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Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

What happens when pursuing a creative dream becomes a catalyst for major life changes? In this episode, Rachael and Lauren discuss instances when following the creative path has taken them into unexpected territory. Episode Mentions Rachael's new book “Prioritize Play” is now available for pre-order! Grab your copy today. Learn more about Luis Barragán. Watch Rachael's Bedroom Makeover Reel Filterworld - How Algorithms Flattened Culture by Kyle Chayka Check out Lauren's Mural Mockups here! We are now booking workshops and speaking engagements as a duo! To bring us to your conference or organization, reach out to us at chaoticcreativespodcast@gmail.com.  For a transcript of this episode, contact us at chaoticcreativespodcast@gmail.com Cover art designed and photographed by Kristle Marshall for Hom Sweet HomIf you love what we are doing and want to support us, head to patreon.com/chaoticcreativesFollow the pod on Instagram @chaoticcreativespod and tag us in the projects you're working on while listening!Say hi or tell us a silly lil joke: chaoticcreativespodcast@gmail.comLauren's links:WebsiteInstagramOnline ClassesRachael's links:WebsiteInstagramThe Juice BoxCreative Coaching

Pasar estos días por la Casa de México en España es darse un baño de color. La fachada del edificio situado en pleno centro de Madrid se ha convertido en un gran telar urbano urdido por el colectivo de mujeres Cielo Tejido que dan, de esta forma, la bienvenida a la primavera. Siguiendo sus hilos nos colamos en el interior para descubrir una de las exposiciones temporales que ocupan sus salas: La dedicada al arquitecto mexicano, Luis Barragán.Escuchar audio

En este episodio de #LaHoraArquine conversamos con Jorge Covarrubias, curador de la exposición “Barragán en Barragán”, presentada en La Cuadra, obra emblemática de Luis Barragán ubicada en Los Clubes, Ciudad López Mateos, Estado de México.La muestra propone un diálogo entre la obra, el espacio y la memoria, activando una de las arquitecturas más significativas del siglo XX en México. ¿Qué implica exponer a Barragán dentro de su propia arquitectura? ¿Cómo se construye una narrativa curatorial en un lugar con tanta carga simbólica, espacial y emocional?A lo largo de la conversación exploramos el proceso curatorial, los retos de intervenir un espacio icónico y las nuevas lecturas que esta exposición abre sobre el legado de Barragán.Escucha el episodio completo y acompáñanos en esta reflexión sobre arquitectura, curaduría y contexto.#LaHoraArquine #Arquine #LuisBarragán #BarragánEnBarragán #ArquitecturaMexicana

¿Sabías que el rábano picante se usaba en Grecia como afrodisiaco? ¿Cuál es uno de los movimientos con mayor crecimiento en Latinoamérica? ¿El arquitecto Luis Barragán no es arquitecto? ¿Qué novela sorprendió al mundo hispano en 1914? En este capítulo hablamos de: Rábano picante, La santa muerte, Luis Barragán, Niebla, Miguel de Unamuno, Y más datos sabrosos en los entremeses del Banquete del Dr. Zagal.See omnystudio.com/listener for privacy information.

Visionary interior designer Paul Wiseman joins us on an enlightening journey through his remarkable 45-year career. Known for his ability to seamlessly blend diverse architectural styles with local history, Paul shares captivating stories about his path from an unexpected encounter in San Francisco to founding one of the top design firms in the country. He opens up about the art of balancing creativity with business acumen, emphasizing the importance of saying no, and offers a fresh perspective on trends and the principle of "appropriateness" in design.We explore the evolving landscape of design, guided by Paul's insights on creating spaces that tell a cohesive story aligned with a client's lifestyle and environment. In an era shaped by social media, DIY culture, and an increasing interest in sustainability, Paul discusses the challenges and opportunities these trends present. With a team that values empowerment and individual strengths, The Wiseman Group is at the forefront of innovative solutions, exploring everything from eco-friendly materials to cutting-edge technology and AI's role in design.Our conversation paints a vivid picture of Paul's personal passions and inspirations, including his admiration for Tadao Ando and Luis Barragán. Exciting projects in Singapore, Spain, and Big Sur highlight his commitment to timeless elegance and human connection. Paul's wisdom on the irreplaceable human touch in design, coupled with his reflections on intuition and authenticity, offer listeners a profound understanding of how design can elevate everyday life. Don't miss this inspiring episode of Beyond the Design, where craftsmanship and heartfelt storytelling are celebrated in every space he creates.

From a Mexican architect’s greatest structures to the famous London Eye, we explore the effect that iconic pieces of the built environment can have on their cities.See omnystudio.com/listener for privacy information.

Through her “archaeology of the future” design approach, the Lebanese-born, Paris-based architect Lina Ghotmeh has firmly established herself as a humanist who brings a profound awareness of past, present, and presence to all that she does. In the two decades since winning her breakthrough commission—the Estonian National Museum in Tartu—her practice has taken off, with Ghotmeh swiftly becoming one today's fastest-rising architectural stars. Just a week after we recorded this episode of Time Sensitive, she was named the winner of a competition to design the British Museum's Western Range and, shortly after that, she was announced as the architect of the new Qatar Pavilion in the historic Giardini of Venice; she is also the designer of the Bahrain Pavilion at the just-opened 2025 Osaka Expo. Across her high-touch, high-craft projects, whether a brick-clad Hermès leather-goods workshop in Normandy, France, completed in 2023; the timber-framed 2023 Serpentine Pavilion in London; or the concrete-walled Stone Garden apartment tower (2020) in Beirut, Ghotmeh celebrates the hand.On the episode, Ghotmeh reflects on the long-view, across-time qualities of her work and outlines what she believes is architecture's role in shaping a better world ahead.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Lina Ghotmeh[5:01] “The Shape of Time: Remarks on the History of Things”[5:01] George Kubler[5:01] Trevor Paglen[8:41] “The Long View: Why We Need to Transform How the World Sees Time”[8:41] Tim Ingold[11:15] “Windows of Light”[11:15] “Lecture: Lina Ghotmeh”[12:06] Beatriz Colomina[12:06] “Are We Human?”[19:58] Gaston Bachelard[24:04] Olga de Amaral[24:04] Cartier Foundation[24:04] Juhani Pallasmaa[24:04] “The Eyes of the Skin”[26:39] Luis Barragán[31:09] Stone Garden (2020)[31:09] Hermès Workshops (2023)[36:36] Peter Zumthor[36:36] “Atmospheres”[41:53] Khalil Khouri[44:51] Jean Nouvel[44:51] Norman Foster[44:51] Estonian National Museum (2016)[46:41] Renzo Piano[46:41] Richard Rogers[46:41] Maya Lin[46:41] Dan Dorell[46:41] Tsuyoshi Tane[50:45] “The Poetic, Humanistic Architecture of Lina Ghotmeh”[51:40] Rimbaud Museum[54:48] “Light in Water” (2015)[54:48] The Okura Tokyo[59:22] Les Grands Verres, Palais de Tokyo (2017)[59:44] Zero-Carbon Hotel Concept (2019)[59:42] Serpentine Pavilion (2023)[1:04:11] Osaka Expo Bahrain Pavilion (2025) 

