THESIS II "LA VELADURIA" Ines Latorre

CONSTRUCTING

HOME MARIA INES LATORRE MASTER OF INTERIOR ARCHITECTURE

ABOUT ME https://youtu.be/L4sh1y7xjzg

Architect Maria Ines Latorre MS in Architecture, 2002 University of Buenos Aires •

LATORREARQUITECTOS MEXICO CITY- NEW YORK Founder and General Manager (2009 - present) Design, Architecture and Construction firm offering one-stop, integrated solutions to customers through a team of 10 direct employees including designers, architects, landscapers and engineers with an ample network of qualified contractors and 250+ construction employees.

Successfully completed more than 100 projects of diverse scope and scale including: Commercial, High-rise buildings, single-family houses, weekend houses, offices, apartment completion or remodeling. Planned, coordinated and supervised all stages of the projects, from concept design to architectural and executive projects, permits and licensing, financial planning and control, construction, to interior design and landscape design.

Supervised all office and support activities including legal, accounting, receivables, and payables, as well as direct and indirect personnel planning in different locations across Mexico and international (Mexico City, Vail, Buenos Aires, California, Madrid, Punta Mita among others) • AROZARENA & PARAMO MEXICO CITY, MEXICO Senior Associate (2006 - 2009) Architect in charge of architectural design and construction supervision leading a team of 3 architects for design and 50+ construction employees. Designed and supervised construction for multi-family, high-end residential and commercial projects in Mexico City, Coordinated general contractor and subcontractors to meet architectural specifications and deadlines for insignia retail stores (Tiffany, Omega, LV, Chanel) (watches) in Mexico City.

• CORIX MEXICO CITY, MEXICO Junior Associate (2003 - 2006) Architect in charge of architectural design and construction supervision. Developed detailed construction budgets and project schedules for special projects (such a truck dealership - showroom and service). Developed general and detail blueprints for different projects for both license approval and construction execution. Responsible for materials research, selection and specification.

• CROSSING STYLES BOSTON, MA, UNITED STATES Design and Sales Manager (2002 – 2003) Responsible for the company’s image and communication strategy and the collections selection and curation.

Planned and executed the participation at major fashion shows, including Femme in New York, NY and Magic Fashion Show in Las Vegas, NV. • KUMCHER-LEIRO-NOFAL ARCHITECTS BUENOS AIRES, ARGENTINA Architect in training (1999 – 2001) Participated in the design and construction of a weekend house for a star soccer player in Colonia, URU. Supervised the construction and interior design of 2 stores for Jazmin Chebar (fashion retailer).

• SILBERFADEN-ROZENBASER ARCHITECTS BUENOS AIRES, ARGENTINA Architect in training (1998 - 1999) Participated in different national and international competitions including the Pier of the City, in Montevideo, URU; the Plaza del Vaticano, in Buenos Aires, ARG; and the Lago Espejo Resort Complex, in Bariloche, ARG. The National Society of Leadership and success, member since 2023 Independent Member of the Architecture and Design Committee of R. Avandaro Golf Club since 2017

MASTER OF INTERIOR ARCHITECTURE / GRADUATION: MAY 24, 2024 THESIS I & THESIS II / CONSTRUCTING HOME

GUEST CRITICS:

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SARAH LORENZEN: AIA registered arch.. Professor at Cal Poly Pomona. M.Arch. Georgia Inst. of Tech. Masters in Metropolitan Research and Design at SCI-Arc (M.Arch MR+D.) CHRISTOPH KORNER: Ing Arch. TU Braunschweig, Germany. MArch, UCLA, GRAFT design firm. Chair of Interior Architecture at Woodbury University in LA. ROBERTO SHEINBERG: Founder and president of AyD. Lecturer at CalPoly Pomona. Board Chair for Would Works. Board President of the LA Forum for Arch. and Urban Design.

MARIA INES LATORRE, STUDENT

NINA BRIGGS, THESIS I & II INSTRUCTOR

DENISE RUSH, FASID, IIDA IDEC, DEAN, INTERIOR ARCHITECTURE

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"This research endeavor and contemplative space are affectionately dedicated to my parents, whose gift of a home transcends physical boundaries. They not only provided me with a place of shelter but instilled in me the profound ability to create a 'home' wherever life takes me. Their enduring lessons on the essence of home, irrespective of location or circumstance, form the foundation of this work.”

With gratitude and love, INES

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Impossible Architecture, MC Escher.

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THESIS PART I

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CONTENTS: 11-12 l NOTE FROM THE AUTHOR 13-18 l INTRODUCTION 19- 32 | POST-PANDEMIC DOMESTIC INTERIORS • • • • •

Residential spaces redefined, blurring borders between public, semi-public, semi-private and private spaces Reframing co-habitation in the age of planetary crisis migrations Domestic interiors are a delayed reflection of socioeconomic, political and environmental changes Residential design is a proxy for social anxiety, economic inequity and escapism Changing habits and lifestyles

33 - 52 | DEFINING HOUSE / HOME, SOCIOCULTURALLY: PROXEMICS, BOUNDARIES AND BORDERS • • • •

What is a house? What is its sociocultural meaning? Home or house?

House as a spatial device for protection from a hostile environment Construction as a Home and a space to ritualize order, relationships and behavior Constructing invisible architecture: Observational exercise

53- 82 | TEMPORARY VERSUS PERMANENT INTERIOR. COMFORT, SAFETY & BELONGING • How interiors make inhabitants feel • Small acts of home-making and belonging

83- 86 | CONCLUSION 87 | PROBLEM STATEMENT 88 | THESIS STATEMENT 07

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91 – 98 I THESIS PART II l INTRODUCTION 99- 118 | MEXICO’S BACKGROUND • • • • •

Wealth in labor force Mexico in numbers.

The migrant Caravan Economy, Poverty in Mexico Construction in Mexico

119 - 128 | MEXICAN FOLK ART – MURALS • Artisans Heritage • Murals as a communication tool

129- 146 | COLOR IN MEXICAN CULTURE • Why is color present in Mexican culture?

• Food and traditions • Color in Architecture and Interior Design

147- 174 | ANALISYS OF THE VELADOR AS THE CLIENT • • • •

Understanding The Velador’s role The context, The Site, Valle de Bravo Velador’s surveys How we lives, his needs.

175- 192 | VELADURIA • • • • •

The Velador’s needs Materials Motivation, Maslow’s.

The circle of use.

Case studies

193- 226 | EXECUTIVE PROJECT 227- 232 | REFERENCES

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Interior view of Mario Pani’s house in Acapulco. Furniture designed by Clara Porset. Acapulco, Guerrero, Mexico 1953

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"The construction site is not merely a workplace; it's a living environment where workers contribute not just to the physical structure but also to the evolving identity of the space". – Mario Pani

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NOTE FROM THE AUTHOR

As architects, we have long been the custodians of the physical structures we call “houses”, with a focus on form, function, and meaning. Yet, the current global landscape demands a reevaluation of our role, challenging the very distinction between 'home' and 'house.' The former is not merely a shelter but a nuanced ecosystem that encompasses the intricate interplay of social dynamics, environmental considerations, psychological well-being, medical exigencies, and cultural narratives. This shift in perspective prompts a critical inquiry into whether speculative futures for dwelling can truly succeed in isolation from the rich tapestry of interdisciplinary insights.

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This research aims to navigate this evolving paradigm, arguing that the success of speculative futures design for dwelling lies not only in the innovative manipulation of space but in the integration of diverse knowledge domains. By delving into the symbiotic relationship between the physical and the intangible aspects of “home”, we aspire to contribute to a future where interior architecture becomes a catalyst for holistic habitation, resilient in the face of planetary crisis and adaptive to the evolving needs of humanity.

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INTRODUCTION

House construction in Mexico is characterized by three major cultural features deeply rooted in their people. First, a construction heritage that can be traced back to the pre-Hispanic civilizations; second a sense of cooperation and pride in building (not just the act, but the profession), especially one own’s home with the help of family and friends, but also communal buildings, such as churches and “zocalo’s”, the central plaza which is the fundamental piece of every town. And finally, a hierarchical yet aspirational society that places a strong value in the home.

The first relates to the construction heritage running deep in Mexican people, developed well before the word architecture has been even born and for which evidence is plenty. According to historians, there were many Mexican native civilizations, of which the Mayans, Olmecs, Toltecs, and Aztecs were the largest and most transcendental. These civilizations mastered construction techniques that allowed them to build not only fabulous pyramids but whole planned cities. Many of these buildings, 1,000 to 1,500 years old, still stand today attesting to our ancestors’ building capabilities.

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These pre-Hispanic civilizations are known to have developed modern construction solutions and materials, such as the arch or the cement, and featured advanced concepts of urban planning.

Furthermore, it is widely known that these constructions did not answer a strictly functional purpose, but rather were intricated designs that embraced social, political and cultural aspects of these civilizations, making them more than mere houses.

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The descending serpent from Chichen-itza’s, an optical illusion masterfully achieved by playing the shadow produced by the pyramids’ steps when illuminated by the sun at specific times of the year.

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The Quetzal, a colorful bird central to many central American pre-Hispanic cultures, whose sound can be replicated by clapping from specific points around the pyramids, echoing through its steps and atrium.

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The frescoes, many of which can still be admired today adorning murals and walls in many of these buildings, depicting from everyday life situations or elements to deities or rituals.

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The “Avenida de los Muertos” (the Avenue of the dead) is a perfectly traced street 3.5 km long connecting the most important buildings of Teotihuacán.

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Chichen-itza, Yucatan, MX. robertharding.com

Teotihuacán, State of Mexico mexicotravel.blog

Normalized recorded signal produced by a Quetzal bird in the forest.

But besides the cultural heritage, socio-economical factors (such as poverty indexes or lax zoning and unjustified rules) have allowed auto construction to soar, and it is estimated that 7 out to 10 homes in Mexico are built this way (auto construction refers to the construction of a house by the land-owner, either formal or de-facto, usually in stages, employing mostly the labor of his family and friends. Just to convey a sense of the magnitude of this method, Hernando de Soto, the famed Peruvian economist, refers to auto construction as the single largest source of untapped wealth in Latin America. While de Soto goes further on the economic arena to propose the mechanisms by which it would be possible to avail this hidden wealth, it is important to highlight the value that a home has in the needs scale of Mexican people.

Mexican society has s complex social weaving, which was built by an oppressive and violent colonization by the Spanish, mostly, but which actually leveraged in the already hierarchical and oppressive structure of the pre-Hispanic cultures, which is said to actually have facilitated the colonization process.

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One of the consequences of this process is a highly aspirational society, but ironically with strong labor ethics, and the construction industry is probably one of its finest characterizations. There are unwritten roles and hierarchies in a construction site, based on the expertise and experience of every individual performing certain trades. Everyone starts at the bottom and makes his way up the ladder, until reaching the grade of “Maestro”, which is not only an attestation to his authority to assign labor and give instructions, but also to his knowledge and ability to solve problematic situations during the construction process. He is also a sort of judge or rabbi, who is often expected to solve disputes and accusations between workers with wit and fairness.

Teotihuacan was, for eight hundred years (from the 2nd century BCE to the 7th century CE), the cultural, political, and religious center of a powerful civilization. Located forty-five kilometers from Mexico City, it became the sixth-largest city in the world during its time and is now one of the great archaeological wonders, declared a UNESCO World Heritage Site.

Mapresearchgate.net of Teotihuacan

revistadearte.com

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LIVING THE HOUSE EVEN BEFORE CONSTRUCTION STARTS

Mexico is a country full of tradition, and probably no tradition is as special and characteristic as the “Día de Muertos” (Day of the Dead), celebrated on November first and second. A celebration originated in pre-Hispanic times which later amalgamated with European Religion and Hispanic Culture to become a popular holiday in which the living celebrates their beloved ones who have already passed away. The “Día de Muertos”, which some mistakenly associate with the American Halloween, far from being a morbid event, emphasizes remembrance of past lives and expresses celebration of the continuity of life. In almost every house, days before november, An “Altar de Muertos” (altar for the dead) is prepared by family members to honor their loved ones who have departed from the earthly plane.

This acknowledgement of life’s continuity has roots which go back to some of Mexico’s oldest civilizations including the Olmec, Zapotec, Maya, and Aztecs (although the latter celebrated on slightly different dates). On the “Día de Muertos”, it’s believed that the border between the spirit world and the real-world dissolves. According to their beliefs on this day, there is a "certain communion" between the living and the dead. The living consume foods prepared and arranged on the altar, and the souls of the loved ones take in the "essence" of the food. This unique day is often a time of joy and celebration.

This continuity of life, this eternal journey, shares many similarities with the journey from a house to a home. Evidently, both timelines have a critical event, a watershed, but the journey itself is not interrupted, it’s travelled differently. In my Thesis, I would argue there’s life to a house, there are flashes, paint strokes of homeness before a house is built, but during the construction itself. We tend to think that the journey starts when the construction ends, but actually the journey has already started, and will extend beyond the work of the architect is finished.

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One such manifestation, appropriation of the house by the workers of a construction is deeply rooted in Mexican tradition, and it’s that of the Santa Cruz (the Holy Cross). The first element to ever be placed in a new construction site, is an embellished cross. The cross is an inevitable, distinctive feature of the construction site (this is true for the humblest home to the most daring sky-scrapper in a country prone to violent earthquakes).

