Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
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   Carlos Mijares' work went through several stages of exploration and maturation until it acquired its distintive language. Based on the analysis of Mijares' career, writings, and interviews, this essay will investigate the ideas that we consider to be the focus of his consolidated work in order to identify them in what we believe was his manifesto of architecture: the Jungapeo cemetery chapel. The chapel will be analyzed based on the sequential use of architectural elements since this was one of Mijares' primary means of composition and reflection. In addition, the details of its construction will be analyzed through the redrawing of the building and a series of interviews of the key actors in the process of construction and as well as its current users. This is done to highlight the importance of social participation in the process of construction, which determined the final form, as well as how the chapel was appropriatiated and given meaning by the community.

La arquitectura y el ámbito de lo doméstico La arquitectura moderna mantuvo una relación ambigua con la Nueva mujer, quien ha sido aclamada con frecuencia como una figura simbólica que encarna el espíritu de la modernidad, como en el discurso de Sigfried Giedion, Ernst May o Le Corbusier.¹ Sin embargo, al mismo tiempo su presencia en la profesión no se fomentaba realmente. De acuerdo con su política oficial, la Bauhaus, por ejemplo, daba la bienvenida a estudiantes mujeres al igual que a los hombres, pero, en la realidad, a lasmujeres se les excluían de los talleres más prestigiados (pintura y escultura) y se les mantenía alejadas del núcleo sagrado de la propia clase de arquitectura. La Nueva mujer quizá desempeñó su papel más prolífico en la arquitectura moderna como instigadora y cliente de varias de las más famosas casas particulares producidas en el siglo xx. Como lo demuestraAlice Friedman, es en el encuentro entre mujeres emancipadasque reformulaban fundamentalmente la domesticidad, por un lado, y los arquitectos creativos, por otro, que se produjeron los diseños más innovadores para el hogar.

 Infra-ordinario is an urban study of the small plaza [plazuela] de la Campana, a public space in the historic center of Veracruz, Mexico. The term “infra-ordinary”(infra-ordinario) refers to everyday events, actions, and habits so ordinary – such as walking, resting and entertaining in the plazuela – that they are nearly unnoticeable. The study shows how the urban life of this public space emerges by means of everyday events and how the urban morphology and history shape the social space. This essay shows the plazuela de la Campana as an example where the temporal dimension –the recurring weekly rhythm of use and people’s memories and histories– gives shape to a process of the urban regeneration of public space. The process includes the analysis and creation of urban scenarios on the basis of understanding the past and the present and with the eventual goal of giving form to the potential transformations of the plazuela.

Reseñas de los libros:"La cartilla de la vivienda" de Félix Sánchez Baylón y Raúl Izquierdo "La reinvención del espacio público en la ciudad fragmentada" de Patricia Ramírez Kuri (compiladora)"Lo bello y lo justo en la arquitectura. Convergencias hacia una práctica cimentada en el amor" de Alberto Pérez Gómez"The Anatomy of the Architectural Book" de André Tavares

Colectivo Universitario de Arquitectura Aplicada, Taller Max CettoLaboratorio Activo de Arquitectura Social en Comunidades, Taller Carlos LeducTalleres teórico prácticosSeminario de titulaciónFacultad de Arquitectura,UNAM

Time is us, as such it is necessary to discuss it; beginning with those who have thought about time throughout history and from various points of view. Afterwards, we will reflect on the changes and possibilities that time can bring in order to conclude with an approach to architecture in its close relationship with time and its “death,” contemplated as a cycle of perpetual beginnings.

