A post by De otro tiempo on a now defunct space. In Spanish, although others posts in the blog are also in English. From the post: “Se trata de un edificio situado en un entorno privilegiado que por desgracia ya no existe. Como su nombre indica, su última función fue la de guardería, que fue desempeñada hasta hace unos años. La guardería ocupaba la Continue reading
The making of bricks and roof tiles, in what in Bolivia is known as tejerías (or in Spain as tejeras), is still an important part of the economic life of Santa Cruz de la Sierra. Like pottery (alfarería: from the arabic word fahhâr, mud) and other related techniques, the tejería (teja: from the Latin word tegula, itself a diminutive based in the Latin root tegere, to cover) is an ancient industrial technology. The Europeans introduced the tejería technology to the Andes and the Amazon, where it combined with established native pottery traditions and diverse ceramic techniques. Pre-Columbian Andean buildings were roofed with woven reeds covered with plaster, and still today many peasant homes do not use roof tiles. Nevertheless tejas are an essential component of urban Hispanic Colonial architecture and a symbol of status. The urban landscape of Latin American cities would be inconceivable without this construction material.
According to historian of local traditions Carlos Cirbián (El Deber, September 2013), in the Colonial Period the tejerías were located in the city district known as “El Tao” (a deformation of the Chiquitano word tauch, meaning mud, or clay). A pond, fed by the waters coming from the tejerías, was part of this neighborhood until at least the end of the Nineteenth Century. At the beginning of the Nineteenth century it was inhabited by descendants of African slaves, who probably also worked in the brick-and-tile site. By the middle of the Twentieth Century the tejerías and the pond disappeared, replaced by a square, as part of the modern urban reform plan being implemented by Continue reading
Atlas Obscura has a fascinating look at the Torre de David in Caracas. This is a 45-story skyscraper that was originally intended to be finance industry office space, but construction was abandoned in 1994. Squatters moved in and today it’s the world’s tallest slum. Here’s the documentary:
Rest assured, a copy of that book is now making its way from Switzerland to the Southland. Shipping is free, so it only cost 45 euros (whatever the hell that is). If the current going price for City of Darkness on Amazon is any indication, maybe you should pick up a couple extra copies as an investment.
I bring up City of Darkness because the KowloonWalledCity came to mind as an obvious comparison, as another “vertical slum”. If you read City of Darkness, you’ll notice a striking similarity in the way that residents describe their community and the way that…
View original post 737 more words
[I’m currently working on a book whose second chapter deals with this painting, specifically — fascinating; read the article in its original context here; but I’ve pasted it below — dated from 2008?]
Antonio Lopez Sets World Auction Record for a Living Spanish Artist at Christie’s
Antonio Lopez (b. 1936), Madrid desde Torres Blancas; signed and dated `A. Lopez Garcia, 1976-82′ (lower left), oil on board, 57.1/8 x 96.1/8in. (145 x 244cm.) Painted in 1976-82. Sold: $2,760,803. © Christie’s Images Limited.
LONDON.- An early highlight of this evening’s auction was Madrid desde Torres Blancas by Antonio Lopez (b. 1936) which sold for £1,385,250 / $2,760,803 / €1,744,030, becoming the most expensive work by a living Spanish artist sold at Continue reading
The Journal of Urban Cultural Studies is a new peer-reviewed publication cutting across both the humanities and the social sciences in order to better understand the culture(s) of cities. The journal is open to studies that deal with culture, urban spaces and forms of urbanized consciousness the world over.
Although we embrace a broad definition of urban cultural studies, we are particularly interested in submissions that give equal weight to: a) one or more aspects of urban studies (everyday life, built environment, architecture, city planning, identity formation, transportation…) and b) analysis of one or more specific forms of cultural/textual production (literature, film, graphic novels, music, art, graffiti, videogames, online or virtual space…) in relation to a given urban space or spaces.
Essays of 7,000-10,000 words (including works cited and notes) should be sent by attachment to the Editor at email@example.com. JUCS is also open to proposals of special issues by guest editors working individually or in teams of two. All citations in other languages should be translated into English for the journal’s international reading public, in addition to including the original text.
While the journal does not publish book reviews, we do publish review essays—which should discuss 3-5 recent books on a shared topic or theme (or place) and run from 2,500 to 4,000 words. Review essays of urban-themed installations or other works of art are also welcome. These essays will be reviewed in house. Given our visual focus, we are interested in original, unpublished artwork on the topic of cities and in publishing articles accompanied by images where appropriate.
We encourage a variety of approaches to the urban phenomenon—the strengths of the editorial board run from urban geography to literature and film, photography and videogames, gender and sexuality, creative economy, popular music, Marxist approaches, fashion, urban planning, anthropology, sociology, Deaf culture, built environment, philosophy, architecture, detective fiction and noir, and more…
The great thing is the photo itself, which was taken by photographer Miguel Sandoval Díaz, an incredible shot–the extended exposure time allows for shadowy, mobile traffic at the bottom right (although that is slightly covered up in the layout). If interested in his photography (I believe he is based in Madrid), he has volunteered his email (firstname.lastname@example.org) as contact information.
For hispanist scholars, there are three essays in the book (Nathan Richardson, Susan Divine and Thomas Deveny) that deal with the films of director Alex de la Iglesia–the towers, aka the Puerta de Europa appear in his cult classic The Day of the Beast (1995)–and a few more that deal with geography/urban space in literature and film (by Edward Baker, Susan Larson, Agustín Cuadrado, Araceli Masterson, Shalisa Collins…).
This photo shows the building(s) while still under construction–an essay by Malcolm Compitello notes “the original plan for the building dates from the mid-1980s. The architectural design was entrusted to the architectural firm of Burgee, Johnson and Associates known for their design of large buildings. Perhaps their most famous and controversial work is the firm’s initial entry into the realm of the grand postmodern, the AT&T Tower in New York. The elaboration of the plan for the work, the first inclined high-rise towers ever designed, was entrusted to Leslie E. Robertson and Associates. LERA is the New York-based structural engineering firm that has engineered the majority of the world’s tallest buildings, including the Torres Picasso in Madrid.”