The cross is a prayer for safety of the workers, but also the construction. But that prayer extends to the future inhabitants of the house, and for the house itself along its journey. Again, there’s a continuum in the journey. Coincidentally, the day of the construction worker is celebrated on May 3rd, the day of the Santa Cruz.

There are other manifestations of life before a house becomes a home in Mexico. One other outstanding feature of Mexican culture is its food, and it can’t be absent, intrinsically embedded in this journey from it’s very beginning. There’s a specific place for the “Comal”, a piece of sheet steel that serves as a makeshift grill in every construction site (although it’s true that this has nowadays been relegated to those constructions less institutional, less formal). There’s usually even a designated worker in the payroll who will oversee the “comal”, sometimes his only responsibility, to prepare “carne asada” (barbecue) or tacos (no translation needed) for his peers.

And then, there’s of course the life that the “velador”, the construction Caretaker, brings to the construction by not only appropriating a specific space and making it his own, but also developing a series of rituals and routines, that start separating a house from a home. It’s the “velador”, sometimes considered to be the last link in the construction hierarchy, the one that starts living the house.

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The entanglement of tangles. Bruno Latour

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POST-PANDEMIC DOMESTIC INTERIORS

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Residential spaces redefined, blurring borders between public, semi-public, semi-private and private spaces

The process of constructing a home is not static but dynamic, representing a permanent evolution shaped by various factors. While numerous factors contribute to this ongoing process, few have prompted such widespread rethinking, reshaping, and redefining of homes on the scale witnessed during the COVID-19 pandemic. The pandemic-induced changes in habits and lifestyles have impacted individuals globally, with varying intensity based on local responses and measures. Nevertheless, fundamental changes have been nearly universal, affecting not only residential spaces but also diverse construction types, including offices, restaurants, retail stores, factories, and housing.

The pandemic, reminiscent of the transformative impact seen during the Spanish flu in 1918, has significantly altered living habits. Individuals worldwide have initiated redesigns of key spaces within their homes, such as kitchens, bedrooms, and bathrooms. New design elements, akin to those introduced during the 1918 flu era, have emerged. These include the incorporation of powder rooms for hand sanitation before social interactions, the use of subway tiles in bathrooms for easier cleanup, and the integration of built-in closets to segregate clothes from living spaces.

Pedestal sinks became the norm, with a turned-down porcelain edge on all four sides. The rear of the pedestal sink was kept away from the fully tiled wall behind it, leaving enough room to clean both the tile and the rear of the pedestal sink.

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Not only did specific physical elements of housing undergo drastic changes due to the successive health crises experienced worldwide, but there were also emotional and behavioral shifts in the human experience.

Increased family time became a noticeable trend due to more people working and doing activities from home, leading to a reevaluation of how families spend time together. Homes transformed into multifunctional spaces, serving as offices, schools, gyms, and entertainment centers. This shift required adaptation, balancing the accommodation of diverse activities with maintaining privacy and intimacy.

Feb. 1919. a woman wearing a flu mask during the flu epidemic Credit: Getty

Chicago pioneered remote learning during an epidemic — via radio in 1937. Credit: ChicagoSun times 02

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Reframing co-habitation in the age of planetary crisis migrations

In the context of prolonged family members' simultaneous presence at home, there is an increased demand for homes to serve diverse needs. A balance must be struck between spaces conducive to group activities and those offering solitude for reflection, learning, and recharging.

Architects like Toshiko Mori emphasize the importance of shared spaces and the ability to isolate within the home compound, while Deborah Berke, Dean of the Yale School of Architecture, poses questions about the multifunctionality of spaces.

These transformative changes unfolded along two dimensions. The first dimension blurred traditional home activities, especially with the widespread adoption of remote work and learning during the pandemic's initial phase. Technology played a crucial role in enabling these activities, and despite the reopening of schools and offices, hybrid solutions continue to influence home design. Adapting spaces for work or learning involved considerations beyond changing functions or furniture; technological, lighting, and isolation factors had to be factored into the new design.

The second dimension of change was driven by the altered cohabitation dynamics resulting from the pandemic-induced shifts. Incidents like children and pets appearing in the background of Zoom calls became commonplace, exposing new aspects of cohabitation dynamics. However, not all changes were visible, as stay-at-home mandates and quarantine measures were associated with increased instances of alcohol abuse, depression, and post-traumatic stress symptoms.

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Traditional arrangement of spaces

Dynamic arrangement of spaces

Home improvement gained prominence during the pandemic, with individuals investing in projects to create more comfortable and functional environments. Mental health implications emerged as extended periods of home confinement, coupled with pandemic-related uncertainties, impacted individuals' well-being. Shopping habits underwent significant changes, with a surge in online shopping and increased emphasis on comfort, functionality, and aesthetics in product choices.

Outdoor spaces gained importance as people sought recreation and relaxation outdoors due to restrictions on indoor activities. This led to a heightened interest in gardening, outdoor exercise, and the creation of outdoor living spaces. Hygiene practices also evolved, with increased attention to cleaning and sanitization routines and a focus on easy-to-clean materials in home design.

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Domestic interiors are a delayed reflection of socioeconomic, political and environmental changes

Domestic interiors, particularly in Mexico serve as a delayed reflection of the intricate interplay between socioeconomic, political, and environmental dynamics. The configuration of living spaces within households echoes the evolving tapestry of the country's broader context. As Mexico undergoes transformations on economic fronts, navigates political landscapes, and grapples with environmental challenges, the domestic sphere becomes a canvas upon which these changes unfold. The choices of furnishings, spatial arrangements, and design aesthetics are not arbitrary; rather, they encapsulate the collective response to the shifting tides of societal, political, and ecological currents. Understanding the nuances of domestic interiors in Mexico thus becomes a key to unraveling the multifaceted story of the nation's journey through time, reflecting the resilience, adaptability, and aspirations of its people in the face of a changing world

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Covid-19, highlighted various complex threads within the realm of housing. Globally, similar experiences were lived, but depending on geographical, sociopolitical, and economic situations, circumstances became unique. Domestic interiors in Mexico carry a rich spectrum of values, revolving around the concept of "reunion" and family gathering. Many traditions can be uncovered by "reading" the house as if it were a "manual." The Mexican ”altar de muertos" (Day of the Dead), a central focus in the home, speaks loudly and clearly of hope and life beyond situations of extreme poverty and families divided by a hostile border.

Despite the world being in the largest crisis of the century, the "Day of the Dead" altar was present in the majority of Mexican homes in November 2020. Mexico never closed its borders throughout the entire pandemic, becoming a receptive country for "privileged" tourists, which resulted in a significant growth in construction compared to other countries worldwide. Many Holy Crosses were erected in constructions across the country, many ”velador” (caretaker) residences alongside them, and numerous future homes began to take on "life”.

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Residential design is a proxy for social anxiety, economic inequity and escapism

The house as a specific mode of dwelling originates in part with a desire for stability. The invention of the house as an architectural apparatus is motivated not only by the need for protection from a hostile territory but also by a desire to settle and to give ritual form to life. The house offered a way to crystallize a routine against the chronic unpredictability of existence.

The first forms of housing were also temples where humans and gods were supposed to live together.

Once the house became a fixed point, it also became a governmental space that defined specific gender and social roles.

It is from these premises that the house became oikos and domus.

It is precisely the artificial separation between reproduction and politics that is at the origin of the modern distinction of public and private space.

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In contempla3ng new beginnings, it becomes impera3ve to grasp the no3on that evolu3on inherently implies change. The trajectory of architecture and interior architecture, un3l recently, has been on a linear path, advancing rapidly but oCen neglec3ng the parallel and encompassing needs rooted in the func3onality and habitability of dwellings. This devia3on from the holis3c perspec3ve is a departure from the essence of old seDlements, where spaces between buildings played a crucial role as mee3ng points, fostering contact with both the community and the natural environment.

In this context, housing was not merely a physical structure but an integral component of a broader habitat, shaping the fabric of what we recognize today as society. The interiors of our homes, ac3ng as a delayed reflec3on, mirror the nuanced interplay of socioeconomic, poli3cal, and environmental changes over 3me. To delve deeper into these ideas, sources such as "The Social Life of Small Urban Spaces" by William H. Whyte and "The Architecture of Happiness" by Alain de BoDon offer valuable insights into the rela3onship between built environments and societal dynamics, underscoring the interconnected nature of architecture, community, and cultural evolu3on.

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Changing habits and lifestyles

Can speculative futures Design for dwelling be successful devoid of interdisciplinary infusion (sociological, environmental, psychological, medical, anthropological, etc) as integral and holistic to human habitat in in the area of pandemics?

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DEFINITION: • Speculative: engaged in, expressing, or based on conjecture rather than knowledge • Future: the time or a period of time following the moment of speaking or writing; time regarded as still to come • Design: a plan or drawing produced to show the look and function or workings of a building, garment, or other object before it is built or made • Dwelling: a house, apartment, or other place of residence • Successful: accomplishing an aim or purpose • Devoid: entirely lacking or free from.

• Interdisciplinary: relating to more than one branch of knowledge • Infusion: the introduction of a new element or quality into something • Sociological: concerning the development, structure, and functioning of human society • Environmental: relating to the natural world and the impact of human activity on its condition. relating to or arising from a person's surroundings • Psychological: affecting, or arising in the mind; related to the mental and emotional state of a person • Medical: relating to the science of medicine, or to the treatment of illness and injuries.

• Anthropological: relating to the study of humankind.

• Integral: necessary to make a whole complete; essential or fundamental • Holistic: characterized by the belief that the parts of something are interconnected and can be explained only by reference to the whole. characterized by the treatment of the whole person, taking into account mental and social factors, rather than just the symptoms of an illness.

• Human habitation: the act of occupying a structure as a dwelling or sleeping place, whether intermittently or as a principal residence.

• Pandemic: a widespread occurrence of an infectious disease over a whole country or the world at a particular time.

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Designing for dwelling in the context of pandemics requires a comprehensive and interdisciplinary approach that considers various aspects of human life and well- being. The success of speculative futures design in this area is likely to be enhanced when it integrates insights from sociology, environmental science, psychology, medicine, anthropology, and other relevant fields.

Interdisciplinary infusion is crucial:

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Sociological Perspective: Understanding how people interact in communal spaces during pandemics is vital. Sociological insights help in designing spaces that accommodate social distancing, community support, and mental well-being.

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Environmental Considerations: Environmental factors play a significant role in the transmission of diseases. Integrating knowledge from environmental science can help design spaces that minimize the spread of pathogens and ensure proper ventilation.

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Psychological Well-being: The psychological impact of living through a pandemic is immense.

Designing spaces that support mental health, reduce stress, and foster a sense of community requires insights from psychology.

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Medical Insights: Collaboration with medical professionals is crucial to understanding the transmission of diseases and designing spaces that minimize the risk of infection. This includes considerations for sanitation, medical facilities, and emergency response.

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Anthropological Understanding: Anthropological insights can help in understanding cultural norms and practices related to living spaces. Designing for diverse communities requires an understanding of their unique needs and habits.

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Holistic Approach: A holistic approach considers the interplay of various factors affecting human habitation during a pandemic. It ensures that design solutions address the complexity of human life and well-being.

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Adaptability and Flexibility: Interdisciplinary collaboration can help design spaces that are adaptable to changing circumstances. Flexibility in design is crucial for responding to evolving public health situations.

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Ethical Considerations: Integrating ethical considerations into the design process is essential.

This includes ensuring that design solutions respect individual rights, promote equity, and do not exacerbate existing social disparities.

Speculative futures design for dwelling during pandemics is more likely to be successful when it considers the multifaceted nature of human habitation. Interdisciplinary infusion ensures that designers consider the social, environmental, psychological, medical, anthropological, and ethical dimensions of living spaces, leading to solutions that are both effective and humane.

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Christopher Alexander. intercongreen.com

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DEFINING HOUSE / HOME, SOCIOCULTURALLY: PROXEMICS, BOUNDARIES AND BORDERS

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What is a house? What is its sociocultural meaning? Home or House?

Home definition (info collected from clients, dictionary, family): - The place where one lives permanently, especially as a member of a family or household.

- Home is a safe haven and a comfort zone. A place to live with our families and pets and enjoy with friends. A place to build memories as well to build future wealth. A place where we can truly just be ourselves.

- Your spiritual home is the place where you feel that you belong, usually because your ideas or attitudes are the same as those of the people who live there.

- Homes are a place where memories are made, where you are surrounded by the humblest of belongings that make you smile, decorated with personal touches and sentimental items that ooze your personality and style, where you begin each day, and where you rest your head each night.

- "A home is a place of warmth and family, and a place filled with memories—the good, the bad and everything in between. The smell, the walls, the rooms, the energy all help give us some sort of peace.

- My bed, my pet, my flight simulator - Where my family and my things are

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House definition (info collected from the web and colleagues) - A building for human habitation, especially one that is lived in by a family or small group of people.

- A dwelling; a building designed for the habitation and residence of men. ”House” means, presumptively, a dwelling- house; a building divided into floors and apartments, with four walls, a roof, and doors and chimneys; but it does not necessarily mean precisely this.

- The word house is used to talk about a building made for people or a family to live in. The word home is used to talk about the family living in a house, or the familiar space inside a person's house, or the place someone was born or lived as a child.

- Building that human beings inhabit.

