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august 2012

Atelier CARTÚ

punto. TWELVE

02 03

Editorial Glass of the Month

Atelier CARTÚ

04 06 08

Atelier CARTÚ Doppelganger C.A.R.T.U.


Closing Ranks


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Arquitectura y PUNTO. Year 1. Issue 12. Mexico. August 2012. Editor in Chief

Gonzalo Mendoza Advisory Board

Pablo Goldin ; Juan Luis Rivera ; Andrés Salinas Editorial Support Luis Campos; Diego Hernández; Bruno Rodríguez FUGA Arquitectura Diego Escamilla; Diego Rodríguez; Andrés Soliz // Alberto Bravo; Andrés Michel.


Arquitectura y PUNTO. FUGA Arquitectura. Facultad de Arquitectura UNAM. Circuito Escolar s/n CU Coyoacán DF México 04510

PUNTO is a magazine based at Ciudad Universitaria in Mexico City. It is independent and edited by students of the Faculty of Architecture UNAM, Mexico. The objective is the exchange of criticism, opinions and views through voluntary contributions. The opinions published here are solely those of the author and do not necessarily represent those of Arquitectura y PUNTO, the Editorial Board or FUGA Arquitectura. This issue was completed in July 2012. DIGITAL VERSION © FUGA Arquitectura - All Rights Reserved. Reproduction of published material without permission of the Editorial Board.

This issue has been published thanks to the support of:

© Alonso Carrillo


Beyond Gonzalo Mendoza ¿How many times have you listened that architecture is only about drawing lines on a white paper? ¿How many people have you listened saying that architecture is to build or to make random decisions and so get a kitchen, a bathroom or a bedroom? I wish it were that simple, because as we know, Architecture is a multi-disciplinary activity, both scientific and artistic: architecture goes beyond. Alonso Carrillo, architecture student, is maybe one of the ´artists´ at the Faculty of Architecture UNAM, Mexico; designer, sculptor and photographer are his names, his work, as architecture, is devoid of randomness; generated, thought and analyzed with a clear purpose: produce a reaction in those who are watching. In this celebrated number 12, we won´t read about architectural works, instead, we´ll learn of the other side that few explore, we will know, through Atelier Cartu´s work, that architecture goes beyond lines and random decisions, and that is actually the most juicy discipline, that allows experimental deviations and enriching returns, and that perhaps that´s what makes it amazing.

Š Alonso Carrillo

Atelier CARTĂš BY. Sofia Ghigliazza Lieberman

It's all part of my memory says the artist creator of CARTU Alonso Carrillo The inspiration for CARTU comes from the observation of the basic forms of nature and its relation with Being. The deformation of the human spirit plays a key role in the production of drawings and sculptures. The intention: to return to the purest state from handling materials such as ceramics and bronze as well as showing human events within an artistic context that blends sculpture, graphic arts and architecture. In a sensory encounter the artist's production presents, by showing its development and evolution tries to free the mind of the spectator of all the senses that enslaves him. Achieving the objective creating a possible neo-surrealism through zoomorphic figures converging in threedimensional planes, however, it does not stop abstracting reality by giving them human behaviors forcing the viewer, which observes its creations, to question their own reality. As an Aesop fable transferred to modernity it presents us the china ink drawings, which together to the aforementioned surrealist influence frees itself from any kind of reason. The canopic jars, ancient Egyptian artifacts used to

contain the viscera of the deceased, represent the division of being, which transcends yet after death. Achieving through these concepts the recovery of antiquity items, and transforming them to suit a live art and contemporary. A trivial phenomenon that gives the peculiarity to his work is the interplay between superficiality and depth, especially in the drawing, which stands several tangent planes creating an optical illusion in which the viewer belongs to the work. The glazed ceramic that is used to make sculptures loses its object condition at the time in which the artist gives it his mark, gives it life. It becomes a play of light and shadows in which the rules are created by the sculptor. He is creator and destroyer god, he decides which piece goes on to posterity and which has no artistic importance. The pieces speak for themselves; they form their own language between the union of two ideologies, the author and the viewer, creating a unique communication channel that can only be achieved through direct contact. The whole work reveals the true vision of the author: My inner world is real, is the fear of showing it that leads me to present it as a fantasy.

CartĂş Architecture | PUNTO. twelve

Doppelganger BY. Sergio BeltrĂĄn

Alonso Carillo dressed in a formal stripped shirt, perfect smile that contrasts with his black leather shoes, stands up from his drawing board, walks rowdy into the basement, with its moistness and unplastered walls . Lights up a solitary cold halogen lamp and sits in front of a task. Him well-known, becomes unknown. In his work, his tools are no longer crawling with reason on a clean sheet of paper. The pencil is left behind and now his hands belong to CARTU , the architect's doppelganger, that take the clay to shape and unshape it ‌Eventually, the light vanishes , shoe noises fade away, in the atelier, small objects are left behind, fragile who quietly lament: Of what fibers are made this chains that require my essence mutate at any moment? It has stolen the contour that separates me from what I am no longer. It is comfortable to be defined. I avoid being vulnerable to the great alchemist. Changed my head, my face, my nose and language for another. I extend my weaknesses trap body through the abuse of the prosthesis. Revealing in its chimeric machinery how I have left my short and clumsy legs behind. I hang jewelry rings which serve to bind me to others like me, that in a complicated balancing act , sideways observed tension ,feel the control I have over the security of others (and suffer the fear of knowing that they have the same power over me). Now you see me. You analyze and enquire me. You watch that my eyes are no longer windows to the soul: for I have no eyes and instead of eyes there is only a hole that reveals that I'm an empty container and I am link symbols and in your identity game my parts will never cease to be exchangeable and that I am tangled in your messages and your hands strip more and more this tissue until ... Until in an accident, I see you shocked, the maker's hand releases the object because it bruised a finger. You have opened Pandora's box. Now I am danger. I salute you with this defiant and still seduction you gave me. Now I discover you, great alchemist. Look at me. I am the Mesiah of the pachyderms, and your blood in a unicorn's tip its the price of your penance. Pottery, Nickel, Ink and Fiber.Chained and lifeless Acknowledgeing me as your lamb, I'm a victim: creature raped by the imagination of Shelley's lineage. Cartú Architecture | PUNTO. twelve

