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Con mucha emoción les compartimos la publicación de “La Petatera. Pensamientos en torno al acontecimiento vernacular”.

El libro ofrece dos lecturas paralelas: el escrito de Vladimir Rubio, un recorrido radial a través de 15 breves conceptos que se aproximan de diferente forma a La Petatera: Paraíso: Lo vernacular; La petatera; Rit(m)o; Centro; Vacío; Curvatura y circularidad; Fragilidad, debilidad, blandura; Lentitud, Espera(nza); Duración; Sencillez; Obra(r); Tejido; Retorno… además de un prélogo y un poslogo del propio autor. No hay inicio ni final claro, cada uno de los apartados se ofrece como gajo, fragmento, de un recorrido circular e ininterrumpido. Por otra parte, la publicación presenta una serie de fotografías de Rafael Palacios, realizadas como estudio específicamente para este proyecto editorial, que van dialogando con los escritos de cada apartado, revelando, al igual que los textos, diferentes aproximaciones a La Petatera. Sumándose a ello, nos entusiasma que el libro cuente con un prólogo y dos poemas de Hugo Mujica, poeta y filósofo argentino, escritos ex profeso para esta publicación.

Este es el quinto título de la colección “pensamiento”, una colección dedicada explorar diversas formas de lo que entendemos por reflexión en la arquitectura. Fue realizado con el apoyo de Artlecta y del Sistema de Apoyos a la Creación y Proyectos Culturales, a través de la vertiente Fomento a Proyectos y Coinversiones Culturales, emisión 2024.

Se estará presentando en las próximas semanas en diversos espacios culturales, y se encontrará pronto a la venta en librerías como @artlecta (Guadalajara) @improntacasaeditora (Guadalajara) @foro_arquitectura (Guadalajara) @casabosques (CDMX) @arquilectura.libreria (CDMX) @arquetipo._ (CDMX) @naos_libros (Madrid) @terrranova (Barcelona).

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

This book explores two little known but fundamental episodes in the development of 20th-century Mexican architecture by focusing on two generations active in Guadalajara in the 1920s/30s and 1980/90s.

Luis Barragán started his career in Guadalajara, working on a style much different from his better-known work in Mexico City. There, he practiced briefly as part of a generation of architects known by some as the Escuela Tapatia, a group that produced architecture based on an abstracted and stylized reinterpretation of the region’s vernacular
architecture. The generation of young architects that started to work in the 1980/90s again took up this idea as a basis for their architectural language, producing their own reinterpretation fifty years later. Through selected projects and critical texts, this book tells the stories of these two generations.

Editors: @jesus_vassallo @jamarquitectura
Contributing authors: #Claudia Rueda #Isabela de Rentería
Original Photographs by: @funciono @cesarbejarstudio
Published by: @birkhauser_books
Graphic Design: @lv__gd
Printed by: @gutenbergbeuys

“Intranquiliza (…) pensar las cosas en su estar-siendo, proceso más que cosas, que al cabo advienen hilos, aquéllos que formamos en la representación de las trayectorias.” —Chantal Maillard

Hay dos formas de demarcar lo que la petera puede ser: la primera, consta de describirla —en los términos más comunes— como una arquitectura efímera: un edificio que, desde 1857 (cada año y a lo largo de aproximadamente 11 semanas —7 para su construcción y 4 más para las festividades—), se ensambla y se sostiene para recibir las fiestas patronales de su territorio, hoy político-administrativamente demarcado como Villa de Álvarez, Colima, México.

La segunda forma, es una demarcación más difusa, permeable y confusa. Si se prefiere: un breve y débil divagar por sus procesos, sus trayectorias y bifurcaciones, inestabilidades y mutaciones, hilos socio-temporales no visibles que, no obstante, también pueden llegar a producir lo que el espacio va siendo.

—Vladimir Rubio

“Intranquiliza (…) pensar las cosas en su estar-siendo, proceso más que cosas, que al cabo advienen hilos, aquéllos que formamos en la representación de las trayectorias.” —Chantal Maillard

Hay dos formas de demarcar lo que la petera puede ser: la primera, consta de describirla —en los términos más comunes— como una arquitectura efímera: un edificio que, desde 1857 (cada año y a lo largo de aproximadamente 11 semanas —7 para su construcción y 4 más para las festividades—), se ensambla y se sostiene para recibir las fiestas patronales de su territorio, hoy político-administrativamente demarcado como Villa de Álvarez, Colima, México.

La segunda forma, es una demarcación más difusa, permeable y confusa. Si se prefiere: un breve y débil divagar por sus procesos, sus trayectorias y bifurcaciones, inestabilidades y mutaciones, hilos socio-temporales no visibles que, no obstante, también pueden llegar a producir lo que el espacio va siendo.