- Sacred place for people.

Both the words “house” and “home” found their way into modern English from the Proto-Germanic.

Khusan, for “house” was changed into “hus” with Old English and stems from the verb “to hide.” Both words imply shelter, which explains the use of the term “hide” to mean animal skin.

The house is more than a place: the 'domus' is the principle of an order and a device for articulating differences and meanings one lives by. In many cultures domesticity - centrality, stability, continuity is identified with woman. Yet, linking femininity and domesticity or house can only be reductive when one presupposes that the meaning of the house is simple - nothing more than “place” and “centre”.

The female figure is as ambiguous as the house is and incorporates as well that counterforce and openness that can save one from the suffocating house.

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House as a spatial device for protection from a hostile environment

In the dynamic cycle of human experience, the concept of 'home' stands as a cornerstone, woven with threads of comfort, safety, and belonging. As life unfolds, we navigate spaces that oscillate between the ephemeral and the enduring, challenging our understanding of what it means to truly construct a 'home.’ Civilization delves into the nuanced interplay between temporary and permanent dimensions of interior environments, unraveling the intricate layers that shape our sense of comfort, safety, and belonging within these spaces.

The dichotomy between the transient and the lasting has become increasingly pronounced in a world characterized by rapid mobility, changing demographics, and evolving societal structures. Individuals often find themselves in spaces that serve as temporary refuges—be it a hotel room, a rental apartment, or a makeshift dwelling—while simultaneously seeking to establish a more permanent sense of “home”. How do these differing temporalities impact the fundamental aspects of comfort, safety, and belonging that define our emotional connection to a space?

This is not merely a discourse on architectural design; it is an inquiry into the human psyche, a quest to understand the psychological implications of our surroundings. How does the impermanence of a space influence our ability to cultivate a sense of belonging? Can temporary environments provide the same level of safety and comfort as their permanent counterparts?

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In the borderland between Mexico and the United States, the very notion of “home” takes on a distinctive and multifaceted character, reflecting the complex interplay between geopolitical realities, cultural diversity, and human resilience. This exercise embarks on a compelling exploration of how individuals on the border negotiate the dichotomy of temporary and permanent domiciles, unraveling the intricate layers that define their pursuit of interior comfort, safety, and belonging. latinus.com

The borderlands, marked by constant flux and fluctuating boundaries, present a unique canvas for understanding the challenges and adaptations inherent in the construction of “home”. For those who traverse this terrain, the concept of permanence is often elusive, as political, economic, and social forces shape a landscape where temporariness becomes a defining feature of daily life. How do individuals, caught in the ebb and flow of migration, establish a sense of belonging within environments that are by nature transitory? What role do cultural connections and community ties play in navigating the complexities of creating a home that is simultaneously temporary and enduring?

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Construction as a Home and a space to ritualize order, relationships and behavior

“Architecture can’t force people to connect; it can only plan the crossing points, remove barriers, and make the meeting places useful and attractive.” Although it cannot control the outcome, architecture holds the potential to set the stage for chance encounters and social interactions, thus nurturing community building and influencing the fabric of our social culture.

“Architecture can improve the social capital of its surroundings through design strategies and thoughtful programming, creating the fertile ground for social interaction among different groups of people.”

Denise Scott Brown

In the dynamic world of interior architecture, the process of transitioning to a new dwelling extends far beyond the physical construction of spaces—it is a profoundly human experience. As Frida Escobedo aptly notes, "Architecture is about the interaction between people and space, about the human experience within the built environment". Within this fascinating world of relationships, there are several important ones to mention: 1. People during Construction: A Human Perspective: Construction sites are not mere arenas for assembling physical structures; they are dynamic spaces teeming with human energy.

"Architecture should prioritize the well-being of the individuals involved in construction, creating spaces that support and uplift those who contribute to the birth of a new home".

The caretakers of the construction site, often overlooked in traditional narratives, become integral contributors to the birth of a new home. Architects must create designs that foster a positive and supportive environment for these caretakers, acknowledging their vital role in shaping the future living space.

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This human-centric perspective seeks to redefine the construction phase as not just a mechanical process but as a collective effort of individuals investing not only their skills but their humanity into the evolving space.

2. Workers' Relationship with the Space: Mario Pani's architectural philosophy encourages a deeper examination of the interaction between inhabitants and space. In the context of construction, this argument posits that the workers establish a unique relationship with the evolving structure. As Pani aptly puts it, "The construction site is not merely a workplace; it's a living environment where workers contribute not just to the physical structure but also to the evolving identity of the space".

Workers become storytellers, leaving their mark on the construction site, turning it into a dynamic narrative of human effort, passion, and craftsmanship.

3. The Emergence of a Concept of "Home" during Construction: Clorindo Testa's exploration of space and form prompts a reevaluation of the concept of "home" during the construction phase.

This argument suggests that, even in its nascent form, a construction site holds the potential for a developing sense of home. As Testa envisions, "The construction site becomes a canvas for the co-creation of a home—a space where the essence of belonging begins to unfold".

4. Guests and Homeowners: Beyond the Finished Product: Architects need to design spaces that not only accommodate homeowners but also consider potential guests and visitors during the construction phase. As Scott Brown advocates, "The construction site is not just a workspace; it's a social space where the future community of inhabitants begins to form". Scott Brown's perspective urges architects to recognize the construction site not just as a workspace but as a social space where the future community of inhabitants begins to form.

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5. Political, Economic, and Social Challenges during Construction: Beyond the physicality of construction, the process often unfolds against a backdrop of political, economic, and social challenges. As Tatiana Bilbao keenly observes, "Architecture exists within the broader context of societal dynamics, and the construction phase is not immune to the influence of political and economic forces". Construction projects can become arenas where broader societal issues manifest, affecting the emotional well-being of workers. The impact of economic downturns, political instability, or social inequalities can cast a shadow over the construction site, influencing the morale of workers and the overall emotional tone of the space.

Recognizing these challenges is crucial for architects seeking to create spaces that are not only aesthetically pleasing but also responsive to the human conditions within and around them.

The interference of external challenges in the emotional aspect of construction can thus leave a lasting imprint on the final product, shaping not just the physical structure but also its intangible essence.

This exploration underscores the significance of a human-centric approach in interior architecture.

Even during the construction period, the caretakers of the site, the workers shaping the space, and the emergence of a concept of "home" collectively contribute to a richer understanding of the intricate relationship between people and the spaces they create. Architects, by acknowledging and embracing this human touch, can craft homes that resonate deeply with the lived experiences of those who contribute to their inception. This human perspective not only enriches the construction process but lays the foundation for homes that embody the essence of connection and belonging.

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This exploration underscores the significance of considering the political, economic, and social dimensions during the construction phase in interior architecture. These factors, as elucidated by Bilbao and Pani, play a crucial role in shaping the emotional well-being of workers and, consequently, the final architectural product. Architects, in their pursuit of designing spaces that resonate with human experiences, must navigate the complex interplay of societal dynamics during the construction period.

By acknowledging the broader challenges and their impact on the emotional aspects of construction, architects can contribute to the creation of spaces that not only stand as physical structures but also embody the resilience and spirit of those who brought them to life.

By addressing these challenges head-on, architects can create environments that transcend the immediate hurdles faced during construction, fostering a sense of pride and accomplishment among workers, and contributing to the overall positive emotional atmosphere within the completed space.

By prioritizing the human aspect in architectural narratives, the construction phase transforms into a collaborative, storytelling endeavor—a period of co-creation where the essence of "home" begins to unfold even before the final brick is laid. This reimagining of the construction process ensures that houses become not just physical structures but living entities infused with the stories, emotions, and aspirations of those who bring them to life.

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Constructing invisible architecture: Observational exercise

As an architect immersed in the exploration of interior architecture, the exercise of observing individuals at JFK Terminal 4 before their flights unfolds as a captivating study in the creation of "invisible architecture" – a subtle concept embodying the human instinct to seek protection and generate a sense of dwelling in transient spaces.

ME: BEFORE, DURING FLIGHT, ARRIVING HOME. I'm accustomed to air travel and not fearful of flying, although it's not a situation I particularly relish. I prefer to travel comfortably, avoiding the hassle of checking in bags to save time at airports. During flights, I usually engage in work or study, and I often bring my own provisions, such as coffee and a pack of M&M's

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The bustling atmosphere of Terminal 4, a microcosm of global mobility, serves as a rich canvas for understanding how passengers navigate the uncharted territory of airports. As I engaged in this observational exercise, I found myself attuned to the subtle ways in which individuals sculpted their personal spaces within the public realm, fashioning an invisible architecture that transcended the physical structures around them.

The concept of seeking shelter, ingrained in the human psyche, was evident in the meticulous choices passengers made in configuring their surroundings. Whether huddled in a corner with a book, engaged in a quiet conversation, or immersed in the solitude of a personal device, individuals crafted ephemeral shelters within the terminal's vast expanse. This act of generating dwelling, even in the most transient of spaces, underscored the universal impulse to carve out a haven amidst the unfamiliar.

Reflecting on this exercise, I couldn't help but recognize my own participation in this intricate dance of invisible architecture. Wearing a baseball cap, a simple accessory that offered both a shield and a semblance of anonymity, I, too, contributed to the tapestry of personal protection woven within the terminal.

In essence, the observation at JFK unveils the profound ways in which individuals, driven by the primal instincts of fear, tradition, and the pursuit of shelter, infuse the seemingly sterile environment with the essence of home. As an architect in the realm of interior architecture, this exploration challenges to consider the design implications of these invisible architectures, recognizing that even in the transient spaces of airports, the human spirit persists in creating a sense of dwelling, however ephemeral it may be.

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OBSERVATION 1: FEAR a universal human emotion, became palpable in the calculated movements and guarded expressions of passengers. Amidst the boundless space of the terminal, the creation of personal territories, whether through the strategic placement of belongings or the choice of seating, revealed an inherent desire for a buffer against the unknown. In these moments, the invisible architecture became a visible manifestation of the human instinct to shield oneself, a contemporary response to the age-old need for protection during times of transition.

Passengers find themselves adjusting their posture and relying on their personal belongings in an attempt to discover some semblance of comfort. The realization that such adjustments won't be feasible once inside the plane prompts these adaptations. Phones remain in hand, signaling a disconnect from social interaction. The expression on a woman's face vividly communicates her discomfort, encapsulating the shared sentiment among passengers as they navigate the challenges of air travel.

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OBSERVATION 2: TRADITION, too, played a role in shaping this invisible architecture. Rituals of pre-flight routines, the familiar clutching of passports, and the comforting repetition of actions spoke to the human need for grounding in the face of uncertainty. The terminal, often a symbol of transience, witnessed the manifestation of tradition as a stabilizing force, transforming the seemingly impersonal space into a backdrop for personal narratives.

In the realm of color-related OCD, the meticulous attention to matching colors becomes a manifestation of perfectionistic tendencies. Those grappling with Perfectionism OCD may harbor fears about the exactness of colors, their appearance, or the precise feeling they evoke. This obsession extends to every aspect of their belongings, leading to an impeccably organized ensemble – a hat, backpack, and sweatshirt meticulously selected to achieve a harmonious color symphony. Even in the confined space of a plane, traditional norms of organization persist. The charging phone cord is flawlessly aligned, and the backpack, averse to the floor, is positioned with utmost care. In the pursuit of color perfection, every detail adheres to a rigorous standard, creating a sense of order and control amidst the uncertainties of air travel.

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OBSERVATION 3: INDOORS: In the encapsulated scene of an airport gate before departure, the indoor setting, devoid of natural light and maintaining a neutral temperature, unfolds a narrative of comfort and subtle retreat. The snug embrace of a hat around one's head emerges as a source of solace, offering both physical warmth and a shield against anxiety. Here, the hat transforms into a discreet remedy for a potential bad hair day or a sudden breakout, becoming a versatile companion.

Amid the anticipation of departure, individuals immersed in their phones create a cocoon of personal space, their bags nonchalantly placed on the floor. The act of charging phones signifies a need for connectivity while embracing the sanctuary of personal devices. In this airport gate tableau, the presence of alcohol adds to the ambiance of relaxation. Attire is curated for comfort, with soft fabrics and comfortable shoes, echoing a collective yearning for ease in this transient indoor haven, poised on the brink of departure

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OBERVATION 4: EMOTIONAL SUPPORT: In the bustling pre-departure atmosphere of an airport, the profound impact of emotional support animals (ESAs) on individuals with emotional disabilities comes to light. Research underscores the significant benefits derived from the presence of comfort animals.

Amidst the hustle, a traveler engrossed in their phone displays a subtle yet poignant connection to his support system. The bag casually positioned on the floor suggests a sense of ease and familiarity, perhaps containing essentials for both the journey and the emotional well-being of its owner. Notably, the individual, though seated, maintains a closeness to their backpack, a symbolic companion providing a sense of security. In this transient airport moment, the decision to forego glasses during phone interactions hints at a prioritization of emotional support over visual details, emphasizing the unique and indispensable role that these support animals play in offering therapeutic nurture and comfort on the precipice of departure.

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Invisible Architecture at JFK Terminal 4: “Unveiling the Layers of Dwelling, Protection, and Sociopolitical Dynamics" In the labyrinthine expanse of the Terminal, the practice of observing passengers before their flights serves as an illuminating exploration into the creation of "invisible architecture" – a profound manifestation of human instincts to seek protection and generate a sense of dwelling in transient spaces. This exercise became a lens through which to unravel the intricate interplay of fear, tradition, shelter, and the sociopolitical dynamics that shape the invisible architectures within the bustling airport terminal.