Mario Pani. Arquitectura en Proceso Exposición en el Museo Amparo, PueblaDel 24 de septiembre de 2016 al 9 de enero de 2017

"Casa Mateos" de Antonio Attolini Lack

Henceforth space by itself, and time by itself, are doomed to fade away into mere shadows, and only a kind of union of the two will preserve an independent realityHermann Minkowski, 1908In his book Space, Time and Architecture (1939), Sigfried Giedion explained that high-speed travel and new means of communi­cation contributed to create the fragmented experience that characterized the modern metropolis. According to Giedion, the modern movement fused, for the first time, the experience of interiority and exteriority, created the simultaneous spatial per­ception of the different levels of the buildings, and forced the viewer to move to address the different facets of a building. In this way, he introduced the temporal dimension referenced by Cubism. Cubist masterpieces exemplify a new integration of space and time based on the movement, fragmentation, and re-construction of images. From that moment, architects and artists abandoned the idea of an exterior world of static objects –as shown by perspective representation and linear narrative– and entered the dynamic, experiential reality of perception and human consciousness. Today, space and time are even more compressed than in the early twentieth century.For centuries architecture has aspired to longevity and permanence, however, we are increasingly designing buildings that will have a short life expectancy as defined by the expira­tion of the materials. Acceleration, as a condition experienced everywhere within capitalism, makes every human activity and its products ephemeral. Industrial design has taken this into account and obediently developed the concept of planned ob­solescence while, at the same time, transcendence is still being taught to be one of the great aims of architecture.Urban developments are inconceivable outside of time. The inability or difficulty of planning and of making urban de­signs or regulations for neighborhoods and cities show, time and again, that the city is a living organism and in constant mutation; most of the time unpredictable in, what would be, a direct and scientifically measurable way. Efforts to do this can be seen in maps of peoples’ movements in urban space, which need to be compared with subjective information gathered by other means.In landscape architecture, time is a fundamental element. Designed landscapes can influence our individual sense or our understanding of temporality –our experience of how time pas-ses. They can compress or elongate our perception of time. These projects take into account the passing of the seasons, the life span of every species, and the geological memory of each site. In contrast to the closed notion of architecture, when a landscape is considered finished this does not mean that it is frozen in some glorious moment: with landscape architecture it becomes more evident that only through the passing of time designed environments acquire their meaning.A large part of present architecture –and its teaching– ignores or denies the transformations occurring in the world of technology. New technologies allow ubiquity, simultaneity, instantaneity, virtuality, remote interactivity, and real-time computing. Today, these concepts are part of our everyday life; the more the means of communication bring us closer to each other the more they separate us spatially. At the same time, we are experiencing a delay in time: every thousandth of a second expands until it is perceived as eternal. This is especially true in our interactions with new technologies that promise immediacy.Designs should follow an aesthetic philosophy and under­standing of the world based on the fleetingness or imperma­nence (the transitory or the non-permanent) that best describe our experience in the world. The flexibility of designs could al­low them to adapt to other moments and other uses that are different from those foreseen at the time of their planning.Contemporary architecture seems to have the goal of stay­ing young, shiny, and perfect but time stains and soils its sur­faces. The impressions made by time –the patina– underscore its shapes and the way rain and sunlight hit its surfaces. It is possible to foresee in the buildings the effects of time, chrono­logical and meteorological, in the same way that a landscape architect does.There is a current tendency to constantly renovate our built environment –we even erase our recent past. Ruined buildings or neighborhoods tell a non-official history of the places; they are our link to what is gone and reveal the fragments of the dis­tant past. These fragments are important for discovering our present, even (or especially) when they are about a history that is not the authorized one; they harbor the memory of a culture in constant and rapid change. Ruins should not be rebuilt to fit our idea of the past. Sometimes they are not beautiful, but nei­ther is history. Rebuilt buildings look foreign and divorced from their history; renovated towns and cities are awkward, as they appear to sparkle and be perfect in their novelty.The disorder and decay of ruins and abandoned buildings indicate to us that time has continued and that change has oc­curred. They acquire a different meaning than originally intended for the design; their original function is lost over time and by lack of use. To see them bring us the possibility of reflecting and taking advantage of the time we have left. Despite modern tech­nology and our continued longing to be relevant, things (and our small role in the universe) all have an expiration date.Cristina López Uribe