Luis Barragán (1902-1988) fue un arquitecto mexicano cuya obra conjuga modernidad, tradición y un marcado sentido espiritual. Nacido en una familia católica de Guadalajara, creció en una época y sociedad profundamente conservadoras, donde la homosexualidad era un tema tabú. Su formación inicial como ingeniero civil y topógrafo, unida a su interés por la contemplación y la belleza, sentó las bases de la que luego se conocería como “arquitectura emocional”: espacios silenciosos, muros de intensa paleta cromática y la integración armónica de naturaleza y construcción. En los años 30 se trasladó a la Ciudad de México, donde conectó con artistas e intelectuales que alimentaron su enfoque introspectivo. Allí desarrolló proyectos emblemáticos como El Pedregal de San Ángel y su propia casa-estudio en Tacubaya, convertida hoy en Patrimonio de la Humanidad. Galardonado con el Premio Pritzker en 1980, Barragán se proyectó a nivel internacional, aunque la cantidad de sus obras no era grande. Lo distintivo no era la cantidad, sino la atmósfera espiritual, casi mística, que sus diseños irradiaban y siguen irradiando aún hoy. Detrás de esa imagen pública de misticismo y discreción, testimonios cercanos —como el de Ana María Correa— apuntan a una homosexualidad vivida de forma oculta. Se habla de tapaderas femeninas para mantener las apariencias en la élite tapatía, de vínculos especiales con hombres como el bailarín José Limón y de una religiosidad que pudo intensificar su conflicto interno. La entrevista fallida de 1981, donde apenas concedió unos minutos a un periodista, ilustra su carácter reservado y la protección que su círculo ejercía sobre su intimidad. La arquitectura de Barragán se estudia hoy como un legado universal de serenidad y poética espacial. Al mismo tiempo, su historia personal, trenzada con silencios y rumores, revela la complejidad de ser y crear en un entorno intolerante. Comprender estos matices profundiza la apreciación de su obra y de la humanidad que subyace tras sus muros. Las músicas d este episodio están, como siempre, en su correspondiente lista de Spotify: https://open.spotify.com/playlist/4XCzcaDqoNuDCrwyWz2MgR?si=6e439260ba20483f

César Cervantes presenta Luis Barragán del tiempo pasado. Remembranzas, un libro que explora la visión del arquitecto jalisciense, cuyo estilo convirtió el espacio en una forma de arte. Además, Arisbeth Hernández Márquez y Luis Mendoza Ovando nos presentan #TODAS. Debanhi: Una historia de redes, una serie documental de ViX que expone las complicidades que perpetúan la violencia contra las mujeres y la resistencia que surge para combatirla. Programa transmitido el 04 de marzo de 2025. Escucha el Noticiero de Nacho Lozano, en vivo de lunes a viernes de 1:00 p.m. a 2:00 p.m. por el 105.3 de FM. Esta es una producción de Radio Chilango.

En 1948, durante el gobierno de Miguel Alemán, se vendieron los primeros terrenos. Luis Barragán y José Alberto Bustamante compraron tres millones de metros cuadrados. Así se fundó el Pedregal

Josie tells Taylor about the unconventional art project that saw American artist Jill Magid propose to Italian archivist Federica Zanco with a diamond made from the physical remains of prominent Mexican architect Luis Barragán. Plus: head up to Dawson City, Yukon, and join the Sourtoe Cocktail Club—by drinking a cocktail made with a severed human toe!

Artist-turned-filmmaker (and old friend of Tiller's) Jill Magid joins the show to discuss her brilliant 2018 film “The Proposal”, which tracks her journey to recover the works of famed Mexican architect Luis Barragán from a Swiss bunker. Jill discusses with Tiller her artistic voyage from sculptor to filmmaker (3:40), her fascination with incorporating herself as a subject in her art (8:15), the project's organic evolution from art proposal to feature film (15:00), learning the medium of filmmaking and she went along (20:20), editing the film in a freezing make-shift bunker (31:20), and her carefully crafted performance of “self” (35:00).  Produced by: Jacob Miller Executive Producer: Tiller Russell Music by: James Carroll, Graham Tracey & Zydepunk Distributed by: Jake Brennan & Brady Sadler, Double Elvis Productions

En esta ocasión tenemos la segunda parte de la entrevista con Oscar Ramírez hablando de Luis Barragán. En este episodio hablaremos delParque de la Revolución, las Torres de Satélite, el jardín de la Casa Ortega, un libro de fotos tomadas por Barragán y un poquito del Convento de las Capuchinas. No te lo pierdas. Con Orquidea Vara Síguenos en instagram, facebook, o escríbenos a nuestro correo: hablando.luz.0@gmail.comUn episodio nuevo cada lunes.

人，是各自忙碌又互相牽掛情，是傳遞溫暖與思念味，是從轉角飄出的鄉愁 彰化縣政府「彰話噪咖」，由主持人內克透過輕鬆的訪談，帶大家認識彰化大小事、各區特色及旅遊攻略。 準備好了嗎？彰化的故事，我們說給你聽！https://fstry.pse.is/5npra8 —— 以上為播客煮與 Firstory Podcast 廣告 —— 本週節目要帶大家飛越到太平洋彼端，造訪一個或許不太熟悉但絕對知曉的國家：墨西哥。 我很喜歡墨西哥的文化及料理，但建築卻所知甚少，更不知道當地有何知名的建築師。 藉由再次造訪建築加的來賓：艸執荒地質造所 吳卓昊 來為大家解密！ 2023年時卓昊藉朋友牽線，飛至墨西哥參與了當地的建築專案。 同時也走訪數座墨西哥國寶級建築師-路易斯·巴拉岡 (Luis Barragán）的作品。 ➜ 墨西哥是一個什麼樣的國家，有何城市景觀及建築特色？ ➜ 墨西哥建築師的設計風格為何，又有什麼知名作品？ ➜ 墨西哥執行專案有和挑戰？ 馬上收聽吧！ 本集節目中提到的幾個建築作品 1. 佩吉格爾居住區 (Jardinesde Pedregal) 2. 聖·克里斯特博馬厩與別墅（San Cristobal） 3. 巴拉岡自宅與工作室 (Casa Barragan) 4. 聖嘉布遣會禮拜堂 (Tlalpan Chapel) 5. 蛇型公寓 (Netflix 寰宇極致度假屋，第一季:奇特民宿) 封面照片來源：吳卓昊提供 / ■ 用小額贊助應援我｜ https://pay.firstory.me/user/archpluspodcast ■ 合作洽談｜archpluspodcast@gmail.com 官方網站｜https://www.archpluspodcast.com 社群平台｜https://linktr.ee/archpluspodcast Powered by Firstory Hosting

En esta ocasión, Oscar Ramírez nos habla un poco de Luis Barragán y su relación con la luz, tanto eléctrica como natural. Al final del episodio menciona una visita al Convento de las Capuchinas, en Tlalpan, Ciudad de México. Si quieren más información al respecto, escríbanle @en_edificiosCon Orquidea Vara Síguenos en instagram, facebook, o escríbenos a nuestro correo: hablando.luz.0@gmail.comUn episodio nuevo cada lunes.