Dwelling in the Transient: The concept of dwelling, typically associated with permanence, acquires a transient yet poignant character within the confines of an airport terminal. Passengers, faced with the impermanence of their surroundings, engage in a subtle dance of creating personal spaces that transcend the ephemeral nature of travel. These invisible architectures, whether manifested through the choice of seating, the arrangement of belongings, or the establishment of personal rituals, become ephemeral sanctuaries within the dynamic flux of the terminal.

Protection as a Human Instinct: Fear, a universal human emotion, takes center stage in the creation of invisible architectures.

Passengers, navigating the uncertainties of travel, exhibit calculated movements and guarded expressions, reflecting an instinctual need for protection. The invisible architectures become shields against the unknown, tangible expressions of the innate human desire to establish a buffer between oneself and the surrounding environment.

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Sociopolitical Dynamics and Racial Undertones: The invisible architectures at play in an airport terminal are not devoid of sociopolitical nuances.

Observations unveil differential experiences based on race, nationality, and socioeconomic background. The choice of seating, interactions with security personnel, and even the ease with which individuals navigate the space often reflect broader sociopolitical realities. The invisible architectures, in this context, serve as both a reflection and a response to the sociopolitical landscape, shaping and shaped by the complex dynamics at play.

Mental Health and Pandemic Realities: The invisible architectures take on new significance in the context of a global pandemic. The heightened awareness of health and safety transforms the act of protection into a multifaceted endeavor. Passengers, clad in masks, subtly adjust their invisible architectures to accommodate the imperative of physical distance, adding a layer of complexity to the creation of personal space. The terminal becomes not only a transit point but also a microcosm of the evolving discourse on mental health and well-being in the face of global challenges.

Security and Proximity: Security considerations, both physical and psychological, influence the formation of invisible architectures. The proximity of individuals to security checkpoints, the visible presence of surveillance, and the conscious or subconscious responses to these elements contribute to the intricate dance of protection within the terminal. The tension between the need for security and the desire for personal space becomes palpable, further shaping the invisible architectures that emerge.

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This exercise of observing invisible architectures at JFK Terminal 4 unravels a canvas of human experiences, transcending the physical confines of the airport. This set of observations, is closely related to moments, situations, or experiences within a “house”, before, during, and after its construction. This exercise confirms the human need to create a "home," even if only for a few hours. This is architecture. This is a way of creating an ”Altar de Muertos”.

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steemit.com

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TEMPORARY VERSUS PERMANENT INTERIOR COMFORT, SAFETY AND BELONGING

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How interiors make inhabitants feel

It doesn't matter the space, its dimensions, or the conditions to which the user is exposed; there will always be interaction with the "architecture" that surrounds us. The next exercise focuses on the "appropriation" of the "caretaker" of the space one "inhabits" versus the space "of the dwelling to be built." It is important to highlight the different layers that coexist, acknowledging that this coexistence may not be simultaneous or linear.

This exercise delves into the person inhabiting the space, humanizing them. The common denominator of meeting the basic needs of dwelling in a space versus the projection of a home is emphasized. It is an exploration of the socio-economic reality in Mexico, reflecting the caste and situations that social levels in developing countries present

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“Hubo vida en la casa, antes de ser habitada” “There was life in the house, before being inhabited”

Holy Cross celebration on site (Lote 34 project)

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“Layers of a house” Layers of users throughout the lifespan of a house

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“Adjacencies of a house”

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Number of occupants per house in comparison with the caretaker's 'dwelling

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Silhouettes of six different weekend houses in Mexico City in comparison to the space inhabited by their caretaker.

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House Caretaker: Antonio Díaz García Age: 41 years old.

Family: married, two children: Antonio (12) and Reina (9) What he likes about the job: The whole process, how it all starts as a big mess and evolves into beautiful spaces.

What he doesn’t like: When clients or architects don’t understand the time it takes to build something from scratch.

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Images of Caretaker ”home”

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House Caretaker: Juan José Vázquez Age: 29 years old Family: married, one child: Isabel (1) What he likes about the job: How you can grow professionally and learn lots of different things in just one construction site.

What he doesn’t like: How undervalued his work seems to be sometimes.

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Images of Caretaker ”home”

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House Caretaker: Efrén Espinosa Santana Age: 43 years old Family: married, three children: Carlos (16), Alejandra (13) and Raúl (10) What he likes about the job: The satisfaction of building houses with his team of workers that have become his friends.

What he doesn’t like: When things go wrong and the stress of deadlines.

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Images of Caretaker ”home”

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House Caretaker: Noe Mondragón Gómez Age: 31 years old Family: Married, one child: Jesús (4) What he likes about the job: He loves everything about it since he was a teenager and started learning the ropes.

What he doesn’t like: When people make mistakes because it takes time and money to fix them

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Images of Caretaker ”home” 68

House Caretaker: José Carlos De Paz Age: 32 years old Family: married, four children: Rosario (13), Alondra (11), Oswaldo (8) and Emilio (3) What he likes about the job: The fact that he started learning about construction since he was a kid, and he owes everything he knows to his family. What he doesn’t like: The uncertainty of finishing a house without knowing if and when comes the next job.

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Images of Caretaker ”home”

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House Caretaker: Mario Caballero Age: 35 years old Family: married, two children: Alejandra (9) and Mario (7) What he likes about the job: That his father taught him everything he knows, and he can share the workplace with his brothers.

What he doesn’t like: Dealing with unreasonable architects or clients

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Images of Caretaker ”home”

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Picture of an ”altar de muertos”

"A photo taken on the day "219" project was delivered to the clients. In this image, you can see part of the office team, part of the on-site team, the clients and the caretaker."

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The relationship between these two images reflects the connection between two worlds that coexist on a particular day.

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Small acts of home-making and belonging

What element encapsulates the essence of home for you? Is it a particular space that resonates with comfort, the cherished presence of loved ones, or perhaps a collection of meaningful objects that collectively define the concept of home in your life? Share the essence that transforms a physical space into a place of emotional resonance and belonging for you.

* This exercise was conducted within the confines of my immediate family

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”La Gorda” INES: Matriarch of the family, 47 years old, Architect.

• This sculpture was a wedding gift.

• I'm unfamiliar with the artist or the giver.

• It's a small but emotionally significant piece.

• It has been with me since the year 2000.

• Always prominently displayed in a privileged part of the house.

• It's the first item I unpack in every new home (I've moved 13 times)

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“Pepe” BENJAMIN: Youngest boy, 11 years old, 6th grade.

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He's had this stuffed animal since he was 1 year old.

It was a gift from my brother, who traveled to Boston to be present during his heart surgery.

Benjamin sleeps with it every night.

The stuffed animal has been sewn several times due to the wear and tear of constant companionship.

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“Muta & Jorge” CAMILLE: Middle child, 13 years old, 7th grade.

• Muta & Jorge were her grandparents, who passed away 4 and 4.5 years ago.

• They were my husband's parents.

• The bears were crafted using pieces of clothing that once belonged to and were worn by her grandparents.

• Camille doesn't sleep with them; instead, they are displayed on a shelf.

• She finds a sense of protection and comfort from these bears.

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“A ROOF” GASTON: father, 50, engineer • For the protection of my family.

• He didn't say much but conveyed a lot with his response.

• The image was chosen by me reflecting on his deeply engrained perspective of soundness and resistance

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“my bed” LUCAS: oldest son, 16, high school •

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An experience with him and his bed was a significant catalyst for the analysis in this project.

Upon returning from summer, after two months away from home, Lucas arrived, flopped onto his bed, and exclaimed, "Finally, home!”

In the image, it can be seen that the space of his "bed" extends to the wall.

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While the observations and conclusions drawn from my family exercise are rooted in personal experiences and sentiments, they align with concepts explored by sociologists and architects who delve into the dynamics of the home and its significance in shaping human experience. Émile Durkheim: Sociologist Émile Durkheim's perspective on the concept of "social solidarity" can be connected to my family members' attachment to specific objects. The chosen items serve as symbols of shared values, memories, and emotional connections, contributing to a sense of cohesion within the family unit. Durkheim's ideas on the role of rituals and symbols in reinforcing social bonds resonate with the significance attached to these objects.

For example, Ines' selection of the sculpture "La Gorda" as a wedding gift symbolizes a shared emotional bond with my partner and contributes to a collective memory that reinforces social ties within the family unit.

Christopher Alexander: Architect Christopher Alexander's theories on "A Pattern Language" emphasize the importance of personalization and emotional connection in the design of spaces.

Family members' deliberate choices and emotional attachments to specific objects align with Alexander's belief that a well-designed space should evoke a deep sense of personal meaning and belonging.

Alexander's theories on personalized spaces are exemplified in Benjamin's choice of the stuffed animal "Pepe." This beloved and worn item represents not only a source of comfort for Benjamin but also a personalized element that adds a unique touch to his immediate surroundings.

Gaston Bachelard: Philosopher Gaston Bachelard's exploration of the psychology of dwelling, as discussed in "The Poetics of Space," provides insights into the emotional layers associated with domestic spaces. Each family member's chosen object can be seen as a poetic manifestation of their intimate relationship with the space, contributing to the creation of a psychological and emotional "home.”

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Bachelard's exploration of the psychology of dwelling is reflected in Lucas' connection to his bed.

The bed becomes an intimate space that encapsulates his sense of comfort, safety, and belonging, aligning with Bachelard's emphasis on the poetic and psychological dimensions of domestic spaces Jane Jacobs: Urbanist and activist Jane Jacobs' observations on the importance of vibrant neighborhoods and community engagement find echoes in the family members' choices. The objects selected contribute to a microcosm of personal and familial identity, mirroring Jacobs' emphasis on the significance of diverse, interactive elements in creating a robust and meaningful environment.

Camille's choice of bears, “Muta & Jorge”, crafted from my husband's parents' clothings, these bears represent a familial heritage that contributes to the diversity and richness of the family's collective identity.

In conclusion, the family exercise resonates with sociological and architectural theories by highlighting the intricate interplay between personal objects, emotional connections, and the construction of a meaningful home. The choices made by each family member align with broader concepts explored by scholars in sociology and architecture, emphasizing the deep interconnection between the physical and emotional aspects of the domestic environment.

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CONCLUSION

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To construct home, we need to think along at least the three dimensions we explored, and when combined we will set the stage for its inhabitants achieve, to a greater or lesser extent, all the major benefits we expect from a home: shelter, comfort, safety, peace, cohabitation, privacy, and individualism.

The first dimension we explored is that of the physical space itself and its evolutive dynamic. The spaces of a house are not monolithic, inalterable, or rigid, but they rather transform and adapt depending on the circumstances and its inhabitants. Sometimes this process happens in a planned, orderly manner, sometimes not. But more importantly, this evolutive process begins well before the construction ends, but rather the day it starts. In Mexico, that day would be the day the “Santa Cruz” is welcome on site.

The second dimension analyzed is the basic human necessity for shelter, to establish boundaries, real or invisible, permanent or temporary so within its confines to make home. It does not matter how ephemeral the need is, it’s always there, and once the basic need for shelter is achieved, we start carefully, sometimes invertedly start crafting home, make that space fully ours for an instant.

The third and final dimension is that of personalization or providing the comfort elements. These elements can be our own personal stuff, such as pictures of our family, or a mattress that we find comfortable, and we have gotten used to. Some other elements can be completely utilitarian, such flatware or a blanket. Whether an element is personal, or utilitarian will depend exclusively on the individual, and can very well vary from one person to another. So does the amount, size, and layout to make us feel at home. But because these elements help convey the sense of home, albeit temporary, we usually move with them from one place to another, giving that same sense of home even at different houses.

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Of all the people involved in the process of building a house, which sometimes runs in the hundreds, the “velador” is probably the one that develops a more intimate relationship with the house, making the construction his home more than any other one.

However, his needs are often neglected, and a simple space is assigned thinking how to reduce that relationship to the minimum, both with the house and with all the other workers.

But then we realize the space for the “velador” does not need to be necessarily a service area (like a storage or service room) or a useless or indefinite space (such as the space below a stair).

It can be, within the possibilities of everyday work, circulation and activity in the construction house, any space that helps him achieve the benefits of home.

We can the let the “velador” start crafting home, to either abstract himself from the bustling ambient of a construction site or recess or interact with it, engage with his fellow workers AND the spaces being created.

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This are the few first steps we can take to make the first inhabitant of a house start shaping the home it will get to be.

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As I reflected on the process of constructing home, that is the progression by which individuals transform, adapt, appropriate and live the rooms of a soulless, inert building into unique spaces of shelter, comfort and peace that characterize a home, is not only continuous but also starts even before the house construction is finished, I came to understand that we, architects and interior designers, are not only NOT in full control of the process, but that we also fail to consider and design for all the individuals that, at some point of the journey have helped bring the home to life, even if only for a fraction of time.

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PROBLEM STATEMENT

By

understanding

the

universal

needs

and

circumstances that influence all individuals to adapt a space into a home, regardless of space and time constrains, and assuming a holistic, integral and inclusive design approach, I believe we can help all and every inhabitant of a house achieve, albeit temporarily, a sense of home. Among the early inhabitants of a house, probably no one develops a more intimate relationship with the construction than the “velador” (the construction site custodian, the

THESIS STATEMENT

caretaker in the Mexican construction folklore).

