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

The precarious territories have been called in different ways according to periods and countries, being the definition in direct relation with the housing problematic of the moment, the sources of available information and the standards of what is considered precarious according to the period, place and economic development of the country. Depending on the current urban transformations, specifically the intense verticalization process that our cities experience, a new conceptualization of housing precariousness is proposed, which re-writes, complements and diversifies the concept.The present study proposes to broaden the view regarding precariousness, re situating the discussion from the point of view of the housing typology subject to analysis, the location of the phenomenon and the producer actor. This under an analysis that questions the standards of what is considered precarious today, in light of emerging new urban processes, such as verticalization. Based on the above and the development of an indicator of precarious housing for the commune of Estación Central, we conclude that we are facing a “new form” of housing precariousness, which is being traduced into a dense and vertical residential production, under a logic of unprecedented mass housing production for Chilean cities.

The work of Gordon Matta-Clark has generated a growing interest in art and architecture and recently in our country because of its Chilean heritage. This article is an ongoing research that reviews bibliographical sources, photographs and the circumstances of an intervention carried out at the National Museum of Fine Arts in Santiago of Chile in 1971, and provides details of a work diffused in time and space, but still present in the museum. An intervention that is made in the context of a trip to South America, whose original purpose was to find his father, the painter Roberto Matta, and develop a strategic forum of artists in Chile, within the framework of the first year of the government of Salvador Allende. A first “architectural cut” into the fabric of a building and a seminal work in search of a “new light” in the heart of the building. A play misplaced in the history of architecture and art in Chile. A work difficult to trace, disseminated through stories, different names and photographs in black and white, manipulated and without narrative logic and dispersed incatalogs and national and international publications.

This article presents the results of an exploratory study that reviews the diversity of images that sustainable architecture adopts in the Chilean context, with the aim of studying potential dialogues and tensions between local and global patterns; and between performance and appearance. The methodology was based on an extensive review of buildings that were published in local architectural media under a “sustainable” or “green” label during a fixed period of time, without attempting to look for a particular concept of sustainable architecture. Eighty-five buildings were identified and organized into three groups around the natural, technical or cultural images of sustainable architecture. The conclusions suggest that there is no single image of sustainable architecture in Chile, but a rich myriad of images that emphasize different sreveals the dominance of the technical globalized image, influenced by international models uncritically imported, but it also shows the value of local elements, such as the natural landscape, understood as the “own environment”, that influences and provides acontext for architecture aiming for sustainability.

The present work exposes diverse approaches of the design with which the problems of the greater adult can be tackled significantly. The objective is to illustrate the relevance of the interdisciplinary work and the active participation of the older adult user in the course of design. For this purpose, the methodology offered by the User-Centered Design (UCD) and the co-creation based on consensus are selected as fundamental aspects that allow a reflection on the role of the designer during the process. The systemic complexity, whether practical or theoretical, observed through the exercise of the project, has led to the conclusion that the designer can contribute not only by offering a product consistent with the problems observed and the trajectory of the events discussed, recognized aspect of the discipline. It can furthermore articulate the diverse expert views in a solution that is integrated to the multidimensional complexity of the user in his old age, which implies considering his potential physical, cognitive deterioration, social exclusion, economic precariousness, but also from his speech consider his experiential capital shaped as a discursive totality that includes emotionality, behaviours, attitudes and reasoning, facilitating and generating creative divergence of the diverse participating knowledges, through collaborative platforms for the active call of those involved.

This paper analyzes the impact of intensive residential densification on the urban fabric of selected neighborhoods in the Metropolitan Area of Santiago. We explore the effect of “segmentation” proposed by Diez (1996), which leads to a fabric constituted by building types incompatible with each other and of different intensities. From a quantitative approach, we analyze indicators of net residential density, floor area ratio and its standard deviation. At the same time, we propose a new indicator, the segmentation factor, which combines the built area corresponding to residential towers and the percentage of densified lots.As a hypothesis, it is argued that the residential project promoted by the real estate market in the AMS, adopts a morphological type that is different from that of the existing urban fabric. Consequently, it promotes a segmentation of the block, interrupting the renewal process. The results are presented in three groups of cases: neighborhoods with medium-high densities and a low segmentation of the urban fabric, neighborhoods with high densities and a medium and high segmentation of the urban fabric and, finally, those hyper-dense neighborhoods, which present diverse degrees of segmentation. These degrees depend, to a great extent, on the building typology adopted by the residential tower.

This article explores the transformations suffered by the notion of utopia with the passage from an industrial to a post-industrial society. This involves posing the question regarding the historical specificity of the notion of utopia. This does not mean, however, to simply develop a historic account of a specific concept. The aim is to explore the internal relationship between the transformations of the capitalist mode of production and the changes experienced by the idea of utopia. To do so, this article explores the shift from a modernidea of a utopian city towards the city as a non-place as presented by Harun Farocki in his video installation Counter-Music. The main hypothesis is twofold: firstly, I argue that the modern idea of a utopian city conceives the city from the perspective of the rational organization of the use value of labour; secondly, I suggest that the rise of post-industrial capitalism challenges this idea of the utopian city and the use value of labour is replaced by what Negri and Hardt called the nonplace of exploitation. In this new social context, the eternal present of capital’s self-valorisation makes it impossible to imagine a utopian future based on the use value of labour. This twofold hypothesis will be illustrated through the analysis of Harun Farocki’s video installation Counter-Music.

This article analyses the development of the first public transportation system of Valparaíso, the Chilean port of greatest growth in the nineteenth and early twentieth century. The main objective is to give an account of a little studied dimension of the urban history of Valparaiso, and of vital importance for the development of the mobility in the city. Through various sources, and a methodology based on urban history, this research reviews the implementation and development of blood carriages (tram trains) and the subsequent technological change that involved the electrification of the tram network. One of the main conclusions of this article explores the strategic role that the private sector had in the implementation of this new means of transport and its zigzagging management throughout the period studied. On the other hand, it is affirmed that the tram system had important urban impacts, both in the expansion of the urban network and in having constituted a substantial modernization in the mobility of the porteños.

This article explores the relationship between artistic mythological representations and its influence in Chilean retail advertising. The study is based on 747 printed ads, published in the mainstream media —newspapers and magazines— in 2013, and aims to establish the link between these ads and mythological representation. Of the total ofpieces analyzed, four were selected, which clearly reveal thecompositional and symbolic similarities between the advertisinggraphic of retail and classical mythology.

The Florentine Codex is a compendium of the fundamental features of the Nahua culture made in the second half of the sixteenth century by the Franciscan friar Bernardino de Sahagún, together with a group of Nahua students and instructors. Among the features of Nahua culture referred to is feather art, which consists of the making of attires and ornaments by adhering feathers on a cloth or wood support. This article explores how the images contained in the Florentine Codex account for the key issues of feather art once it was used by European settlers in New Spain.

Partindo de um estudo da legislação civil portuguesa na Época Moderna e dos regimentos do Tribunal do Santo Ofício, este artigo tem por objetivo analisar o processo inquisitorial de Feliciana de Lira Barros, implicada no crime de sodomia imperfeita que atualmente corresponde à cópula anal heterossexual. Identificamos 19 casos de sodomia heterossexual no Brasil colônia, cuja única mulher processada foi a viúva Feliciana de Lira, na segunda metade do século XVIII, submetida a uma ritualística judicial adaptada aos trópicos que culminou numa sentença atenuada. A investigação pretende contribuir para uma História das Mulheres nefandas na América portuguesa, à luz dos registros inquisitoriais.