InForma Journal, Universidad de Puerto Rico, Escuela de Arquitectura, San Juan (2026)

Q: ¿Cual es la direccion?

Universidad De Puerto Rico, Escuela De Arquitectura

16/09/2022

La Escuela de Arquitectura de la Universidad de Puerto Rico, Recinto de Río Piedras, interesa recibir solicitudes para las siguientes plazas, a tiempo completo:
•Diseño enfocado en la representación, visualización, evaluación y medición de rendimiento de la Arquitectura

•Diseño enfocado en tecnologías de procesos constructivos y materiales emergentes aplicados a la profesión de Arquitectura

•Diseño y metodologías de investigación

•Bibliotecología o Ciencias de la Información

Acceda a los detalles usando el enlace en nuestra biografía. Fecha límite: 2 de octubre. Favor de compartir con sus colegas.

*Fotografía del Cuadrángulo de la UPRRP, 1950 via Puerto Rico Historic Building Drawings Society.

06/09/2022

“Mujer sin descanso”, una entrevista con Benedetta Tagliabue por Isabella Hillman y Lisandra Pérez:

“Benedetta Tagliabue se reconoce por su estilo, su carisma y su sonrisa cálida. Al verla enmarcada en la pantalla de la computadora nuestras expectativas definitivamente no fueron defraudadas. Su sonrisa cautivó nuestras pantallas e inevitablemente causó de igual manera una sonrisa en nuestros rostros. En su primera expresión nos informó que preparó para nosotras y los espectadores una serie de fotografías que muestran su trayectoria de su carrera arquitectónica. Las palabras y las fotografías de Benedetta comenzaron a hilvanar su personalidad con sus proyectos. La conversación tornó desde su proyecto más público, el Mercado de Santa Caterina hasta el más íntimo, su casa. Durante el transcurso de la conversación, su selección estratégica de proyectos fue demostrando su identidad profesional y personal. En nuestra conversación, nos centramos en no solamente conocer a este ícono arquitectónico, sino a entender su pensar con la nueva realidad en la cual nos encontramos.”

Read the full interview , published in our brand new Issue 14 ‘Guilty Pleasures’.

📸

02/09/2022

In his photographic essay, “Slowing Down, Sensing Moss”, Aaron Bradshaw writes:

“Removing the weeds, or at least having the time to do so, was pleasurable in a sense—finding time for gardening, keeping up the appearance of the house—but what was genuinely and unexpectedly pleasurable was watching the moss grow in its wake. Getting close to it, watching its transformations and unfurling.”

See the image , published in Issue 14 ‘Guilty Pleasures’.

08/08/2022

🚨Accepting submissions to Issue #15 until August 31st!
🔥Extendimos la convocatoria hasta el 31 de agosto!

17/06/2022

“When I visit construction sites, I begin to fall in love with what the workers buildwith recycled wood, the furniture, the table, the chairs, sometimes the bed, and this is very interesting. They build something in the most rationalized way, and they do this in a naïve way, and this is very interesting to me. When I arrive at a construction site, they are afraid of me: ‘the guy who stole my last table’. Now I have a lot in the deposit of our studio.”
–Marcio Kogan, interviewed by Alexander Cuesta-Pantoja for our 14th issue.

14/06/2022

Charles Renfro, speaking to us about The Shed:
“I think our engineers still can’t sleep. It is innovative. There were a lot of firsts, and first always means there are going to be some failures, that’s just the way it works. If you do something that’s a first, you risk failure, and everyone is on board and understands that something may not work right. But with that, you are going to be able to do things that no one else has done ever in the history of the world; that’s the trade-off.”

Read the full interview, published in our brand new Issue 14 ‘Guilty Pleasures’. Link in bio.

Photograph of The Shed by Iwan Baan, courtesy of DS+R.

13/06/2022

💥CALL FOR PAPERS!
inForma Issue #15
‘Networks of Solidarity’
In the wake of the asymmetrical effects of a global pandemic and planetary-scale protests against the capitalist, heteropatriarchal, and white-supremacist legacies of the plantation economy, colonialism, and imperialism, the next issue of informa explores worldmaking by means of ‘Networks of Solidarity’. Focusing on the role that transfeminist, Indigenous, and Black anti-colonial and anti-capitalist discourses play in the construction of practices of mutual aid, and collective resitance, this themed issue will address the architectural possibilities, and challenges of projects addressing social and ecological justice beyond mainstream institutions. Motivated by the central role of Puerto Rico as the world’s oldest colony, and the Caribbean as the laboratory that gave birth to both, the blueprint of the plantation, and to many anti-colonial imaginaries, ‘Networks of Solidarity’ wishes both, to document historical and contemporary efforts of collective empowerment, and speculate on the possibility of collective acts of worldmaking.

‘Networks of Solidarity’ invites paper submissions, narratives, short essays, visual essays, critical prose exploring the role of authors, designers, thinkers, activists, and collectives operating at the intersection of abolitionist, anticolonial, anti-capitalist, and feminist spatial, ecological, and social imaginaries.
🎧We are committed to foregrounding and publishing work about and by minorities, especially Black, Indigenous and People of Color, women, LGBTQ+ folk, and Latin Americans; we highly encourage their submissions.
🚨Submission Guidelines: LINK IN BIO.
🌹FULL papers due: JUNE 19, 2022
🌎We accept texts in Spanish or English
☀️For more info, see our Stories Highlight Album
🏖Q&As: DM

Collage images by .