Furthermore, because in the construction hierarchy the “velador” is the starting step and also because he spends most of the time alone, his needs rarely rise awareness. It is therefore that the subject of my thesis will be facilitating and humanizing the journey within the journey of constructing home for the “velador”.

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THESIS PART II

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The focus of the following work will be specifically on inhabitation and its materialization in Mexico, particularly in Mexico City.

Interior designers, architects, construction professionals, and skilled laborers offer not only their technical knowledge but also their dedication, resourcefulness, and problem-solving abilities. Their work extends beyond the mere execution of plans; they navigate challenges, adapt to unforeseen circumstances, and ensure that projects are completed. In many cases, they go above and beyond their duties to meet deadlines, satisfy clients, and uphold safety regulations. Despite the demanding nature of their work, they remain essential contributors to the built environment. People working in this field in Mexico City provide a service. It's crucial to understand the caste system that "coexists" in this society, which carries over systems, traditions, and rules from colonialism that directly impacts the demands of this service that those involved in construction provide.

At the construction site, there are different characters who form part of this "Society" that emerges within the construction process. To contextualize this "habitat," it must first mention "the client" or partner, who provides the capital to carry out the work. On the other hand, the construction professionals (architects, engineers, interior designers, and landscapers) who are responsible for producing an executive project for the ”workers" to materialize. Finally, we have the workers who specifically physically and mechanically materialize the project.

It's important to understand that construction in Mexico remains a very artisanal process. A few individuals, with their hands and the help of certain machinery, gather at a space where there was previously just a piece of land, and within a certain period of time, they erect a building.

In Mexico, and not only in the big city, within this "Construction Society," characters emerge who play a "vital" role, but it's difficult to explain or summarize their importance. "EL VELADOR" (the Night Watchman) is one such character, always male, who "watches over" the construction during hours when the work is inactive.

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Within this context arises the concept of a “home” for certain individuals who work in construction.

The mere understanding that workspaces are inhabited leads us to analyze the individual within them.

As interior designers, we've traditionally overseen the physical structures known as "houses," focusing on their form, function, and meaning. However, the current global context calls for a reassessment of our role, blurring the distinction between ”home” and “house”. The concept of “home” transcends mere shelter, encompassing a complex ecosystem of social dynamics, environmental concerns, psychological well-being, medical needs, and cultural narratives. This shift prompts us to question whether speculative visions of housing can truly thrive without drawing from a diverse range of interdisciplinary insights.

Designing and inhabiting a “home” are intricately interconnected processes that require careful consideration, not just of physical construction, but also of the relationships and connections they foster. While the idea of HOME is universally linked to comfort and basic needs, the actual experience varies based on external circumstances and constraints. The specific context of each project unveils the unique blend of architectural, cultural, economic, social, and political influences shaping how people, depending on their socioeconomic status, create a sense of HOME. Understanding the sociocultural context in which habitation takes place is crucial when discussing dwelling spaces. Similarly, this awareness is vital when engaging in the construction of such spaces.

This research seeks to navigate this evolving paradigm by arguing that the effectiveness of speculative future designs for housing lies not solely in innovative spatial manipulation, but also in the integration of diverse knowledge domains. By exploring the symbiotic relationship between the tangible and intangible aspects of “home” we aim to contribute to a future where interior architecture serves as a catalyst for holistic living, resilient in the face of global challenges and adaptable to humanity's evolving needs.

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Oscar, BF house “Velador”

“Velador’s” shoes at 34 House 93

The Velador, a figure deeply ingrained in the construction culture, embodies a unique blend of tradition, skill, and responsibility. Living on-site, often in makeshift accommodations, the Velador stands as a guardian, both literal and figurative, of the construction project.

While his title suggests a primary duty of watchfulness, his role transcends mere surveillance. He is the custodian of safety, constantly vigilant against potential hazards that may arise in the absence of other workers. His keen eye is not only trained on the physical security of the space but also on the protection of valuable materials and equipment that are vital to the project's progress.

Yet, the Velador's contribution extends beyond safeguarding the site. Despite lacking formal professional accreditation, his hands-on involvement in construction tasks is invaluable. With a wealth of practical knowledge accumulated over years of experience, often passed down through generations or acquired through apprenticeships, he seamlessly integrates into the workforce.

During working hours, he is not merely an observer but an active participant, lending his expertise and labor to various construction activities.

Moreover, the Velador embodies traits that go beyond technical proficiency. He is characterized by his physical strength, honed through years of manual labor, and his maturity, which stems from navigating the complexities of construction projects. Perhaps most importantly, he is esteemed for his integrity and reliability, earning the trust and respect of his fellow workers through consistent demonstration of honesty and accountability.

The Velador represents the essence of the construction ethos—a steadfast guardian, a skilled laborer, and a trusted companion in the journey of building. Though his role may be informal, his impact on the construction site and the collective spirit of the workforce is undeniable.

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Informal housing on the outskirts of Mexico City Alamy.com

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Despite encountering challenges such as resource scarcity and infrastructural limitations, Mexico's construction labor force exhibits remarkable adaptability and craftsmanship, exemplifying a profound commitment to excellence in their craft.

Moreover, the intricate geography of Mexico presents a canvas of both obstacles and prospects for the construction industry. From rugged mountain ranges to coastal plains, Mexico's diverse terrain necessitates innovative construction methodologies and engineering solutions to ensure structural integrity and environmental sustainability. Exploration of Mexico's climatic variations underscores the imperative of constructing resilient buildings capable of withstanding extreme weather conditions while optimizing energy efficiency.

This unique amalgamation of cultural diversity, environmental dynamism, and skilled labor affords designers, architects, contractors, and developers an expansive palette of possibilities to pioneer groundbreaking projects that not only reflect Mexico's multifaceted identity but also cater to the evolving needs of its populace. Mexico's construction landscape is profoundly influenced by its longstanding familial traditions, imbuing projects with a sense of historical continuity and familial connection.

Mexico's genuine wealth within the construction realm transcends the confines of financial prosperity, residing instead in its proficient labor force, rich cultural heritage, and ecological abundance. By leveraging these inherent strengths and embracing innovative methodologies, Mexico has the potential to construct a vibrant and enduring built environment that not only enhances the quality of life for its citizens but also serves as a beacon of sustainable development for generations to come.

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These roles, such as that of the Velador, are integral to Mexico's construction industry for several compelling reasons.

Mexico has a rich tradition of construction methods and practices that have been passed down through generations. These methods often rely heavily on the expertise and experience of skilled individuals rather than formal qualifications. The Velador, with his deep understanding of these traditional techniques, plays a crucial role in ensuring that these practices are faithfully upheld on construction sites.

Additionally, the socio-economic landscape in Mexico may pose challenges in terms of resource allocation for implementing advanced security systems or hiring professional security personnel. As a result, the presence of the Velador becomes even more critical for safeguarding construction sites against theft, vandalism, and other risks, especially during off-hours when workers are not present.

Cultural factors also contribute to the prevalence of roles like the Velador in Mexican construction.

There exists a profound respect for the wisdom and skills passed down through generations, which fosters a reliance on individuals who embody this collective knowledge. The Velador, often possessing a wealth of practical wisdom gained from years of hands-on experience, embodies this tradition of expertise and is entrusted with the responsibility of preserving it for future generations.

Furthermore, Mexico's true wealth lies not only in its economic prosperity but also in the resilience and ingenuity of its workforce. The contributions of construction workers and skilled artisans extend far beyond the physical structures they build; they are custodians of Mexico's cultural heritage, shaping the built environment in ways that reflect the nation's history and identity.

The role of the Velador symbolizes the enduring legacy of Mexico's construction traditions, the resourcefulness of its people, and the intrinsic value of preserving cultural heritage amidst the everevolving landscape of modernization and progress.

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MEXICO

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Fifth place amongst the 17 megadiverse countries in the world.

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Mexico's industrial dominance extends across key sectors, underscoring its pivotal role in global manufacturing. Its strategic geographical posi3on, characterized by diverse climates, provides a conducive environment for industrial ac3vi3es. Moreover, its adjacency to the United States, the world's largest economy, facilitates seamless trade rela3ons and lucra3ve investment opportuni3es, driving economic growth.

The country's significant advantage lies in its abundant low-cost labor force, comprising both na3ve inhabitants and migrants, which fuels produc3vity and efficiency across industries. This demographic dividend contributes to Mexico's compe33veness as a manufacturing des3na3on, aDrac3ng mul3na3onal corpora3ons seeking cost-effec3ve produc3on solu3ons.

Mexico's ac3ve engagement in regional trade agreements, including the *USMCA, further enhances its global standing by fostering integra3on into interconnected supply chains. This par3cipa3on opens up access to expansive markets and strengthens economic 3es with key trading partners, reinforcing Mexico's status as an indispensable player in the interna3onal economic arena.

On top, RemiDances in Mexico have reached an annual historical record in 2020, more than 63 billion dollars, signaling a significant influx of funds from abroad into the country. This milestone underscores the vital role that remiDances play in Mexico's economy, providing essen3al financial support to millions of families and contribu3ng to household consump3on, savings, and investment. *United States-Mexico-Canada Agreement." It is a trade agreement that governs trade relations between the United States, Mexico, and Canada. The USMCA replaced the North American Free Trade Agreement (NAFTA) and went into effect on July 1, 2020 101

The record level of remittances reflects both the resilience of Mexican migrants abroad and the enduring ties they maintain with their families and communities back home. This influx of funds is likely to have positive ripple effects across various sectors of the economy, including increased consumer spending, improved living standards, and greater economic stability.

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THE MIGRANT CARAVAN A migrant caravan is a large group of people, often from Central America, traveling together through Mexico to reach the United States or another destination.

They form for safety, economic, or asylum reasons and have sparked debates on immigration policies and humanitarian concerns.

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The migrant caravan represents a complex and multifaceted phenomenon with significant implications for the country's economy, particularly in sectors such as construction. As thousands of migrant's journey through Mexico seeking asylum or better opportunities in the United States, they often rely on local resources and services, stimulating economic activity along their route. In the construction sector specifically, the influx of migrants can lead to increased demand for housing, infrastructure, and labor.

Construction projects catering to the needs of migrants, such as shelters, temporary housing, and community facilities, experience heightened activity, providing employment opportunities for local workers and generating revenue for businesses. However, the presence of a large migrant population can also strain local resources and infrastructure, exacerbating existing challenges such as housing shortages and social tensions. Additionally, uncertainties surrounding immigration policies and border security measures can create economic volatility and deter investment, impacting the construction industry and broader economy in Mexico. Overall, while the migrant caravan presents both opportunities and challenges for Mexico's economy, its impact on the construction sector underscores the interconnectedness of migration and economic development in the region.

Between the last week of November and the first week of December 2023 the number of migrants detained at U.S border crossings rose by 31% - According to data from the Migration Policy Unit of the Ministry of the Interior, at the end of 2023 a total of 782,176 “events of individuals in irregular migration situations” were registered.

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The migrant caravan includes individuals who, upon reaching their destination or along the journey, seek employment opportunities, including in the construction sector.

While some migrants may find work in construction, their participation in the labor market can sometimes lead to downward pressure on wages due to increased competition for jobs. Migrant workers, often facing precarious legal status and limited access to labor protections, may be willing to accept lower wages and less favorable working conditions, which can contribute to wage stagnation and exploitation in certain industries, including construction.

Additionally, the informal nature of much of the construction sector can further exacerbate these dynamics, as employers may exploit migrant workers' vulnerability to evade labor regulations and offer substandard wages. Thus, while migrants' participation in construction labor can fulfill workforce needs, it also underscores the importance of addressing labor rights and protections to ensure fair wages and working conditions for all workers, regardless of their immigration status.

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In both the United States and Mexico, the formal and informal economies play significant roles, but it's essential to emphasize that the scale of the informal economy is much larger in Mexico.

While both countries have formal economic sectors characterized by legally recognized activities adhering to regulations, taxation, and labor laws, Mexico's informal economy dwarfs that of the United States. In Mexico, the informal sector represents a substantial portion of the overall economy, encompassing a wide range of activities from small-scale businesses to street vending and unregistered labor.

This significant prevalence of the informal economy in Mexico is influenced by various factors, including socioeconomic disparities, limited access to formal employment opportunities, and bureaucratic hurdles to formalization. As a result, a large segment of Mexico's workforce operates outside the formal structures, facing challenges such as lack of social protections and vulnerability to exploitation. Understanding the stark contrast in the scale of the informal economy between the two countries underscores the unique economic landscape of Mexico and the complex challenges it poses in terms of labor rights, social welfare, and economic development.

Additionally, it's crucial to note that the prevalence of the informal economy significantly affects the construction sector in Mexico. Informal practices, such as unregistered construction projects, offthe-books labor, and informal employment arrangements, are widespread in the construction industry. This informalization of the construction sector can lead to various challenges, including lower standards of safety and quality, lack of access to social protections for workers, and difficulties in enforcing regulatory compliance. The dominance of informal construction practices reflects broader socio-economic dynamics in Mexico and underscores the need for comprehensive strategies to address informalization and promote formalization within the construction industry.