In the past decade, the debate about the role of books in our increasingly digital world has been a hot one. This devotee of the printed form is unequivocal. She believes content online has simply pushed publishers to make better books.   Emilia Terragni is Associate Publisher at Phaidon Press, the world's leading publisher of books on art, design and culture. Phaidon turns 100 this year. Terragni has been there for 22, specialising in books on architecture, design, food, fashion and art, and is considered one of the most influential editors working in the field today.  Born and raised in Como, Italy, by a creative family where books were incredibly important, she ran away aged 19 to study in Venice. A PHD in fine art set her on the path to a career as a curator or art critic. But it was during her time in the archives of the Vitra Design Museum cataloguing the work of architect Mexican architect and engineer Luis Barragán that she met with Phaidon, and the rest is history.  Listen in as Vince and Emilia discuss working together on Nan Goldin's iconic photography book The Devil's Playground in 2003, the privilege of working with the prolific British graphic designer Alan Fletcher to his dying day, and being named The Queen of Cookbooks by the Wall Street Journal.  https://www.phaidon.com/ See omnystudio.com/listener for privacy information.

Sube a El Cocodrilo y viaja por la ciudad a través de los estilos, épocas y firmas de los arquitectos que le dieron modernidad: Juan Segura y su edificio Ermita en Tacubaya de 1929; Mario Pani y sus multifamiliares hasta Ciudad Universitaria, Luis Barragán y el pedregal, Juan O´Gorman y el funcionalismo con la Casa-estudio Diego y Frida en Tizapán de San Ángel; Ramírez Vázquez y el icónico Museo de Antropología o Estadio Azteca ejemplos del concreto y la identidad. Ricardo Legorreta y sus grandes y gruesos muros, coloridos, con juegos de luces y plantas endémicas del Hotel Camino Real en Polanco o el Cenart en Tlalpan; el brutalismo de concreto cincelado y rugosos trozos de mármol o sus acristalados muros combinando acero y concreto de Teodoro González de León. La ciudad moderna en las propuestas de los arquitectos icónicos de México. Escucha El Cocodrilo con Sergio Almazán todos los sábados de 16:00 a 17:00 horas y los jueves de 22 a 23 horas. Por MVS 102.5 FM.See omnystudio.com/listener for privacy information.

(00:00) Welcome to Decorating by the Book Podcast(00:10) Your Host Suzy Chase(00:21) Newell Turner(00:26) Mexican: A Journey by Design by Newell Turner(01:15) Diana Kennedy(01:30) Mexican(01:41) Diana Kennedy Mexican cuisine(02:00) Mexico(02:20) Newell Turner The Author(03:10) Mérida, Yucatán(03:15) Mexican The Book(03:50) Mexican Design(04:20) Next Career(04:37) Peace on Earth(04:54) Travel(05:28) Cultural Treasures(05:55) The Country Mexico(06:28) Getting To Know People(06:46) Stephen Drucker(07:32) The Book (07:40) Newell Turner Instagram(08:00) Drucker(08:25) A Visual Narrative (08:55) The Only Design Book Podcast(09:32) Susana Ordovás(09:45) An American From Mississippi(10:04) Newell Turner's IG(10:30) Understanding Where Design Comes From (10:42) University of Mississippi(11:12) Understanding Your Audience(11:47) Turner(12:12) Positive Response(12:50) Decorating by the Book Podcast(13:26) Baroque(13:52) Exuberant(13:58) Pyramid(14:16) Red Pyramid(14:26) Purples(14:31) Greens(14:46) The Podcast(15:02) Baroque Was Exuberant(15:30) Neoclassical(15:59) Book Cover(16:41) Diaz(17:03) Cathedral In Mérida(17:17) Paseo de Montejo (17:25) Palacio Cantón(17:34) Newell Turner The Author(18:11) Spanish Colonial(18:30) Spanish Influence(18:50) Cultural References(19:17) Courtyard(19:25) Indoor Outdoor Living(19:36) Convivencia(19:51) Art Deco(19:57) Mayan Deco(20:18) Deco(20:38) Maya Traditions(20:58) Mayan Deco Artistry(21:38) Relief Work(22:04) The Book Cover(23:16) Luis Barragán (23:49) Poured Concrete(23:51) Stone(23:53) Terra Cotta(23:57) Texture(24:04) Barragán Glass(24:32) Mexican Modernism(24:46) Color(24:54) Barragán Pink(25:10) Contemporary(26:00) Oasis(26:20) Center Courtyard(26:41) Mississippi(27:12) The Book Cover(27:30) Moroccan Architecture(28:10) Mexican by Newell Turner(28:38) The Moon(28:45) Storms(29:00) Newell Turner Author of Mexican(29:49) TNT3 on IG(30:30) A Stunning Book(30:42) Thanks for ListeningChapters, images & show notes powered by vizzy.fm.

El día de hoy conversé con Laila Pérez, arquitecta que actualmente funge como presidenta del Colegio de Arquitectos de Jalisco, institución que se dedica a fomentar el desarrollo integral, actualización y capacitación de arquitectos en el estado.  En nuestra platica Laila nos hablo de algunas obras de arquitectos destacables de Guadalajara como Luis Barragán, Ignacio Díaz Morales, Rafael Urzúa, entre otros  y como todos ellos tenían un estilo único de la zona al cual se le conoce como regionalista. Laila también nos hablo de la importancia de conocer nuestra ciudad y cuidar nuestro patrimonio arquitectónico, así cómo algunas formas en las que podemos adaptar nuestros edificios para no tener que destruirlos. ¡Si quieres aprender del patrimonio arquitectónico de Guadalajara !   En este capítulo podrás aprender sobre:  Características de los arquitectos de Jalisco Qué es y las funciones del Colegio de Arquitectos de JaliscoIA en la arquitectura ¡Si te gustó el capítulo, te invitamos a seguirnos en redes sociales y a compartirlo con tus conocidos que les interese el real estate! Estamos creando una comunidad para ti.   Recursos:    Instagram: @realestate_conf   Twitter: @realestate_conf   Tik Tok: @realestate_conf     Host: @pepesanchezgil  Support the show

A história de vida e obra do mais influente arquiteto mexicano do século XX. . . . REFERÊNCIAS BARRAGÁN FOUNDATION | https://www.barragan-foundation.org/luis-barragan/life CASA LUIS BARRAGÁN | http://www.casaluisbarragan.org/lacasa.html CURTIS, William. Arquitetura moderna desde 1900. Porto Alegre: Bookman, 2008. OLAVARRÍA, María Carnero. Luis Barragán: dibujo y color. Escuela Técnica Superior de Arquitectura de Madrid, Universidad Politécnica de Madrid, 2020.  PRITZKER PRIZE | https://www.pritzkerprize.com/laureates/1980#laureate-page-415

Este domingo 9 de abril en “Jalisco en la hora nacional”…  Un paseo por el Parque Morelos de Guadalajara, con Ignacio Pérez Vega, periodista  Patrimonio Arquitectónico y la relación de Luis Barragán y José Clemente Orozco, con Mónica del Arenal, arquitecta  La torta ahogada, con César Alejandro Coronado Cisneros, quien nos habla de la historia de este manjar  La propuesta musical de Andrea Lavica  Y la isla de Mezcala en el Lago de Chapala. Producción: Begoña Lomelí y Raúl Peguero. Realización: Marco Barajas Sistema Jalisciense de Radio y Televisión. Visita: www.jaliscoradio.com

In this episode of "Out of Office: A Travel Podcast," Kiernan and Ryan explore the colorful world of acclaimed Mexican architect Luis Barragán and his iconic works in Mexico City. Ryan chats with Martin Luque, a CDMX-based architect who actually grew up in Casa Gilardi - the last house designed by Barragán! Also, Kiernan shares his insights on traveling with kids and even shares a harrowing tale of his Dickensian youth. Things we talked about on today's episode: Martin's Father talks about Casa Gilardi:  https://www.facebook.com/watch/?v=10154827207262454 Casa Gilardi: https://casagilardi.mx/ Tetetlan & Casa Pedregal: http://www.tetetlan.com/ Casa Estudio Luis Barragán: http://www.casaluisbarragan.org/eng/en_index.html Chapel and Convent of the Capuchinas Sacramentarias https://www.barragan-foundation.org/works/list/capuchin-convent-chapel The Last Stop: https://www.nytimes.com/2020/07/24/t-magazine/luis-barragan.html  

Padre di un'architettura emozionale fatta di acqua e colore, Luis Ramiro Barragán Morfín (1902 - 1988) fu il più importante architetto messicano del XX secolo.