C.A.R.T.Ăš. BY. Biophillick

Cartu's work transports us to aerialist-organism worlds, which seek support systems, overcome gravity, articulate and machined its parts, merging the zoomorphic organisms and the artifacts to bring to life creatures that link earth plane with airspace. They play with balance, they challenge it, in a bewildering struggle while adding disturbing feelings to the viewer. Scenarios where the individual is part of a whole. Where the micro and macro cosmos converge. Pause and Expansion: “The organism is fragile, born from the smoke, of the fragility of the fleeting and ephemeral. But it stops!. Pauses, freezes and emphasize the permanence, antimatter takes shape; to belong to the here and now, comes to life! And it gets stronger. The author is minimized to the world he has created. It exceeds himself. Anchors subjected to liquid, stable tides almost petrified, television with dead frequencies, mechanized fish skeletons, forces, fasteners, connections, loading systems, rhizomatic transfers, knots, ascensions, elephant making noises of succumb and then, time freezes! It works with instants, the balance is uncertain, nothing happens and everything goes dynamic in unison. Bursts of fish and herds of quadrupeds, bubbles and childish natural creatures celebrate the fun. The creative chaos invades the space.

Boxes, which hide and overflow their contents when opened. The pyrotechnic ejection arises and makes the invisible visible. The obelisk. The hands. The return. The surprise and shock. Static birds contemplate the scene, waiting, they appropriate the moment and others are released from their cages to fly. The ground connection is present, as a pattern, organism never escapes. Instead, he holds, grabs and ties. Is anchored. Sight is censored; the eyes are removed and tied off. It sees the world and itself, from the outside. Metahumans travelers with flying objects, land from the sky. Microcosm takes human shape and the mental Macrocosm is embodied with the head of an elephant. The beginning and end link and the anchor comes up again. The divine has come to the creature and the unicorn appears. The characters come to life! They pass from paper to the oven, the dough takes shape, are born in fire and adhere pigments. The snails pass slow, but steady. And the fish levitate like zeppelins, organism is suspended .... “ Aerialist-organisms; from a dynamic and subtle imagination, as light as a fishing line, as strong as the anchor, of a traveling spirit like paper boats, that transport to childhood, to the innocent and the most ancestral of man, the game.

Closing Ranks BY. Pablo Goldin

In art there is faith and viscera, there is room for the irrational, there is an intervention into the real world and a mean to relief human discontent with the surrounding world. It is a rebellion against the world as it is fugitive and unfinished as Albert Camus said. Museums force people to define "good" and "bad" fills us with work and we end up vandalizing them in a mass game. They suggest us that art is only found in those warehouses and therefore we would cant look outside them, blinding us finally. Museums oblige us to adopt a particular attitude, silently wandering from one work to another as if we pilgrim between chapels following the obediences of a cult that we should all ask ourselves who really established it and if professing it under those rules leaves us something. Just ask why people are so happy in museum shops touching things in a calm environment that in paintings that often result alien. From my perspective the essence of art lies in the relationship with something rather than the thing itself. This relationship must transcend the

museums and must be found again between everyday to be an actor of the circus that we inhabit. The work must become independent and fend for itself without a creator that routes it, leaving behind museums, markets and critics. The sincere love comes from our people and appreciate it as such will help us conceal with the world around us and in the critic of CartĂş work I can say that sincerity exists. Nothing force myself to love it, it just came to me and marked me. Alonso Carrillo Ituarte showed me that art is still among us and it did not lie in the museums. That the works are done with your hands and faith. There is no more magic or speculation that of a man battling his own demons but also shows us that its enough. His work would draw my attention wherever i saw it , Im just moved in it there is a substance with which I concur. His imagination shares chromosomes with mine, he gives material life to things that we all want to see. I do not need to understand it and perhaps do not

want to enjoy it. I like to come across it in different ways, see it in a sketchbook or social media since the mean by which it is presented does not substract value. Lies in it as in those pictures or objects that shows us something that transcends its nature, something inexplicable but real contribution that rises from a man's contribuition obliging its own genius; of an act of faith in Emerson's words.

universe of a creator that each object that goes through his hands comes alive in a different world as it was in the hands of Dalí and Walt Disney. It is a driving force that we fully appreciate as a window to a different aesthetic possibility. Cartú is a universe whose existence certainly enriches ours.

Cartú showed us that it does not take Cartier for jewelry or Ariel Rojo for pottery. With his work he vanished that bubble away that grows people apart from what they want and that galleries, critics, industries and museums have exagerate at their convenience. It is a work that belongs to its time and that knows how to live in it. It can swim from one place to another without dissolving because unlike many others there is a substance that prevails. Character and proportion that meet our expectations that does not need speeches or prices to be appreciated. Cartú from my perspective must be seen like the Cartú Atelier Architecture CARTÚ | PUNTO. | PUNTO. twelve doce

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DESIGN & COVER: Alonso Carrillo - Atelier CARTÚ

Arquitectura y PUNTO. twelve  

Atelier CARTÚ