13/06/2022

“Mujer sin descanso”, una entrevista con Benedetta Tagliabue por Isabella Hillman y Lisandra Pérez:

“Benedetta Tagliabue se reconoce por su estilo, su carisma y su sonrisa cálida. Al verla enmarcada en la pantalla de la computadora nuestras expectativas definitivamente no fueron defraudadas. Su sonrisa cautivó nuestras pantallas e inevitablemente causó de igual manera una sonrisa en nuestros rostros. En su primera expresión nos informó que preparó para nosotras y los espectadores una serie de fotografías que muestran su trayectoria de su carrera arquitectónica. Las palabras y las fotografías de Benedetta comenzaron a hilvanar su personalidad con sus proyectos. La conversación tornó desde su proyecto más público, el Mercado de Santa Caterina hasta el más íntimo, su casa. Durante el transcurso de la conversación, su selección estratégica de proyectos fue demostrando su identidad profesional y personal. En nuestra conversación, nos centramos en no solamente conocer a este ícono arquitectónico, sino a entender su pensar con la nueva realidad en la cual nos encontramos.”

Read the full interview , published in our brand new Issue 14 ‘Guilty Pleasures’.

🚨🫱🏼‍🫲🏾CFP Issue 14 ‘Networks of Solidarity’ closes June 19.

***r

01/06/2022

In “To All the Misfits”, Adam Nathaniel Furman reflects on childhood as an boy:

“Yeah, I guess it depends how you define q***r. So, if we're talking about homosexuals and people of different sexualities and different genders, when you're growing up, you are, from a very early age, forced to question everything. You’re forced to try and understand what's wrong: is it you or society? Or is it both? This happens in very little interaction as well as in larger scales. Is it life? Is it family? Is it the world outside? Everything gets questioned. And, I think that from very early on we have a third eye which is the eye outside of ourselves looking at us and looking at the world around us which makes everything reflective.
[…]

That was a way of experiencing identity that—from a very early age—already related to objects, spaces, representations, things which in an academic discourse—in a traditional way—are normally considered kitsch, rubbish, superficial, all that. It was all completely not allowed. But, it was all the stuff that informed who I was. Actually, that literally made my identity and were the things that grounded me.”

Images of Democratic Parliament courtesy of

Read the full interview , published in our brand new Issue 14 ‘Guilty Pleasures’.

🚨🫱🏼‍🫲🏾CFP Issue 14 ‘Networks of Solidarity’ closes June 19.

***r

31/05/2022

“Christo’s Corridor Store Front: Social Isolation and the Wildly Ordinary”, a short essay by Beth George and Emerald Wise.

This essay was written during a COVID-19 lockdown period. It was prompted while contemplating an image of Christo’s Corridor Store Front project, which spurred a rumination on architectural drawings as portraiture, on the reciprocity between the drawer and viewer of an image, and on the capacity for a drawing’s construction to invite an active exchange. These concepts are discussed alongside an observation regarding beauty and pleasure in the midst of social isolation and confinement—the contraction of spatial experience—that has taken place during the global pandemic. In this historical moment, a profusion of impromptu artworks has emerged across social media channels. This essay suggests that everyday happenings occurring in people’s homes have found an attuned audience who have engaged with their environments with aesthetic perception and captured incidental and temporal compositions around them. The mundane has, in this way, been collectively transposed into the phenomenal. Finally, the essay asks whether architectural drawings can deliberately preserve space for their completion in the mind of a viewer, and proposes that familiarity could be understood as an invitation into imaginative attention.

Read the full essay, published in our brand new Issue 14 ‘Guilty Pleasures’.

🚨🫱🏼‍🫲🏾CFP Issue 14 ‘Networks of Solidarity’ closes June 19.

inForma is now an open-access, web-based publication, designed by and .

Drawing: Walter Pichler and Raimund Abraham, House, Oggau, Burgenland, Austria, 1963. Image courtesy of SFMOMA.
***r

29/05/2022

“On Stained Sheets”, a peer-reviewed research paper by Colin Ripley.

The relationship between architecture and ma********on in the modern world is barely discernible, an uncanny relationship that only rarely emerges into the realm of the visible (peep holes, video booths, back rooms). Ma********on is a ghostly presence within architecture, impermanent and immaterial, but a presence nonetheless, a presence that speaks to the fundamental architectural issues of modernity: the rejection of the imaginary, the struggle between the private and the social, and the mechanistic concern for waste and excess. Ma********on and architecture form an unacknowledged, illicit couple. Taking the prison writing of Jean Genet as a starting point, this paper proposes that the relationship between architecture and solitary pleasure is actually more fundamental. The idea that the prison cell, the epitome of discipline of the (deviant) individual, the primary prototype of modern architecture, is also the locus for ma********on par excellence, is an incredible problem at the core of the modern.

Read the full paper, published in our brand new Issue 14 ‘Guilty Pleasures’.

🚨🫱🏼‍🫲🏾CFP Issue 14 ‘Networks of Solidarity’ closes June 19.

inForma is now an open-access, web-based publication, designed by and .

Photography by Masha Kotliarenko.
***r

29/04/2022

In his photographic essay, “Slowing Down, Sensing Moss”, Aaron Bradshaw writes:

“Removing the weeds, or at least having the time to do so, was pleasurable in a sense—finding time for gardening, keeping up the appearance of the house—but what was genuinely and unexpectedly pleasurable was watching the moss grow in its wake. Getting close to it, watching its transformations and unfurling.”

See the image , published in our brand new Issue 14 ‘Guilty Pleasures’.

🚨🫱🏼‍🫲🏾CFP Issue 14 ‘Networks of Solidarity’ closes June 19.

inForma is now an open-access, web-based publication, designed by and .

Photography courtesy of .
***r

InForma Journal

16/09/2022

06/09/2022

02/09/2022

08/08/2022

17/06/2022

14/06/2022

13/06/2022

13/06/2022

01/06/2022

31/05/2022

29/05/2022

29/04/2022

Dirección

Página web

Notificaciones

Atajos

Compartir

Categoría