—Vladimir Rubio

“Intranquiliza (…) pensar las cosas en su estar-siendo, proceso más que cosas, que al cabo advienen hilos, aquéllos que formamos en la representación de las trayectorias.” —Chantal Maillard

Hay dos formas de demarcar lo que la petera puede ser: la primera, consta de describirla —en los términos más comunes— como una arquitectura efímera: un edificio que, desde 1857 (cada año y a lo largo de aproximadamente 11 semanas —7 para su construcción y 4 más para las festividades—), se ensambla y se sostiene para recibir las fiestas patronales de su territorio, hoy político-administrativamente demarcado como Villa de Álvarez, Colima, México.

La segunda forma, es una demarcación más difusa, permeable y confusa. Si se prefiere: un breve y débil divagar por sus procesos, sus trayectorias y bifurcaciones, inestabilidades y mutaciones, hilos socio-temporales no visibles que, no obstante, también pueden llegar a producir lo que el espacio va siendo.

—Vladimir Rubio

“Intranquiliza (…) pensar las cosas en su estar-siendo, proceso más que cosas, que al cabo advienen hilos, aquéllos que formamos en la representación de las trayectorias.” —Chantal Maillard

Hay dos formas de demarcar lo que la petera puede ser: la primera, consta de describirla —en los términos más comunes— como una arquitectura efímera: un edificio que, desde 1857 (cada año y a lo largo de aproximadamente 11 semanas —7 para su construcción y 4 más para las festividades—), se ensambla y se sostiene para recibir las fiestas patronales de su territorio, hoy político-administrativamente demarcado como Villa de Álvarez, Colima, México.

La segunda forma, es una demarcación más difusa, permeable y confusa. Si se prefiere: un breve y débil divagar por sus procesos, sus trayectorias y bifurcaciones, inestabilidades y mutaciones, hilos socio-temporales no visibles que, no obstante, también pueden llegar a producir lo que el espacio va siendo.

—Vladimir Rubio

“Intranquiliza (…) pensar las cosas en su estar-siendo, proceso más que cosas, que al cabo advienen hilos, aquéllos que formamos en la representación de las trayectorias.” —Chantal Maillard

Hay dos formas de demarcar lo que la petera puede ser: la primera, consta de describirla —en los términos más comunes— como una arquitectura efímera: un edificio que, desde 1857 (cada año y a lo largo de aproximadamente 11 semanas —7 para su construcción y 4 más para las festividades—), se ensambla y se sostiene para recibir las fiestas patronales de su territorio, hoy político-administrativamente demarcado como Villa de Álvarez, Colima, México.

La segunda forma, es una demarcación más difusa, permeable y confusa. Si se prefiere: un breve y débil divagar por sus procesos, sus trayectorias y bifurcaciones, inestabilidades y mutaciones, hilos socio-temporales no visibles que, no obstante, también pueden llegar a producir lo que el espacio va siendo.

—Vladimir Rubio

“Intranquiliza (…) pensar las cosas en su estar-siendo, proceso más que cosas, que al cabo advienen hilos, aquéllos que formamos en la representación de las trayectorias.” —Chantal Maillard

Hay dos formas de demarcar lo que la petera puede ser: la primera, consta de describirla —en los términos más comunes— como una arquitectura efímera: un edificio que, desde 1857 (cada año y a lo largo de aproximadamente 11 semanas —7 para su construcción y 4 más para las festividades—), se ensambla y se sostiene para recibir las fiestas patronales de su territorio, hoy político-administrativamente demarcado como Villa de Álvarez, Colima, México.

La segunda forma, es una demarcación más difusa, permeable y confusa. Si se prefiere: un breve y débil divagar por sus procesos, sus trayectorias y bifurcaciones, inestabilidades y mutaciones, hilos socio-temporales no visibles que, no obstante, también pueden llegar a producir lo que el espacio va siendo.

—Vladimir Rubio

“Intranquiliza (…) pensar las cosas en su estar-siendo, proceso más que cosas, que al cabo advienen hilos, aquéllos que formamos en la representación de las trayectorias.” —Chantal Maillard

Hay dos formas de demarcar lo que la petera puede ser: la primera, consta de describirla —en los términos más comunes— como una arquitectura efímera: un edificio que, desde 1857 (cada año y a lo largo de aproximadamente 11 semanas —7 para su construcción y 4 más para las festividades—), se ensambla y se sostiene para recibir las fiestas patronales de su territorio, hoy político-administrativamente demarcado como Villa de Álvarez, Colima, México.