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The concept of poverty in Mexico diverges significantly from the definition applied in late capitalist Western nations, primarily due to Mexico's intricate caste structure, which has evolved over centuries of colonization and cultural assimilation.

Mexico's caste system, deeply rooted in its colonial history, has shaped social stratification and economic disparities in profound ways. This system, influenced by Spanish colonialism and subsequent waves of migration and conquest, categorizes individuals based on factors such as race, ethnicity, and socioeconomic status. As a result, poverty in Mexico is not solely defined by income level or material deprivation but is intricately linked to historical, cultural, and systemic factors that perpetuate inequality.

Researchers have extensively explored the complexities of poverty in Mexico within the context of its caste structure. For instance, delves into the historical roots of social inequality and economic exploitation in Mexico, highlighting the enduring impact of colonialism on contemporary social dynamics.

"Una breve historia del mundo indígena al siglo XXI” by Alicia Hernández Chávez, provides critical insights into the multifaceted nature of poverty in Mexico. She emphasizes the intersections of race, ethnicity, and socioeconomic status in shaping access to resources, opportunities, and social mobility.

Additionally, the United Nations Development Program (UNDP) has conducted extensive research on poverty in Mexico, examining its causes and consequences within the framework of social inequality and human development. Reports such as "Mexico: Human Development Report 2020" shed light on the structural factors perpetuating poverty and offer recommendations for addressing systemic inequalities.

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POVERTY IN MEXICO Poverty in Mexico defies conventional definitions and must be understood within the context of its unique caste structure, shaped by centuries of colonialism and cultural assimilation. By acknowledging the complex interplay of historical, cultural, and systemic factors, policymakers and researchers can develop more nuanced approaches to addressing poverty and promoting inclusive development in Mexico.

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Being poor in Mexico entails facing a complex and multifaceted reality that extends beyond mere lack of economic income. Unlike the definition in a U.S. dictionary, which tends to focus primarily on material deprivation, poverty in Mexico is inherently linked to social, cultural, and structural factors rooted in its history of colonization and inequality. It involves deprivation of access to basic health and education services, as well as the violation of fundamental rights of women.

Additionally, lack of security and homelessness are everyday realities for many impoverished Mexicans, who struggle to survive in an environment marked by inequity and marginalization.

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House construction in Mexico is a reflection of the country's rich cultural heritage, characterized by a multitude of intricate elements deeply ingrained in its societal ethos.

The legacy of construction excellence can be traced back to the awe-inspiring achievements of pre-Hispanic civilizations such as the Mayans, Olmecs, Toltecs, and Aztecs. These ancient peoples mastered sophisticated building techniques, evident in the enduring pyramids and meticulously planned urban centers that still stand as lasting monuments to their ingenuity.

Additionally, Mexican construction practices are underpinned by a strong sense of communal cooperation and pride. Families and communities unite in collective efforts to construct not only individual homes but also communal landmarks like churches and "zócalos," the bustling central plazas that serve as vibrant social and cultural hubs. This collaborative spirit reflects the deeply ingrained values of solidarity and mutual support that define Mexican culture.

Furthermore, Mexico's societal fabric is woven with threads of history, shaped by a complex interplay of colonial legacies and contemporary realities. The tumultuous history of Spanish colonization, marked by oppression and exploitation, left an indelible imprint on the country's social structure, intersecting with indigenous hierarchies to shape its presentday dynamics. Despite the challenges wrought by colonization, Mexico's enduring resilience and cultural richness continue to fuel architectural innovation and shape the landscape of its built environment.

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CONSTRUCTION WORKERS STATE POPULATION DURING 2023

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SALARIES DURING 2023

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OVERPOPULATION: a state where the nation's population surpasses the sustainable capacity of its environment, resources, and infrastructure, leading to various socioeconomic and environmental challenges.

LABOR IN MEXICO: is characterized by a diverse workforce engaged in sectors such as manufacturing, agriculture, services, and tourism, with notable features including a significant informal economy, wage disparities, and challenges related to labor rights and protections.

LACK OF EDUCATION: manifests as disparities in access to quality schooling, limited educational resources, inadequate infrastructure, and high dropout rates, contributing to socioeconomic inequalities and hindering human capital development.

RACISM: persists through various forms of discrimination and social inequalities experienced by marginalized racial and ethnic groups, affecting their access to opportunities and perpetuating systemic injustice.

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MEXICAN FOLK ART

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Mexican folk art is a vibrant tapestry woven from the threads of history, culture, and creativity. From the ancient civilizations of Mesoamerica to the bustling streets of modern-day Mexico City, folk art has been a cornerstone of Mexican identity. This paper embarks on a journey to unravel the intricacies of Mexican folk art, delving into its historical roots, regional variations, and enduring significance. *Alebrijes, utensils, textiles, piñatas, and banners are some of the objects that define the identity of Mexicans.

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* Alebrijes are brightly colored Mexican folk-art sculptures of fantastical creatures. They are typically made from papier-mâché or carved wood and often feature intricate patterns and designs. Alebrijes are known for their whimsical and imaginative appearance, often combining elements from various animals or mythical creatures.

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The story of Mexican folk art is as old as the land itself, stretching back to the dawn of civilization in Mesoamerica. The ancient cultures of the Incas, Mayans, Aztecs, and Olmecs were master artisans, crafting pottery, intricate textiles, and sculptures that reflected their deep connection to the natural world and the divine. With the arrival of the Spanish conquistadors in the 16th century, a new chapter in Mexican art history began. *European techniques merged with indigenous traditions.

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02 *European techniques included painting, sculpture, architecture, and various decorative arts such as fresco painting, oil painting, and gilding.

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The evolution of Mexican folk-art mirrors the tumultuous history of the nation itself. From the colonial era to the tumult of the Mexican Revolution, art became a powerful tool for social commentary and political expression. The muralist movement of the early 20th century, led by iconic figures such as Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros, transformed the walls of Mexico's cities into towering canvases that celebrated the country's indigenous heritage and revolutionary spirit.

Contemporary muralists in Mexico continue to thrive, building upon the rich legacy established by their predecessors. Despite the passage of time, muralism remains a vibrant and influential art form in Mexican culture, with contemporary artists drawing inspiration from the iconic works of muralists such as Rivera, Siqueiros, and Orozco.

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Contemporary muralists are known for their innovative approaches, blending traditional mural techniques with modern artistic expressions. They tackle a wide range of social, political, and cultural themes, addressing pressing issues such as social inequality, environmental degradation, and indigenous rights. Through their bold and thought-provoking artworks, they contribute to ongoing dialogues and reflections on Mexico's complex identity and societal challenges.

They often pay homage to their predecessors by incorporating elements of their styles, themes, and techniques into their own work. They reinterpret and reimagine the iconic motifs and visual language of classic muralism, infusing them with contemporary relevance and personal narratives. This intergenerational dialogue between past and present muralists enriches the artistic landscape of Mexico, fostering continuity and innovation within the muralist tradition.

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At the heart of Mexican folk art lies a rich tapestry of themes and motifs that reflect the country's diverse cultural heritage. From the vibrant colors of the marketplaces to the haunting imagery of the Day of the Dead, Mexican art is a kaleidoscope of symbolism and tradition. Animals, plants, humans, and supernatural beings populate the canvases and ceramics of Mexican artisans, each imbued with layers of meaning that speak to the soul of the nation.

One of the defining features of Mexican folk art is its incredible diversity, shaped by the country's varied geography and rich cultural tapestry. From the lacquered crafts of Michoacán to the intricate embroidery of Chiapas, each region boasts its own unique artistic traditions and techniques. In Oaxaca, master carvers breathe life into fantastical creatures known as ”alebrijes”, while in Guanajuato, artisans' fashion exquisite leather goods that rival those of the finest European ateliers.

Throughout history, visionary artists have played a pivotal role in shaping the course of Mexican folk art. From the whimsical creations of *1 Manuel Jiménez Ramirez to the raw, unflinching selfportraits of *2 Frida Kahlo, these pioneering figures have pushed the boundaries of artistic expression and forged a legacy that endures to this day. Their works serve as a testament to the power of art to transcend boundaries and speak to the universal human experience.

*1 Manuel Jimenez R. renowned Mexican artist celebrated for his contributions to the art of woodcarving, particularly in the town of Oaxaca. He specialized in the creation of alebrijes. *2 Frida Kahlo was a Mexican artist known for her vivid self-portraits, which often incorporated symbolic imagery and explored themes of identity, pain, and the human experience. Her work has had a significant impact on art and culture, making her one of the most renowned artists of the 20th century..

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Mexican folk-art stands as a testament to the resilience, creativity, and enduring spirit of the Mexican people.

Across the centuries, it has served as a mirror reflecting the hopes, dreams, and struggles of a nation. From its humble origins in ancient civilizations to its vibrant expression in the modern world, Mexican folk art remains a source of inspiration and pride for generations to come.

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“Casa Azul” stands as a living testament to Frida Kahlo's deep reverence for Mexican folk art and her tireless efforts to champion the country's cultural heritage. Through her home and her art, Kahlo continues to inspire generations of artists and admirers, inviting them to explore the rich tapestry of Mexican folk-art and to celebrate the enduring legacy of one of Mexico's most beloved icons.

The interior of Casa Azul is adorned with a diverse array of folk-art pieces, including ceramics, textiles, wooden sculptures, and religious artifacts. These objects not only served as decorative elements but also held profound symbolic significance for Kahlo, who drew inspiration from Mexico's rich cultural tapestry in her own artistic practice.

One of the most striking features of Casa Azul is its courtyard adorned with a riot of colors, where lush vegetation and vividly painted ceramic pots mingle with traditional “papel picado” banners fluttering in the breeze. The juxtaposition of natural elements and folk-art motifs creates a visual feast for visitors, immersing them in Kahlo's world of creativity and cultural pride.

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MEANING OF COLOR IN MEXICAN CULTURE

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In Mexican culture, colors hold profound significance, permeating every aspect of life from food and art to clothing, traditions, and architecture. But perhaps most importantly, colors embody the vibrant spirit of the Mexican people themselves.

Welcoming and inviting, colors in Mexico have the power to liberate the soul. They transcend mere aesthetics, serving as a universal language understood and embraced by all. In this diverse and colorful tapestry, social interaction becomes the thread that binds together the various facets of Mexican life, uniting them into a harmonious and inspiring cultural mosaic

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In Mexico, home to 10% of the world's species, nature's bounty offers a rich and diverse ecosystem. Artisans seize upon this abundance, harnessing natural resources to craft their wares into exquisite works of art. These artisans infuse their creations with the splendor of nature, splashing art and color across their products, a testament to the country's biodiversity. Each piece is imbued with the value of handcrafted, time-intensive labor, adding to its allure.

In Mexico, colors serve as a vibrant expression of diversity. Each hue holds its own unique significance, contributing to the country's reputation for transforming everyday elements into art. From the vibrant textiles to the intricate pottery, every aspect of Mexican life is elevated through the lens of creativity and imagination. This celebration of diversity extends beyond mere aesthetics; it encapsulates the multifaceted nature of human experience, where every action and thought is imbued with its own narrative.

Colors, as visual perceptions, possess the remarkable ability to evoke a myriad of sensations, shaped by cultural context and individual perspective. In Mexico, as elsewhere, colors serve as potent triggers for memories, emotions, and sensory experiences. They transcend geographical boundaries, serving as a universal language that resonates with people worldwide.

In this way, color becomes a unifying force, linking together the senses and experiences of people from all walks of life.

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Throughout Mexico's architectural landscape, color serves as a dynamic visual language that communicates a rich tapestry of cultural narratives and traditions. From the bustling streets of Mexico City to the tranquil villages of Oaxaca, vibrant hues adorn buildings, monuments, and public spaces, reflecting the country's diverse cultural heritage and historical evolution.

In pre-Hispanic times, color held profound symbolic meaning in indigenous cultures, where each hue was imbued with spiritual significance. Red, derived from cochineal insects, symbolized blood and life force, while blue represented the sacredness of water and the heavens. Yellow was associated with corn and the sun god, and green signified fertility and growth. These symbolic associations permeated every aspect of life, from architecture to textiles to religious ceremonies, shaping the visual identity of ancient Mesoamerican civilizations.

With the arrival of the Spanish in the 16th century, European color palettes mingled with indigenous traditions, giving rise to a vibrant fusion of styles and influences. Colonial architecture, characterized by its ornate facades and intricate detailing, often featured bold colors such as terracotta, ochre, and indigo blue. These colors not only reflected the tastes of the Spanish aristocracy but also served as a means of asserting control and authority over the indigenous population.

Over time, Mexican architecture evolved, incorporating a diverse array of influences from around the world. In the 20th century, architects such as Luis Barragán embraced a more minimalist approach to color, using bold, saturated hues to create dramatic contrasts and evoke emotional responses. Barragán's use of color was deeply rooted in the Mexican landscape, with shades of pink, orange, and purple reflecting the vibrant hues of the desert and the lush vegetation of the countryside.

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In Mexican cuisine, color plays a pivotal role, not just in the visual appeal of dishes, but also in the rich tapestry of flavors and cultural significance they represent. From vibrant salsas to colorful garnishes, the use of a diverse spectrum of hues reflects the diversity and complexity of Mexican culinary traditions.

The bold and vivid colors found in Mexican cuisine are often derived from an array of fresh ingredients, including tomatoes, chilies, avocados, cilantro, and various fruits and vegetables.