La Mtra. Laura Ayala Castellanos, Curadora de Arte, nos habla acerca de "525 gramos. Jill Magid y la transformación de Barragán", obra que transforma las cenizas del maestro Luis Barragán en un diamante; Eddy nos presenta una entrevista con el Chef Ricardo Muñoz Zurita, reconocido por muchos como un Maestro, conoce con detalle la cocina mexicana tradicional y contemporanea, es propietario de los restaurantes Azul y Oro, Azul Condesa y Azul Histórico, todo esto y más con Eddy Warman de Noche.

A conversation with Senior Curator Corinne Erni, Filmmaker and Artist Jill Magid, and Dia Art Foundation Associate Curator Matilde Guidelli-Guidi. Before the screening of The Proposal, co-presented with Hamptons Doc Fest, in collaboration with Dia. The Proposal Known as “the artist among architects”, Luis Barragán is among the world's most celebrated architects of the 20th century. Upon his death in 1988, much of his work was locked away in a Swiss bunker, hidden from the world's view. In an attempt to resurrect Barragán's life and art, boundary redefining artist Jill Magid creates a daring proposition that becomes a fascinating artwork in itself–a high-wire act of negotiation that explores how far an artist will go to democratize access to art. About Jill Magid American artist Jill Magid's work is deeply ingrained in her lived experience, exploring and blurring the boundaries between art and life. Through her performance-based practice, Magid has initiated intimate relations with a number of organizations and structures of authority. She explores the emotional, philosophical, and legal tensions between the individual and ‘protective' institutions, such as intelligence agencies or the police. To work alongside or within large organizations, Magid makes use of institutional quirks, systemic loopholes that allow her to make contact with people ‘on the inside'. Her work tends to be characterized by the dynamics of seduction, the resulting narratives often taking the form of a love story. It is typical of Magid's practice that she follows the rules of engagement with an institution to the letter – sometimes to the point of absurdity. 2018, Documentary, 83 minutes Director: Jill Magid Friday Nights are made possible, in part, by Presenting Sponsor: Additional support provided by The Corcoran Group and Sandy and Stephen Perlbinder.

Subscribe Apple | Google | Spotify | Stitcher | iHeart   Support The Daily Gardener Buy Me A Coffee    Connect for FREE! The Friday Newsletter |  Daily Gardener Community   Friends of the Garden Meeting in Athens, Georgia Register Here   Historical Events 1763 Birth of William Cobbett, English writer, Member of Parliament, and farmer.  In Parliament, Wlliam fought for agrarian reform. He did this through his regular writings called Rural Rides, where he shared what he saw while taking horseback rides throughout rural England. William never forgot his rural roots, and he was a lifelong gardener. He once wrote, How much better during a long and dreary winter, for daughters, and even sons, to assist, or attend, their mother, in a green-house, than to be seated with her at cards, or, in the blubberings over a stupid novel, or at any other amusement that can possibly be conceived. And he also wrote,  If well-managed, nothing is more beautiful than the kitchen garden.   1845 Birth of Wilhelm Friedrich Philipp Pfeffer, German botanist and plant physiologist. Wilhelm was born in his father's apothecary. He grew up and learned every aspect of the business, which had been in his family for generations. One of his childhood friends noted, In those days, it was not yet customary to obtain drugs in cut and powdered form; thus, he spent hours cutting roots and herbs and pulverizing dried drugs with a heavy pestle in a mortar. In addition to life at the A=apothecary, Wilhelm loved collecting plants in the Alps. His early study of plants and his natural curiosity set the stage for his in-depth plant experiments as an adult. In terms of plant physiology, he's remembered for the Pfeffer pot or pepper pot to measure osmotic pressure in plant cells.   1874 Birth of Karl Foerster, German plant breeder, writer, and garden designer. When Karl turned 18, he took over his family's Berlin nursery, which was a bit of a mess. Karl quickly streamlined the business by simplifying his plant inventory. Although Karl loved all plants, he was especially drawn to tough, low-maintenance, hardy perennials. Karl used three factors to determine whether a plant would be sold in his nursery: beauty, resilience, and endurance. Today, Karl is most remembered in Karl Foerster Grass. The story goes that Karl was on a train when he spied the grass growing along the tracks. Karl frantically pulled the emergency brake, stopped the train, and quickly collected the specimen that now bears his name. In 2001, Karl Foerster grass was the Perennial Plant of the Year. Karl's plant standards and his appreciation for low maintenance spaces with year-long seasonal interest helped shape the New German Garden Style of garden design. A Karl Foerster garden had some signature plants: grasses, delphinium, and phlox. Naturally, all of these plants were favorites in Karl's breeding work. Karl once wrote, Grasses are the hair of mother earth. And he also wrote, A garden without phlox is not only a sheer mistake but a sin against summer. Karl lived to the ripe old age of 96. And looking back, it's staggering to think that Karl spent nearly nine decades gardening, and it was Karl Foerster who said, In my next life, I'd like to be a gardener once again.  The job was too big for just one lifetime.   1892 Birth of Vita Sackville-West, English author and garden designer. In 1930, Vita and her husband, the diplomat, and journalist Harold Nicolson, bought Sissinghurst Castle - at least what was left of it. Together, they restored the house and created the famous garden, which was given to the National Trust in 1967. Vita explored the depths of her own creativity as she shaped the gardens at Sissinghurst. When she came up with the idea for a Sunset Garden, she wrote, I used to call it the Sunset Garden in my own mind before I even planted it up. Vita's Sunset Garden included flowers with warm citrus colors, like the yellows, oranges, and reds of Dahlia's Salvias Canas and tulips. Vita also created a White Garden – one of the most difficult Gardens to design, maintain and pull off. Why is that? Well, the main reason is that, after flowering, most white blooms don't age well; they turn brown or yellow as they wither and die on the plant. But I have to say that ten years ago, I did help a friend install a white garden. And when it was in bloom, it really was spectacular. During World War II, there came a point when Vita and Harold were convinced that a German invasion of Britain was likely. Vita planted 11,000 daffodils, a message of defiance to the enemy. In 1955, Vita was honored with the Veitch Memorial Medal. She died seven years later in 1962. She once wrote, The waking bee, still drowsy on the wing,  Will sense the opening of another year  And blunder out to seek another spring.   Grow That Garden Library™ Book Recommendation The Art of Edible Flowers by Rebecca Sullivan  This book came out in 2018, and the subtitle is Recipes and ideas for floral salads, drinks, desserts, and more. This sweet little book is a fun little recipe book of the many ways flowers can be incorporated into drinks and edibles. Recipes include a Rose and Lavender Cocktail Syrup, a Jasmine and Green Tea Ice Cream, Lavender and Orange Cheesecake, Pumpkin Carpaccio with Mustard Flower Sauce, Artichoke Flower with Borage Butter, Fermented Elderflower Fizz and a soothing Poppy Milk. The recipes are simple, creative, and elegant. This book is 80 pages of edible, beautiful, tasty blossoms. You can get a copy of The Art of Edible Flowers by Rebecca Sullivan and support the show using the Amazon link in today's show notes for $12.   Botanic Spark 1902 Birth of Luis Barragán, Mexican architect and engineer. In 1980, he won the Pritzker Prize, the highest award in architecture. In 1948 he designed and built his own home with cement after being inspired by local modernist architecture. In 2004, the Luis Barragan house was declared a UNESCO World Heritage Site. In addition to architecture, Luis loved landscapes. He once wrote, I don't divide architecture, landscape and gardening; to me they are one. And he also wrote, A garden must combine the poetic and he mysterious with a feeling of serenity and joy.   Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, garden every day.

