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

The monster figure can work to construct a metaphor of the configuration of some contemporaneous cities and how they are being constructed to us. This paper proposes to reconsider Tokyo as a paradigm of diverse urban fears and monstrosities in different times of history. First, this text recognizes a cosmogonical and mythological monstrosity, which was, subsequently, embodied in different disasters that would utterly change the morphology of the city. With a city devastated almost in its entirety during World War II, a new simulated monstrosity would appear, more like fiction, hand by hand with the technological and media advances where the monster would go from a consumer figure to one consumable. One last urban monstrosity is recognized in the more contemporaneous architecture, based on the Metabolism movement in the sixties, and that during postmodernity would become the discordant and mutant collection of its parts. This text seeks to explain this recent monstrosity, creating an analogy of the extended body through the prothesis and the possibility of continuous mutation that it offers. Finally, we find a dynamic figure in the monster metaphor, one capable of regenerating the different forces that form and deform our cities.

This paper discusses the Italian Futurism movement between 1909 and 1915, focusing on the way in which some of its exponents –painters, sculptors, architects– interpreted the space of their interventions through the conscious record of a particular concept of time concerning their particular work. In the Futurist work, there was a plural temporality –taken in its specific passing-by as speed, or mechanical movement– that was translated in its creative universe as “simultaneity of actions" and “plastic dynamism". Attention is focused on the way cities were lived by some of the Futurism protagonists, portrayed by painters, and designed by the architects.

This article describes the research regarding the characteristics and environmental processes that control the landscape of the Mixteca Alta region in Oaxaca. Through the use of an Environmental Design methodology, a relationship is established between the uprooting ofthe old Dominican monasteries in the region to the varying environmental behaviors. The intention of this is to understand what is damaging that heritage. Through the use of laser scanners, the buildings were mapped and this provided us with the opportunity to analyze and quantify the damages that have occurred through time so that we can understand and mitigate the problem.

Proyecto: Cafetería, sala de profesores y tutorías Facultad de Medicina, Ciudad Universitaria

Reseñas de los libros:"Alberto Pérez-Gómez. De la educación en arquitectura" de Alejandro Aguilera González y José Alejandro Ayllón Ortiz, compiladores"El Arte de la Cantería Mixteca/ Mixtec Stonecutting Artistry" de Benjamín Ibarra Sevilla"La Bauhaus y el México moderno. El diseño de van Beuren" de Ana Elena Mallet"Robotic fabrication in architecture, art and design" de Sigrid Brell-Çokcan y Johannes Braumann"Alberto J. Pani. Un promotor de la arquitectura en México" de Lourdes Díaz

Proyecto: Centro de exposiciones y congresos UNAM

Reseña de "Casa Barbará Zetina" del arquitecto Fernando Barbará Zetina.

In this issue of Bitácora, landscape architecture –a topic that along with architecture, urbanism, and industrial design makes up our content–for the first time takes up the whole issue. It is a necessary critical reflection given that thirty years ago landscape architecture was established in Mexico as an independent university degree.Today, we live in a world that focuses its efforts on the irrational exploitation of natural resources and, because of this, it becomes more relevant to have an ecological consciousness to arrive at a better future. The consequences of climatic changes are evident as well as the inability of governments and societies to establish better relationships between humans and their natural environment. One key way to achieve these is to find a solution to the paradoxical tension between the megalopolis and green space. Landscape architecture proposes real alternatives to the problems caused by our industrial societies. This issue of Bitácora differs from its traditional format because we sought to gather the voices of landscape architects who were trained at the UNAM and at other institutions in Mexico and abroad and who speak about their professional, academic, and research experiences. Without a doubt, this is an invaluable testament to three decades of academic work.

En junio de este año, en la ciudad de Moscú, el arquitecto mexicano Mario Schjetnan recibió el premio Sir Geoffrey Jellicoe Award 2015 de la International Federation of Landscape Architects (ifla), por su trayectoria dedicada al mejoramiento del paisaje, la ciudad y el medio ambiente, y al desarrollo integral de la profesión. Al ser la distinción más alta que puede recibir un arquitecto paisajista en vida, es la primera vez que el galardón es otorgado a un arquitecto latinoamericano.

Se presenta, por primera vez en español, una reproducción facsimilar del original alemán del artículo de Max Cetto, "Bauten in Einer LavalandSchaft Mexicos" ("Edificaciones en un paisaje volcánico de México") publicado en Baukunst und Werkform 1-2 en 1954. Se intentó respetar, en la medida de lo posible, el diseño editorial original. La traducción del alemán estuvo a cargo de Bettina Cetto.