Each ingredient not only contributes its unique flavor but also adds its distinctive color, creating a feast for the eyes as well as the palate.

For instance, the fiery red of ripe tomatoes and spicy chilies infuses dishes with a dynamic intensity, while the lush green of avocados and cilantro imparts a refreshing vibrancy. Brightly colored peppers, such as yellow and orange bell peppers, add both flavor and visual appeal to dishes like fajitas and tacos. Traditional Mexican dishes often feature a harmonious blend of colors, reflecting the country's rich cultural heritage and culinary diversity. Whether it's the multicolored layers of a vibrant mole sauce or the intricate patterns of a colorful salad, Mexican cuisine celebrates the artistry of food presentation and the visual pleasure it brings.

Beyond aesthetics, the use of color in Mexican cuisine also carries symbolic meaning and cultural significance. For example, the vibrant red of tomatoes symbolizes vitality and passion, while the verdant green of fresh herbs represents growth and renewal. These symbolic associations deepen the connection between food and culture, enriching the culinary experience for both cooks and diners alike.

The relationship between color and Mexican cuisine is a vibrant reflection of the country's rich culinary heritage, cultural diversity, and artistic sensibility.

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COLOR IN ARCHITECTURE

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The use of color in Mexican architecture spans from the earliest civilizations to the present day, forming a rich tapestry that reflects the country's diverse cultural heritage and artistic traditions. In ancient times, indigenous civilizations incorporated vibrant colors into their architectural designs. Brightly painted murals adorned the walls of temples and palaces, depicting scenes from religious ceremonies, mythology, and daily life. These vivid colors, derived from natural pigments such as cochineal, indigo, and annatto, served both aesthetic and symbolic purposes, imbuing sacred spaces with a sense of vitality and spiritual significance.

With the arrival of Spanish colonialism in the 16th century, European architectural styles merged with indigenous traditions to create a unique fusion of aesthetics.

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Colonial buildings, characterized by their ornate facades, intricate carvings, and colorful tilework, became iconic symbols of Mexico's architectural heritage. Vibrant hues such as terracotta, ochre, and cobalt blue adorned churches, convents, and government buildings, reflecting the influence of Spanish Baroque and Moorish design elements.

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The use of color in the Palacio de Bellas Artes in Mexico City is a stunning example of architectural beauty and cultural significance. Designed in the early 20th century by renowned Mexican architect Adamo Boari, this iconic building seamlessly blends various architectural styles, including Art Nouveau and Art Deco.

The palatial interior displays a perfect balance between color and light. The main hall, with its soaring ceilings and grandeur, is embellished with spectacular murals by renowned Mexican artists such as Diego Rivera, Rufino Tamayo, and David Alfaro Siqueiros. These monumental works of art depict scenes from Mexico's rich history, mythology, and culture, showcasing the country's artistic prowess and creative spirit.

Throughout the Palacio de Bellas Artes, the use of color serves to evoke emotions, stimulate the senses, and transport visitors to a realm of beauty and inspiration. Whether through the vibrant hues of the murals, the delicate tones of the stained-glass windows, or the richly textured surfaces of the architectural details, color infuses every corner of the building with a sense of vitality and dynamism.

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Luis Barragán, one of Mexico's most celebrated architects, is renowned for his masterful use of color as a transformative element in his architectural designs. Barragán's work is deeply rooted in the cultural and architectural traditions of Mexico, yet he was also influenced by European modernism. His innovative approach to color is perhaps best exemplified in his residential projects, where he employed vibrant hues to create spaces that evoke a sense of emotion and spirituality.

Barragán's use of color was not merely decorative but served a deeper purpose, as he believed that color had the power to elicit emotional responses and imbue spaces with a sense of harmony and serenity. He often used bold, saturated colors such as pink, blue, and yellow to create dramatic contrasts and accentuate architectural features. In many of his projects, Barragán employed a limited palette of colors, allowing each hue to stand out and create a visual impact.

One of Barragán's most iconic projects is the Casa Gilardi in Mexico City, where he used a combination of bright pink and vibrant blue to create a sense of playfulness and joy. The colors are applied strategically, with pink walls framing views of the surrounding garden and blue accents punctuating the interior spaces. The result is a space that feels dynamic and alive, yet also serene and contemplative.

His work demonstrates the transformative power of color in shaping the experience of space.

Through his innovative use of hue, saturation, and contrast, Barragán created architectural masterpieces that engage the senses and evoke a profound emotional response, leaving an indelible mark on the world of architecture.

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As Mexico transitioned into the modern era, the use of color in architecture continued to evolve, influenced by global trends and contemporary design principles. In cities like Mexico City and Guadalajara, colorful facades and bold geometric patterns became defining features of urban landscapes, revitalizing historic neighborhoods and showcasing Mexico's vibrant cultural identity.

Today, the use of color in Mexican architecture remains a dynamic and integral aspect of the built environment. From the colorful facades of colonial-era buildings to the sleek, modern designs of contemporary structures, color continues to play a central role in shaping the visual identity of Mexico's architectural landscape. Whether through traditional techniques such as painted murals and decorative tilework or innovative approaches to color and materiality, architects and designers in Mexico draw inspiration from the country's rich cultural heritage to create spaces that are both visually striking and culturally resonant.

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Within the intricate tapestry of individuals contributing to the construction process of a house, potentially numbering in the hundreds, the role of the "velador" stands out as one that cultivates a uniquely intimate connection with the emerging structure, transforming the construction site into a personal sanctuary unlike any other. This observation draws from the deep-rooted cultural significance of the "velador" in Mexican construction folklore, as well as the broader understanding of human psychology and spatial relationships. Furthermore, the role of the "velador" as the custodian of the construction site underscores the importance of his experience and the need to address his needs in the design and planning process.

Despite this profound relationship, the needs of the "velador" are often overlooked, resulting in the provision of a rudimentary space aimed solely at minimizing his interaction with the house and other workers. This oversight reflects a broader tendency within the construction industry to prioritize efficiency and functionality over the holistic well-being of all individuals involved. This research emphasizes the importance of considering human factors in design and planning processes, particularly in environments where individuals spend extended periods of time. By recognizing the unique role and experiences of the "velador," we can begin to address the shortcomings in current construction practices and develop more inclusive and human-centered approaches to building design.

However, upon closer examination, it becomes evident that the "velador's" quarters need not be limited to a utilitarian service area or a nondescript corner of the site. Rather, within the realm of daily construction activities, any space can be reimagined as a nurturing haven that fosters a deep sense of belonging and provides the "velador" with the comfort and security essential for his well-being.

This shift in perspective requires a departure from traditional notions of construction site design and a reevaluation of the role of the "velador" within the broader construction hierarchy.

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By granting the "velador" the opportunity to shape his surroundings into a true home, whether by seeking solace from the bustling construction site or actively engaging with his fellow workers and the evolving spaces, we create an environment that not only promotes productivity but also enriches his sense of identity and connection to the project. This approach aligns with principles of biophilic design, which emphasizes the importance of incorporating elements of nature and human connection into built environments to enhance well-being and productivity (Kellert et al., 2008).

By understanding the universal needs and circumstances that influence all individuals to adapt a space into a home, regardless of space and time constraints, and assuming a holistic, integral, and inclusive design approach, I believe we can help all and every inhabitant of a house achieve, albeit temporarily, a sense of home. Among the early inhabitants of a house, probably no one develops a more intimate relationship with the construction than the “velador”.

Furthermore, because in the construction hierarchy, the “velador” is the starting step and also because he spends most of the time alone, his needs rarely rise awareness. Facilitating and humanizing the journey within the journey of constructing home for the “velador” is the starting point of re-thinking ”home”.

The role of the "velador" in the construction process extends far beyond mere oversight of the site; it embodies a profound relationship with the emerging structure and a deep connection to the project as a whole.

By recognizing the unique experiences and needs of the "velador" and integrating them into the design and planning process, we can create environments that promote well-being, foster a sense of belonging, and enrich the human experience of construction. This holistic and inclusive approach not only benefits the "velador" but also contributes to the overall success and sustainability of the construction project.

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The significance of construction in Mexico City, particularly its centrality compared to the rest of the country, cannot be overstated. As the capital and largest city of Mexico, Mexico City serves as the political, economic, cultural, and social hub of the nation. Its status as a global megacity necessitates constant urban development and infrastructure improvement to accommodate its growing population and sustain its role as a leading metropolis.

The construction sector in Mexico City plays a vital role in shaping not only the city's skyline but also its socioeconomic landscape. The ongoing construction projects, ranging from residential complexes to commercial skyscrapers and transportation networks, contribute to job creation, investment attraction, and economic growth. Furthermore, the city's central location within the country makes it a strategic focal point for infrastructure development, serving as a gateway for goods and services to other regions. Thus, the construction industry in Mexico City not only fuels urban expansion but also bolsters the city's pivotal position in driving the nation's progress and development.

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MEXICO

MEXICO CITY

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The construction of high-end weekend houses in Valle de Bravo, State of Mexico, has been a growing trend in recent years. Located just 1.5 hours away from the bustling city of Mexico City, Valle de Bravo offers a serene retreat for those seeking to escape the hustle and bustle of urban life.

The main allure of Valle de Bravo lies in its temperate climate and spectacular geography. Surrounded by Lake Valle de Bravo and the mountains of the Sierra de Valle de Bravo, this destination is known for its beautiful natural landscapes. The climate in Valle de Bravo is mostly temperate, with warm and humid summers and mild, dry winters. This combination of pleasant weather and stunning natural surroundings makes it a popular year-round destination.

The architecture of weekend houses in Valle de Bravo often reflects the natural beauty of the surroundings, with designs incorporating elements such as wood, stone, and large windows to maximize panoramic views of the lake and surrounding mountains. Many of these properties also feature luxury amenities such as infinity pools, spacious outdoor terraces, and entertainment spaces.

In addition to its natural beauty, Valle de Bravo offers a variety of outdoor activities for residents and visitors, ranging from water sports on the lake to hiking and cycling in the surrounding mountains. It is also known for its local cuisine, which includes a wide variety of restaurants serving high-quality Mexican and international cuisine.

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VALLE DE BRAVO

VALLE DE BRAVO

MEXICO CITY

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Rancho Avandaro Golf Club, situated in the picturesque Valle de Bravo, represents a notable fixture within the region's architectural landscape.

Targeting a clientele inclined towards refined living and leisure pursuits, the club stands as a testament to upscale residential development. Properties within its confines command premium prices, reflective of the affluent demographic it caters to. Functioning as a private establishment, Rancho Avandaro prioritizes security and exclusivity, ensuring a tranquil environment for its inhabitants.

Notably, the presence of an artificial lake adds to the aesthetic and recreational appeal of the club, enhancing its allure as a coveted residential enclave.

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RANCHO AVANDARO

SITE (175)

02 Locations in Rancho Avandaro of all the houses we have built, all the houses that had a velador during construction.

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The Velador's house will be located on lot 175, within the Rancho Avandaro Golf Club. The challenge is to design for not just one, but two clients. The primary client is the owner of the property, a family of five with a typical weekend home program.

The second client, the focus of this research study, will be the Velador, who will inhabit an individual, temporary dwelling throughout the construction process of the main house. This dwelling will move within the property according to the progress of the construction and the specific needs of process.

The challenge as a designer is to ensure that this dwelling can accommodate the Velador during the time he inhabits it, recognizing and meeting the needs of him, our second client.

The Velador's home, although temporary, is set in the same natural environment as the main residence. Both properties experience the same weather, terrain, and scenery.

Despite serving distinct purposes and durations of habitation, the underlying needs of both clients remain synonymous. Both seek refuge in a space that fosters comfort, safety, and functionality.

Through the design approach, the goal is to harmonize these shared needs, crafting a living environment that seamlessly accommodates the diverse requirements of each client.

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SITE (175)

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QUANTITATIVE & QUALITATIVE ASSESMENTS

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Over a period of three months, interviews and questionnaires were conducted with over 40 construction workers. All individuals who "reside" in a second home - a space they only use for overnight rest when they leave the construction site where they work. For some, these are collective accommodations, while for others, it's an individual dwelling within the construction site, typically referred to as the "velador.”

The objective of this exercise conducted among the workers was to be able to evidence and hear firsthand their common needs and to seek patterns of requirements to later apply to the final design of the temporary housing.

It's important to note that two types of surveys had to be conducted because not all respondents were literate.

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ACTIVE RESEARCH QUESTIONNAIRE

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QUANTITATIVE RESEARCH

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QUALITATIVE RESEARCH

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“Lunch” at FR project 171

HOW DOES THE VELADOR LIVE DURING CONSTRUCTION ?

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Velador’s houses in Lot 47 and 128, Rancho Avandaro 2024. Mexico

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NEW HOUSING FOR THE VELADOR: “ LA VELADURIA”

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NEEDS

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TANGIBLES

INTANGIBLES REST: In the context of inhabiting a house, "rest" encompasses the ability to find physical and mental relaxation within one's living space, where individuals can retreat from the demands of daily life and recharge their energy.

UNWIND: "Unwinding" in a house involves the process of gradually releasing stress and tension, creating a soothing environment that encourages relaxation and allows individuals to let go of the pressures of the outside world.