Hoy te platico sobre Chucho Reyes, un pintor mexicano, que quienes tuvieron la dicha de conocerlo y de convivir con él lo describen como un perseverante buscador de la belleza. Su obra influyó en las creaciones de otros grandes como el arquitecto Luis Barragán y el expresionista abstracto Jackson Pollock. El mismísimo Marc Chagall lo nombró “El Chagall Mexicano”. No te pierdas este episodio en donde desglosamos sus hermosas obras de gallos danzando. Espero lo disfrutes tanto como yo!

Es el tema que conversamos con Matías Montalva, abogado y gerente de Intermediación de Montalva Quindos. Pablo Altikes, arquitecto, académico e investigador, entregó las claves para conocer la obra de Luis Barragán, el más mexicano de lo arquitectos mexicanos.

Tentador, divertido y entretenido así es Infierno Romano!!! Caro nos trajo una nueva recomendación. Rober con su gran columna y todas las novedades de Barroco Wines. Claudio nos contó sobre Luis Barragán, arquitecto paisajista mexicano y Sebas en la entrega de los Premios Hugo. Además tuvimos el lujo de tener a Luz Martell que nos regaló un hermoso acústico y se animó a participar del juego musical.

Luis Barragán mejor conocido como Méne es un artista independiente originario de Monterrey, Nuevo León que se ha convertido en un referente de la escena nacional emergente con una propuesta única y diferente, recientemente lanzó su EP “Braille” en el que el escribió todas las letras junto a Nsqk quién aparte estuvo a cargo de la producción, Méne platico sobre como conoció a Rodri (Nsqk), como una canción llamada “Fortnite” los hizo darse cuenta que hacían sinergía, como fue trabajar de manera digital este EP debido a la pandemia aparte de cotorrear sobre su música en general, su depresión severa y la adicción al tafil, el amor a la música, trabajar en equipo y más. Espero disfrutes este episodio.

L'architettura moderna è nata nella Vienna cosmopolita di fine '800 per rispondere al bisogno di ambienti che rispettassero i nuovi standard sanitari richiesti dai medici: spazi ampi, più luce e migliore areazione. Oggi, mentre ci lasciamo lentamente alle spalle una lunga pandemia, il legame tra architettura, salute e stile di vita è tornato a essere un tema cruciale. Costantino e Francesco ci raccontano una storia laterale dell'architettura contemporanea, parlando di anarchitetti batterici come Gordon Matta-Clark e archistar mancati come gli italiani di Archizoom, dell'architettura senza architetti di Yona Friedman e dell'architettura per i poveri promossa da Hassan Fathy e Laurie Baker.In questa puntata si parla di Sigmund Freud, Egon Schiele, Arnold Schönberg, Beatriz Colomina, Josef Hoffman, Adolf Loos, Gordon Matta-Clark, Mark Wigley, Holly Solomon, Roberto Matta, Benjamin Ward Richardson, Ludwig Mies van der Rohe, Gunter Sachs, John Zorn, Luis Barragán, Jill Magid, Rolf Fehlbaum, Federica Zanco, Harald Szeemann, Laurie Baker, Josef Albers, Anni Albers, Banksy, Kaws, Takashi Murakami, John Hilliard, Hassan Fathy, Superstudio, Archizoom, Poltronova, Ufo, Gianni Pettena, Rem Koolhaas, Mario Dezzi Bardeschi, Stefano Boeri, Gianandrea Barreca, Rachel Whiteread, Bruce Nauman, Sant'Agostino, Yona Friedman, Toni Negri, Renzo Piano, Richard Rogers, Minecraft, Bernard Rudofsky e Jeff Wall.

Vladimir Petit & Luis Barragán: La historia no contada de COPEIQuien fue Donald Ramirez? Cómo llegó Capriles al Congreso? La historia no contada de Copei El segundo partido de Venezuela era una fuerza política que metía miedo, basta con ver su trayectoria como fuerza estudiantil, algo de lo que uno de mis invitados, Vladimir Petit Medina sabe muy bien.  Este episodio trata sobre la trayectoria de COPEI, los cuentos feos y Vladimir Petit para hablar de ese tema me dijo que íbamos a tener un diálogo a tres con Luis Alberto Barragán, otro excopeyano —ahora socialcristiano que milita en Vente Venezuela— y conversamos sobre mitos y realidades del partido verde.Esta conversacion fue buenisima, duro horas y estuvo accidentada, pero la edité lo mejor que pude y la comparto contigo, amigo de internet para que la escuches en mi Podcast.  Website de Vladimir Petit: https://www.vladimirpetit.com/biografia/ Twitter de Vladimir Petit: https://twitter.com/vladimirpetit/ Aprende con la Universidad Posible:https://www.universidadposible.com/ Luis Barragan: IG: https://www.instagram.com/luisbarraganj/ Twitter de Luis Barragan:  https://twitter.com/luisbarraganj?lang=en Recuerda que mi podcast llega a ti gracias a anchor.fm, la plataforma gratuita de spotify que te permite poner tu voz en todas las paginas que difunden podcasts. Si te gustan mis contenidos recuerda que puedes apoyarme y convertirte en patrocinante de mi programa en Patreon.com/albertozambrano, donde por menos de lo que te cuesta ese café de starbucks puedes informarte, divertirte y desestresarte. Si desbordas generosidad, quieres mantenerte anonimo o simplemente eres un entusiasta del crypto como yo puedes revisar algunos de estos enlaces de interes. Obten descuento comprando desde este enlace un minero IoT de HNT Helium marca NEBRA fabricado en UK: https://www.nebra.com/?ref=_usnqow3lnch UNETE A BINANCE con mi Link y gana 10% en crypto junto conmigo por todos los trades de BNB que hagamos, si te unes y mas amigos se unen podrás ganar 40% de comisión https://www.binancezh.co/en/register?ref=HT0DTYA7&utm_campaign=web_share_copy   Donaciones BTC: 1AeJtkJysWYJfDpW8XoBiNCtUwPmAbfsec ETH: 0xe5b6a6dc1611349fd279ea5e48a406fdc37a523a ADA: DdzFFzCqrht7dQHjcMPqpTGDUzrVHeZbvUz9mZXzScJMJ2KbDxg73aPqwCecGSBbkbWyfaaByxhGjBRL14hDhbCXYM11bgGFGsSrQjBe --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/albertozambrano/message

Během padesátých a šedesátých let se Mexiko stalo jedním z architektonicky nejprogresivnějších států regionu Latinské Ameriky. Kromě špičkových rodinných domů tvůrců jako byli Luis Barragán, Max Cetto nebo Francisco Artigas, se mexický modernismus projevil také v projektech velkých veřejných budov a institucí. K nim patří i Museo Nacional de Antropología, které ukrývá jednu z nejvýznamnějších antropologických sbírek na světě. 