La segunda forma, es una demarcación más difusa, permeable y confusa. Si se prefiere: un breve y débil divagar por sus procesos, sus trayectorias y bifurcaciones, inestabilidades y mutaciones, hilos socio-temporales no visibles que, no obstante, también pueden llegar a producir lo que el espacio va siendo.

—Vladimir Rubio

Compilación de Montañas , Volcanesy Cordilleras en México y Guatemala

Compilación de Montañas , Volcanesy Cordilleras en México y Guatemala

Compilación de Montañas , Volcanesy Cordilleras en México y Guatemala

Compilación de Montañas , Volcanesy Cordilleras en México y Guatemala

Compilación de Montañas , Volcanesy Cordilleras en México y Guatemala

Compilación de Montañas , Volcanesy Cordilleras en México y Guatemala

Compilación de Montañas , Volcanesy Cordilleras en México y Guatemala

Compilación de Montañas , Volcanesy Cordilleras en México y Guatemala

Un jardín en Antigua Guatemala

Un jardín en Antigua Guatemala

Un jardín en Antigua Guatemala

Un jardín en Antigua Guatemala

Un jardín en Antigua Guatemala

Un jardín en Antigua Guatemala

Un jardín en Antigua Guatemala

Un jardín en Antigua Guatemala

Un jardín en Antigua Guatemala

Casa Melgoza
Proyecto y Paisajismo de @taab.mx @rojoalizarina @elfimoo

Casa Melgoza
Proyecto y Paisajismo de @taab.mx @rojoalizarina @elfimoo

Casa Melgoza
Proyecto y Paisajismo de @taab.mx @rojoalizarina @elfimoo

Casa Melgoza
Proyecto y Paisajismo de @taab.mx @rojoalizarina @elfimoo

Casa Melgoza
Proyecto y Paisajismo de @taab.mx @rojoalizarina @elfimoo

Procesión Eucarística en La Antigua Guatemala

Procesión Eucarística en La Antigua Guatemala

Ruinas del Complejo Arquitectónico La Recolección parcialmente destruido en los terremotos de 1717 y 1751

Ruinas del Complejo Arquitectónico La Recolección parcialmente destruido en los terremotos de 1717 y 1751

Ruinas del Complejo Arquitectónico La Recolección parcialmente destruido en los terremotos de 1717 y 1751

Ruinas del Complejo Arquitectónico La Recolección parcialmente destruido en los terremotos de 1717 y 1751

Ruinas del Complejo Arquitectónico La Recolección parcialmente destruido en los terremotos de 1717 y 1751

Ruinas del Complejo Arquitectónico La Recolección parcialmente destruido en los terremotos de 1717 y 1751

Ruinas del Complejo Arquitectónico La Recolección parcialmente destruido en los terremotos de 1717 y 1751

Portal

LV73
Proyecto @ana_saul_@sfigueroao @anavictoriapgr
Paisaje @tallerbac

LV73
Proyecto @ana_saul_@sfigueroao @anavictoriapgr
Paisaje @tallerbac

LV73
Proyecto @ana_saul_@sfigueroao @anavictoriapgr
Paisaje @tallerbac

LV73
Proyecto @ana_saul_@sfigueroao @anavictoriapgr
Paisaje @tallerbac

LV73
Proyecto @ana_saul_@sfigueroao @anavictoriapgr
Paisaje @tallerbac

Imágenes de un edificio diseñado por Luis Barragán ( @edificio146 ) para la exposición : Conjunto Figueroa. Memoria Emocional
En el @museoexperimentaleleco
Muchas gracias 🙏🏻 @landaruiloba

Imágenes de un edificio diseñado por Luis Barragán ( @edificio146 ) para la exposición : Conjunto Figueroa. Memoria Emocional
En el @museoexperimentaleleco
Muchas gracias 🙏🏻 @landaruiloba

Imágenes de un edificio diseñado por Luis Barragán ( @edificio146 ) para la exposición : Conjunto Figueroa. Memoria Emocional
En el @museoexperimentaleleco
Muchas gracias 🙏🏻 @landaruiloba

Imágenes de un edificio diseñado por Luis Barragán ( @edificio146 ) para la exposición : Conjunto Figueroa. Memoria Emocional
En el @museoexperimentaleleco
Muchas gracias 🙏🏻 @landaruiloba

Imágenes de un edificio diseñado por Luis Barragán ( @edificio146 ) para la exposición : Conjunto Figueroa. Memoria Emocional
En el @museoexperimentaleleco
Muchas gracias 🙏🏻 @landaruiloba

Imágenes de un edificio diseñado por Luis Barragán ( @edificio146 ) para la exposición : Conjunto Figueroa. Memoria Emocional
En el @museoexperimentaleleco
Muchas gracias 🙏🏻 @landaruiloba