FIND PEACE: Finding peace within a house involves cultivating a sense of serenity and tranquility, where individuals can escape from chaos and turmoil, and experience inner calmness and contentment.

DECOMPRESS: Decompressing in a house refers to the act of releasing built-up stress and pressure, creating a space where individuals can mentally and emotionally unwind, allowing for a sense of lightness and relief.

SHARE: Sharing within a house involves fostering connections and bonds with others, creating an environment where individuals can freely exchange experiences, emotions, and resources, promoting a sense of community and togetherness.

BE YOUR TRUE SELF: Being your true self in a house means feeling comfortable and accepted for who you are, without fear of judgment or discrimination, allowing individuals to express their authentic selves and live authentically.

FEEL SAFE: Feeling safe in a house encompasses both physical and emotional security, where individuals can trust in their surroundings and relationships, knowing that they are protected from harm and can freely express themselves without fear.

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MATERIALS

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Brushed pine board Dim (244 x 4.14 x 195 cmts) 4inch gray nail, 1 kg

Triplay construction CD Dim (1.22 x 2.44 mts x 15 mm)

”polin” Bar for formwork Dim (3 in x 3 in) Pine board for formwork Dim 240 cmts

Most of the wood used in construction in Mexico is formwork wood, it plays an essential role during the whole construction process. It is used to shape, support, elevate, build, shelter, contain, bound, etc

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The “Polin” is the basic building block used for anything and everything around a construction site in Mexico.

Despite its importance, it is a construction element you never see in the finished product. So, for someone who doesn’t know about the process, it is completely invisible, almost dispensable, somewhat unfair.

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MASLOW’S HIERARCHY OF NEEDS

As designers we can actually have a huge impact on the lives of the team members of the construction “society” through this housing exercise. It is rewarding to invite the idea that it can be gone beyond covering the basic needs and extend that impact even to the top needs through respect and empowering their own self-actualization.

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It is almost poetic, though not incidental, to be using this material to build a house for the “velador”, another vital part of any of all the materials, construction site that goes unnoticed by anyone who only sees the finished product without paying attention to people and efforts that made it possible.

Making the “polin” shine as a very visible and very important part of a beautiful home.

Making the “velador” shine as a very appreciated part of the team, worthy of his very own custom-made beautiful temporary home.

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WOOD – POLIN CYCLE

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THE CYCLE OF USE For many years, society has followed a linear lifestyle, characterized by the extraction, production, consumption, and disposal of raw materials. Therefore, we need to think different to secure the future of our shared resources.

The concept of a circular economy presents a sustainable and conscious model, where products are innovative and able to be recycled in an eternal cycle, where no resources are lost, and materials keep their value.

The products designed with circular economy are going to have a positive effect on the environment, people and our economy.

We achieve this by designing products with extended lifespans, allowing for upgrades as necessary, and by using few materials that can be recycled for new products.

Wood and its products have an infinite lifecycle, at the end of their useful life, wood products are transformed into other consumer goods or energy sources.

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CASE STUDIES

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CONCLUSIONS •

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The use of standard and easyto-get construction materials and elements.

No particular design or adjustment to complex topographies.

Starting point from a basic module that can accommodate any type of function or can be replicated to build larger spaces.

The basic module has a built-in roof (for temperature, comfort purposes) and an independent and waterproof add-on (to protect against external conditions) The basic module can also shelter a space for social interaction.

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“LA VELADURIA” EXECUTIVE PROJECT

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BEDROOM MODULE

MODEL + FUNCTION (First ideas)

The dimensions of Construction CD Plywood Dim (1.22 x 195

SOCIAL KITCHEN MODULE

boards will be used as the baseline measure. x 2.44 mts x 15 mm)

BATHROOM MODULE

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THE MODEL

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VIEWS & SECTIONS (scale to fit) 199

FLOORPLAN (scale to fit)

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COMPONENTS GUIDE TO ASSEMBLY “LA VELADURIA”

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RETRACTABLE TABLE AND STOOLS (PINE WOOD) 0.60 X 0.50 MTS 24X 20 IN

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SMART STORAGE AND BED (PINE WOOD) VARIABLE SIZE

FURNITURE

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COMPLETELY CLOSED

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SEMI-COVERED EXPASION

CLOSE - EXPAND SYSTEM

OPENED TO THE OUTSIDE

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CONSTRUCTION SYSTEM

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FOUNDATIONS

COLUMNS

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FLOOR AND ROOF (2% SLOPE)

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WALLS AND WINDOWS 02

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IDENTITY AND BELONGING

Alamy.com

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The house will serve as a canvas for personalization, a sanctuary where each “Velador” can imprint their own essence, crafting the narrative that renders it truly their 'home.' To facilitate this journey of ownership, paint buckets will be readily available to the incoming residents, empowering them to embark on the transformative process of 'making it their own,' infusing the space with their unique vision and character. museofridakahlo.org.mx

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The expertise and artistry of each “Velador” will lend a sense of naturalness to the process of imbuing the home with color, fostering a seamless integration of personal identity into its very fabric.

Rather than a mere application of paint, it will be a deliberate act of intention, allowing the home to evolve in harmony with the unique essence of its inhabitants.

This small exercise or detail within the larger endeavor of creating a home reaffirms the concept of: “there was life in the house, before it was inhabited”.

Legorreta.mx

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A PLACE FOR REFERENCE ( INFO MURAL)

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"We need to do more with less; create buildings that operate 219

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more efficiently with minimal energy or materials.” Sir Norman Foster 220

PLACEMENT PLACEMENT Strategic planning of the "Veladuria" placement is essential throughout all stages of construction,

The placement of the veladuria has to be thoroughly planned and thought through all the s towing a g e s oto f tthe h e cconstraints o n s t r u c t i o posed n d u e tby o bbudget u d g e t aand n d ttime i m e llimitations. i m i t a t i o n s .While i t i s it b eis t t epreferable r f o r i t t o for h a vthe e a so m e w h a t p eto r mmaintain a n e n t l oa c asomewhat t i o n f r o m permanent b e g i n n i n g position t o e n d . from inception to completion, its inherent "Veladuria"

flexibility and adaptability permit it to be situated at various points within the site and relocated as B required. u t t h a n k s This t o i t sadaptability f l e x i b i l i t y allows a n d a d afor p t a complete b i l i t y i t c aor n bpartial e l o c a tdisassembly, e d a n y w h e r e facilitating w i t h i n t h e ease s i t e aof nd mtransportation o v e d a r o u n d and a s msubsequent a n y t i m e s reassembly a s i t i s n e eat d ead new . location.

The culmination of this process involves seamlessly integrating the "Veladuria" with essential I tinfrastructure c a n b e c o m pservices l e t e l y o r such partia l l y water, d i s a s selectricity, e m b l e d , mand o v e d sewage, a n d r e a sensuring s e m b l e d its o n functionality i t s n e w l o c a and tion. as The final step is to plug it in to water, electricity and sewage services. operational readiness.

Veladuria

Electrical System Septic System

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TE 175

project’s footprint

underground water tank

material unloading area

INFO + DRAWINGS Veladuria

VELADURIA IN LOTE 175

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VELADURIA IN LOTE 108 (REFERENCE)

LOTE 108

project’s footprint

underground water tank

material unloading area

Veladuria

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INFO + DRAWINGS

OTE 34

VELADURIA IN LOTE 34 (REFERENCE)

project’s footprint

underground water tank

material unloading area

Veladuria

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Constructing Home, 225

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“La Veladuria” 226

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REFERENCES

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BIBLIOGRAPHY:

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William McDonough, “Design, Ecology, Ethics and The Making of Things” (1996)

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James Corner, “Terra Fluxus” in The Landscape Urbanism, ed Charles Waldheim (2006)

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Mary McLeod, `Every day and “other” spaces (1999)

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Émile Durkheim, "The Division of Labor in Society" (1893)

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Émile Durkheim, "The Elementary Forms of Religious Life" (1912)

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Christopher Alexander. "A Pattern Language: Towns, Buildings, Construction" (1977)

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Christopher Alexander, "The Timeless Way of Building" (1979)

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Gaston Bachelard, "The Poetics of Space" (1958)

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Gaston Bachelard, "The Psychoanalysis of Fire" (1938)

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Jane Jacobs, "The Death and Life of Great American Cities" (1961)

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Jane Jacobs, "Cities and the Wealth of Nations" (1984)

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Brooks S.K., Webster R.K., Smith L.E, “The psychological impact of quarantine and how to reduce it: rapid review of the evidence” (2020)

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Michele Lerner, “A home of the future, shaped by the coronavirus pandemic” (2021)

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Christopher Wilson, “Working Together: Economic Ties between the United States and Mexico” (2011)

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Claudia Fonseca Alfaro, “The Land of the Magical Maya” (2018)

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Alicia Hernández Chávez, “Una breve historia del mundo indígena al siglo XXI” (2021)

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Amanda Holmes, Elena Poniatowska ”Mexican Color" (1998)

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Kevin J. Middlebrook “The Paradox of Revolution: Labor, the State, and Authoritarianism in Mexico” (1995)

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Eduardo Galeano, “Open Veins of Latin America /Las venas abiertas de America Latina” (1971)

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Josiah Heyman, “Life and Labor on the Border” (2016)

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Hayden Herrera, “Frida: Una biografía de Frida Kahlo” (2002)

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Peter Tompkins, "Mysteries of the Mexican Pyramids" (1982)

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Sonia Pérez Toledo, "Los hijos del trabajo : los artesanos de la ciudad de México, 1780-1853" (2005)

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Carlos Chanfón Olmos Carlos "Historia de la arquitectura y el urbanismo mexicanos" (2002)

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Enrique X. de Anda Alanis, ”Historia de la arquitectura Mexicana" (2017)

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Alonso De Zorita, “Life and Labor in Ancient Mexico” (1994)

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DIGITAL BIBLIOGRAPHY: • https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/x7e914f5b:beginner-guides-to-romanarchitecture/a/roman-domestic-architecture-domus • https://www.historyhit.com/what-were-houses-like-in-ancient-greece/ • https://www.terraeco.net/24-heures-chrono-votre-bilan,13860.html • https://www.archdaily.com/959389/how-could-a-house-work-in-a-post-climate-change-scenario?ad_campaign=special-tag • https://www.archdaily.com/943940/how-will-families-architectural-expectations-change-over-the-next-fewyears?ad_campaign=special-tag • https://www.archdaily.com/958711/husos-architects-we-dont-want-to-contribute-to-the-homogenization-of-the-world-aroundus?ad_campaign=special-tag • https://www.archdaily.com/946527/from-housing-to-retail-redefining-programs-and-spatial-typologies?ad_campaign=specialtag • https://www.archdaily.com/946829/beirut-between-a-threatened-architectural-heritage-and-a-traumatized-collectivememory?ad_campaign=special-tag • https://www.archdaily.com/945356/serious-question-how-will-we-live-together?ad_campaign=special-tag • https://3xn.com •

https://www.revistadearte.com/2011/07/27/teotihuacan-ciudad-de-los-dioses/

• https://culturasmesoamericanas.com/cultura-teotihuacana/ • https://chicago.suntimes.com/2020/10/5/21502648/chicago-public-schools-radio-remote-learning-polio-pandemic-cps • https://theconversation.com/us/topics/1918-flu-pandemic-50734

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MEDIA BIBLIOGRAPHY: • Let’s talk about Architecture. How architecture is the interplay between form and life. Podcast, available in Spotify.

• The Second Studio. Preparing for Architecture Thesis. Podcast, available in Spotify • EAMES. The architect and the painter. https://www.youtube.com/watch?v=q8vIESeiG-E • BAUHAUS: A history of modern Architecture. https://www.youtube.com/watch?v=yWjwqGQ5QcY • Escobedo, F. (2018). "Spatial Experiments: Frida Escobedo’s La Tallera." Architectural Digest.

• Bilbao, T. (2016). "Sustainable Urban Housing: A Case Study of Tatiana Bilbao's Socially Responsible Architecture." Journal of Sustainable Architecture and Civil Engineering.

• Scott Brown, D. (2017). "Urbanism as a Way of Life: Denise Scott Brown's Contributions to Urban Planning." Journal of Urban Design.

• Testa, M. (2020). "Innovation in Sustainable Architecture: The Works of Mario Testa." Sustainable Development Journal.

• Escobedo, F., & Bilbao, T. (Eds.). (2021). "Architectural Perspectives: Integrating Culture and Context." New York: Routledge.

• Bilbao, T., & Mani, M. (2018). "Symbiosis of Nature and Architecture: Insights from Tatiana Bilbao and Mario Mani." International Journal of Architecture and Urban Studies.

• Scott Brown, D. (2014). "Learning from Las Vegas: The Forgotten Symbolism of Architectural Form." Journal of Architectural Education.

• Escobedo, F. (2017). "Beyond Aesthetics: Exploring the Social Impact of Architectural Design." Journal of Social Architecture.

• A house is not just a house: https://www.architectmagazine.com/design/a-house-is-not-just-a-house_o • Tatiana Bilbao: https://tatianabilbao.com/ • Frida Escobedo: https://fridaescobedo.com • "Denise Scott Brown - Venturi, Scott Brown and Associates." https://www.vsba.com/denise-scott-brown • Clorindo Testa: https://www.archdaily.cl/cl/02-252052/clasicos-de-arquitectura-casa-di-tella-clorindo-testa

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THANK YOU