Luis Barragán, znan kot »umetnik med arhitekti«, je eden najbolj priznanih arhitektov 20. stoletja. Za svoje delo je prejel Pritzkerjevo nagado, najvišje priznanje za arhitekturo, njegov dom v prestolnici Mehike »Casa Luis Barragán« pa je del UNESCO-ve kulturne dediščine. Po smrti tega znamenitega arhitekta je njegov profesionalni arhiv v celoti kupilo švicarsko pohištveno podjetje in ga zaprlo za javnost. Ali in zakaj je to problem? To je v svojem večletnem umetniškem projektu The Barragán Archives raziskovala ameriška konceptualna umetnica Jill Magid ter o tem posnela dokumentarni film »The Proposal«, v katerem je izpostavila vprašanja o avtorskem pravu, intelektualni lastnini in odnosu do kulturne dediščine. V okviru cikla Akcija! je Aksioma premierno predstavila film The Proposal slovenskemu občinstvu in v organizaciji s Kino Šiška pripravila virtualno srečanje z Jill Magid. Z umetnico se je pogovarjala tudi Urška Henigman.

Para terminar la 3ra temporada divagamos sobre la importancia de Luis Barragán pero sobre todo la importancia de desarrollar un criterio para dejar que las referencias en la arquitectura vayan a nuestro favor y para ello tenemos la participación del arquitecto Sergio Ortiz.

El silencio es un aspecto que tiene una trascendencia muy grande dentro de la vida del ser humano ya que es mediante éste que se tiene un contraste claro entre el sonido y el silencio. El silencio además tiene cualidades que invitan a la meditación, a la reflexión, a la oración y a muchas actividades que se realizan en una intimidad que nos habla con el lenguaje del alma. En este episodio abordamos el tema desde una perspectiva relacionada con la arquitectura tomando la obra de Luis Barragán como un ejemplo donde lo primordial es el silencio. --- Send in a voice message: https://anchor.fm/cafearquitectura/message

Bienvenidos a todos al episodio número 12 de Punto de fuga, mi nombre es Nuria Heras y en el programa de hoy vamos a hablar del Pabellón de España en la Expo de Bruselas de 1958. Proyecto que rompió moldes y arrebato las miradas de la joya arquitectónica de la Feria llamada Atomium y que hasta hace muy poquito se encontraba en total abandono. Sus arquitectos José Antonio Corrales y Ramón Vázquez Molezún fueron un referente en la arquitectura de la post guerra española y promovieron un tipo de arquitectura moderna y fresca en una época de sobriedad y rigidez. Para los que no conozcáis el pabellón acompañarme en este episodio porque este edificio no os dejará indiferentes. Os dejo algunos links qué os pueden resultar interesantes: 1. El Pabellón de los hexágonos de la Expo de Bruselas de 1958 http://www.coam.es/media/Default%20Files/fundacion/biblioteca/revista-arquitectura-100/1946-1958/docs/revista-articulos/revista-nacional-arquitectura-1958-n198-pag01-13.pdf 2. El edificio Seagrams de Mies Van der Rohe – 1958 https://www.metalocus.es/es/noticias/el-edificio-mas-importante-del-milenio-el-seagram 3. Brasilia de Oscar Niemeyer - 1956 – 1960 https://www.architecturaldigest.com/gallery/stunning-modern-architecture-oscar-niemeyer 4. Torres Satélite de Luis Barragán – 1958 https://www.domusweb.it/en/local-editions/central-america-caribbean/architecture/2018/07/04/between-art-and-architecture---torres-de-satlite-1958.html 5. Edificio Johnson Wax se construyó del 1936 al 1939 https://www.scjohnson.com/es/a-family-company/architecture-and-tours/frank-lloyd-wright/designed-to-inspire-sc-johnsons-frank-lloyd-wright-designed-administration-building 6. Atomium https://www.atlasobscura.com/places/the-atomium-brussels-belgium 7. Edificio Phillips. Le Corbusier y Iannis Xenakis https://www.archdaily.com/157658/ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis 8. ¨Poeme electronique¨. Celebración del progreso y critica de bombas atómicas y campos de concentración https://www.youtube.com/watch?v=UWsuDV0KN94 9. Colegio de Salesianos en Herrera del Pisuerga 1954-1959 https://www.stepienybarno.es/blog/2009/09/09/corrales-y-molezun-grupo-escolar-en-herrera-de-pisuerga-1958/ 10. La Casa Huarte en puerta de Hierro 1966 https://www.metalocus.es/es/noticias/una-visita-a-la-casa-huarte-de-corrales-y-molezun 11. Residencia infantil de Miraflores con Alejandro de la Sota 1958 https://www.arquitecturayempresa.es/noticia/de-la-sota-corrales-y-vazquez-molezun-residencia-infantil-en-miraflores 12. Edificio de Bankunion http://hiddenarchitecture.net/bankunion/ 13. Le elogio de la luz #2 https://www.youtube.com/watch?v=rGgWuw0Dmm0 14. El Orfanato de Amsterdam de Aldo Van Eyck Modulos cuadrados 15. El Centro Artesano de Sevres de Candilis, Josic y Wood Modulos cuadrados 16. Homenaje a las victimas del holocausto judío de Berlín – Peter Eisenman - 2005 https://eisenmanarchitects.com/Berlin-Memorial-to-the-Murdered-Jews-of-Europe-2005 17. The Awakening the Álvaro Urbano en la Casa Encendida https://www.youtube.com/watch?v=AMBJYl2PD3k Hasta aquí el episodio de hoy, espero que os haya gustado y mil gracias por estar al otro lado porque sin vosotros ésto no sería posible. Si os ha gustado el episodio agradezco vuestras valoraciones de 5 estrellas en iTunes y vuestros likes en iVoox y Spotify así cómo vuestros comentarios, recomendaciones y preguntas en cualquiera de nuestras redes sociales @punto_d_fuga y/o en mi página web http://www.nuria-heras.com/ Os espero para fugarnos juntos en el siguiente episodio…….Hasta entonces os deseo un muy buen día y mejor inicio de semana!

