity and the collective memory of the district. The church congregates many persons, not only on the religious part, but for the diversity of activities that there take place; these potentials do that the same one is a dynamic element and catalyst of the local identity of the district. The identity is the old territory of the heritage, between the aims recognized by most of patrimonial actions that are realized in these areas, this construction of the local identities, as autodefinition of one we.

Con esta reseña se nos da la oportunidad de hablar del patrimonio en su concepción más «humilde». Valorar y revalorar el conocimiento ancestral como la tradición constructiva, aún vigente, de los pueblos antiguos de nuestro país. La mezcla de los saberes simbólicos y su diversidad tipológica en diferentes regiones geográficas hacen de la arquitectura popular el punto de partida para su estudio y análisis. El interés por el conocimiento de la arquitectura popular pasa por indagar sobre la diversidad de su contexto, el cual tiene cuatro aspectos importantes para entender la arquitectura popular: el territorio ocupado por lo popular, el temporal visto como el surgimiento y el devenir, el socioeconómico respecto de las jerarquías sociales y el simbólico que se ocupa de los factores culturales. Finalmente, explica su posición con respecto a la situación actual de la arquitectura popular y la importancia de la intervención profesional para su revalorización.