Yes, we like white walls and pale wood, but our eyes need some *excitement* these days, and we have a whole bunch of ways to give ‘em what they require (without going full Gigi Hadid maximalist). Also worth adding to your “Hues You Can Use” moodboard: just about everything in Kacey Musgraves’s merch shop.    The linkage:   More where this came from c/o Secret Menu! (Click-y name, right?!)   All hail Merch Queen Kacey Musgraves! This longsleeve tee, this velvet poster, her Boy Smells collab Slow Burn candle (and companion Burn in a Hurry lighter), the Lonely Weekend Self-Care Kit, High Time rolling papers, an ugly Christmas sweater, and faux snow (but of course?).   Breaking August news: Kacey’s Christmas album really is so good (and can we talk about this Dolly Parton holiday album announcement?!).   Some of the places we’re getting our colorful interior inspiration: Tina Seidenfaden Busck’s The Residence, Matilda Goad, Justina Blakeney, Ellen van Dusen’s Brooklyn home, Beata Heuman, Laurel Broughton’s Echo Park house, Luis Barragán, and Tony Duquette.   Claire has a green couch! That she loves! It’s the Clad Home Dawson Sleeper in Klein Emerald.   Erica has one (1) wall of wallpaper! She’s obsessed! It’s Josef Frank’s Paradiset.   Tabletop stuff! Wolfum trays, bright taper candles, Opinel steak knives.   Colorful glassware! Lateral Objects, R+D.Lab, Estelle Colored Glass, Keane.   Furniture! The Inside, Inside Weather, Hay, Eric Trine / Amigo Modern, Interior Define.   Ceramics! Studio Hecha, Raina Lee, Concrete Cat, Russel Wright, Fiestaware, Year & Day, Massimo Vignelli for Heller, Raawii.   Lights! La Veste, Eo Ipso, Casa Cosima, Commune.   Textiles! Hillery Sproatt, Dusen Dusen, Aelfie, Tantuvi, Cold Picnic, Society of Wanderers, Marimekko, Bolé Road Textiles.   Paint! Clare, Backdrop, Farrow & Ball.   Related: the Farrow & Ball New Yorker story.   If you want more on colorful home stuff, check our ep with our trade-show recap.   We’re here for your thoughts: DMs to @athingortwohq, voicemails at 833-632-5463, or reviews of this podcast are always welcome.    Check out the powerful MoMA Design Store Design Innovations for Women pop-up. Listen to Michelle Obama’s wonderful new podcast on Spotify. Try out Rory’s nightly defense skincare treatment for only $5. YAY.   Produced by Dear Media

Welcome to this ninth episode of the Dior Talks series ‘The Female Gaze’. With the term developed in response to the writings of feminist film theorist Laura Mulvey, this podcast series will explore how the work of the female photographers and creatives collaborating with Dior offers a radically new and progressive image of women. In this episode, series host Charlotte Jansen, a British journalist and author, speaks with young fashion photographer Paola Vivas, who is making waves in the fashion world with her fresh, natural perspective on femininity and gender. She speaks about her unlikely move to London and the diversity of the city which she finds so inspiring and also reflects on her Mexican roots and their influence on her aesthetic. She also discusses her 2018 collaboration with Dior. Paola Vivas was born and raised in Merida in southern Mexico, an area of great beauty with a very distinctive culture and way of life. She initially came to London for a holiday while she figured out her next move after studying fashion design in Mexico. That holiday became a permanent relocation when she signed up for a course in fashion photography at the University of the Arts, having fallen in love with the creativity and diversity of the city. Since then she has moved quickly, becoming part of a new wave of young female photographers changing the boundaries and language of the depiction of the female body and the portrayal of womanhood and gender in fashion imagery.  In this new episode, Paola Vivas tells Charlotte Jansen about her complex relationship with London and how it has changed and influenced her work over time. They talk about her experiences of lockdown as a creative and image-maker and how it has enriched her understanding of urban space and possibility. In 2018, Paola Vivas was one of a group of Mexican women photographers commissioned by Maria Grazia Chiuri to shoot the Dior Cruise 2019 collection and she chose the extraordinary location of Luis Barragán’s architectural masterpiece, Cuadra San Cristóbal, as the setting of her Dior Magazine story. She elaborates on her collaboration with Dior and the beautiful, moving homage to Mexican female artistry which resulted. generation of young women photographers, and her collaboration with @MariaGraziaChiuri for Dior Magazine.

In this episode, I talk with Aldo Solano Rojas, a Mexican Art Historian and Ph.D. student from the Instituto de Investigaciones Estéticas at UNAM about his book on the Playgrounds of modern México, the public space, and the city. We also talked about centralism, the eternal fight between art historians and architectural historians and the the marginality of the history of urbanism, public spaces, and parks. We discussed figures like Luis Barragán, Mario Pani, and Jan Gehl among others. Please read his articles on coolhunter, and visit his Tumblr! Recommendations. Man and Play by Roger Callois Netflix's Midnight Gospell

Designer Willo Perron talks about creating a stage-show that pops for everyone from Jay Z to Florence and the Machine. Plus a word with Design Miami’s curatorial director and a documentary maker on her latest film all about Mexican architect Luis Barragán.

Un especial grabado con auditorio desde Casa Gilardi, vivienda unifamiliar para la familia Gilardi, construida y diseñada en 1976 por  Luis Barragán Morfín, abierta al público. Un anecdotario, con una perspectiva más humana, en torno a un espacio que deja de ser íntimo, a ser un espacio público dentro de la casa propia y así Martín y Eduardo Luque que nos comparten sus experiencias, en su vivienda que es un edificio muy reconocido a nivel mundial.

Abraham Cota nos habla de su formación, inspiración y proceso creativo, reflexiona sobre la interacción de las nuevas tecnologías en la exposición de su trabajo arquitectónico, con 70k seguidores en Instagram y su canal Cota Paredes en YouTube nos muestra una forma diferente de enseñar la Arquitectura. La pregunta de un escucha Marcos Sedano apenas marca la pauta de inicio de esta charla rica en referentes como Luis Barragán, Zaha Hadid, Eduardo Chillida, Álvaro Siza, Le Corbusier entre muchos más. Te invitamos a escucharnos. Nos puedes escribir tus comentarios a: arquiphilia@gmail.com FB e Instagram: ARQUIPHILIA o bien a contacto@lassalamasorozco.com --- Send in a voice message: https://anchor.fm/ARQUI-Philia/message

In the quietly powerful documentary, THE PROPOSAL, director Jill Magid explores the life, death and profoundly moving work of Luis Barragán. Known as “the artist among architects,” Barragán is among the world’s most celebrated architects of the 20th century. Upon his death in 1988, much of his work was locked away in a Swiss bunker, hidden from the world’s view. In an attempt to resurrect Barragán’s life and art, boundary redefining artist Jill Magid creates a daring proposition that becomes a fascinating artwork in itself—a high-wire act of negotiation that explores how far an artist will go to democratize access to art. Director’s Statement The Proposal is my first feature film and the last chapter of a larger project I began in 2013 called The Barragán Archives. The project explores the contested legacy of Luis Barragán, Mexico’s most famous architect, and how his legacy is affected by the fact that a private corporation, Vitra, owns his archives and controls the rights in his name and work. For more than twenty years, this corporation has made his work largely inaccessible to the public. The film questions whether a single actor should be exclusively in control of how the world can engage with Barragán’s work. Almost as an invitation for image-making, Barragán was known to adjust a buildings’ design so that it would photograph better. With this film, I wanted to capture the overwhelming beauty of his work while simultaneously questioning the legal challenges one faces to do so. The film is in itself a proposal: A way to elicit dialogue about access to legacy and its proprietary nature, and not simply if the proposal will be accepted. - Jill Magid. For news and updates go to: theproposal.oscilloscope.net For more about the director go to: jillmagid.com/film THE PROPOSAL opens in Los Angeles on May 31st at the Monica Film Center, with national rollout over the following weeks. Director Jill Magid will participate in a Q&A following the 7:40 pm show on Friday, 5/31 and Saturday.

简介： 建筑中到底是什么东西打动了人？ 我们从最近去过的路易·康设计的索尔克生物研究所开始聊起，讨论了建筑空间的精神性。通过对比赖特的西塔里艾森，试图讨论精神和物质两种层面上的「动人之处」。 在这期中我们讨论了： -索尔克生物研究所的空间体验和设计逸闻 -建筑空间是如何打动人的？ -在动人这点上，建筑师和非建筑师的感受是否有区别？ -这种建筑审美的差异是如何产生的？作为建筑师应如何去消弭？ -怎么看康的出世和赖特的入世？ -精神层面的动人是否一定比物质层面的关照要来的高级？ -读图时代对建筑空间「体验」方式的颠覆 值得一提的是，节目最后的番外里大家特别放松，反倒聊得更精彩... 人物： 璟璐：Instagram: jingluhuang (https://www.instagram.com/jingluhuang/) 雷楠：Instagram: leinanln (https://www.instagram.com/leinanln/) 若云：Instagram: xuruoyun123 (https://www.instagram.com/xuruoyun123/) 读图时代的介绍只要留Instagram就可以了（微笑） 相关链接： 索尔克生物研究所(Salk Institute) (https://www.archdaily.com/61288/ad-classics-salk-institute-louis-kahn) 路易·康 Louis Kahn (https://www.archdaily.com/334095/happy-112th-birthday-louis-kahn) 路易斯·巴拉甘 Luis Barragán (https://www.archdaily.com/607209/spotlight-luis-barragan) 弗兰克·劳埃德·赖特 Frank Lloyd Wright (https://www.archdaily.cn/cn/872554/ju-jiao-frank-lloyd-wrightlai-te) 中国十大丑陋建筑-2018榜单 (https://zhuanlan.zhihu.com/p/54894265) 中国十大丑陋建筑-周榕采访 (http://www.archcy.com/votes/interview/designer/79cf7a7d105406fc) 康-浴场Trenton Bath House (https://www.phaidon.com/agenda/architecture/picture-galleries/2010/october/27/rebirth-of-an-icon-louis-kahns-jewish-community-centre/) 康-耶鲁英国艺术中心 (https://www.archdaily.com/787592/louis-kahns-yale-center-for-british-art-reopens-after-restoration) 康-埃克塞特学院图书馆 (https://www.archdaily.com/63683/ad-classics-exeter-library-class-of-1945-library-louis-kahn) 背景音乐： 片头：Falla- 3 Obras de juventud- No. 1 Serenata Andaluza, by Jean-François Heisser 片尾：Falla- 3 Obras de juventud- No. 2 Nocturno, by Jean-François Heisser 音乐顾问：易安 联系方式： 网站：architalk.xyz 邮箱：hi@architalk.xyz 新浪微博：所建所闻 (https://m.weibo.cn/profile/6895347942) Twitter：ArchiTalkXYZ (https://twitter.com/ArchiTalkXYZ) Instagram：architalk.xyz (https://www.instagram.com/architalk.xyz/) Special Guests: 徐若云 and 雷楠.

“No me pregunten de este edificio o de aquel. No miren lo que yo hago. Miren lo que yo vi”, decía Luis Barragán. En este episodio, el arquitecto y urbanista mexicano, Fernando Romero, comparte la admiración que siente por el arquitecto modernista más reconocido del mundo. Desde las oficinas de la galería Archivo, un espacio que ha creado con el fin de promover el diseño industrial y que queda pared con pared con la Casa Barragán en la Ciudad de México, designada como Patrimonio de la Humanidad de la UNESCO, Fernando habla sobre el proyecto más importante de su carrera: construir el Cristo de La Paz más grande del mundo en México y ofrece consejos para las nuevas generaciones en la creación de proyectos que trascienden.

El arquitecto Miquel Adriá, investigador de la influencia que tuvo Le Corbusier en la arquitectura mexicana, describe las obras y trayectoria de Juan O' Gorman, Luis Barragán, Mario Pani y Teodoro González de León, arquitectos que adoptaron la modernidad lecorbusiana en México del siglo XX. Ver video: https://bit.ly/2NM0vfm

La luz es una de las características más destacadas en artes como el cine, la fotografía, la pintura... y sí, también en la arquitectura. ¿O ustedes no se deprimen cuando entran a un edificio oscuro, pero se sienten cómodos cuando esa oscuridad es relativa y está acompañada de luz agradable? ¿O no se sienten agredidos en estructuras muy brillantes, pero descubren nuevos detalles en edificios como los de Luis Barragán, el maestro de la iluminación? ¿Cómo afecta la iluminación a las labores que se harán en esos espacios y cómo diseñarla? ¿Es correcto iluminar de colores toda la noche a las plantas? Son apenas unos ejemplos de la importancia de la iluminación, de la que platican Gustavo Carrillo y Juan Carlos Romero, expertos ambos en el tema de luces y sombras: ¡súbele al switch!

00:00 - Sintonía. 01:12 - Santos & Villasol ¿presentan? Plan B. 02:56 - Lectura del poema «Cualquier sistema», de Leonard Cohen. 03:48 - «Minimal», con Fany Sánchez. Espacio dedicado a la arquitectura. Hoy: muros, (la psicología de los) colores y la obra del arquitecto mexicano Luis Barragán. 19:07 - Leonard Cohen: Do I Have to Dance All Night? 24:52 - «Apuntes sobre la meditación», con Juan Díaz. Nos introducimos en el mundo de la meditación con un enfoque riguroso y ameno, desmontando prejuicios e ideas equivocadas. Hoy: aclaración del concepto de meditación y algunos consejos para comenzar a meditar. 39:37 - Enrique Morente & Lagartija Nick: Manhattan (First We Take Manhattan) 44:18 - «Gustos inconfesables» (a partir de hoy «Fulanismo contracultural»), con Álvaro Fonseca. Hoy: preferencias y metapreferencias. 56:53 - Santos & Villasol se despiden.

La casa en la que habita Martín Luque no es una casa cualquiera. Conoce la historia de "La Casa Gilardi" obra maestra del arquitecto mexicano Luis Barragán. Las historias más reveladoras de la vida creativa latinoamericana a través de la voz de sus protagonistas, eso es Fuera de Contexto. Conoce historias detrás de como fotógrafos, diseñadores, arquitectos y demás personajes creativos transformaron sus vidas. http://www.fueradecontexto.mx/ https://twitter.com/fdcpod https://www.facebook.com/fdcpod fdcpod@gmail.com

(1902-1988, Guadalajara) Uno de los arquitectos más prominentes del siglo XX.

Se entrega el premio Pritzker 2012 y la Casa estudio Luis Barragán cumple 65 años.

Revista Integratec julio-agosto 2001 / Creadores de espacios: Cátedra Luis Barragán