CONSTRUCTING HOME

CONSTRUCTING

HOME MARIA INES LATORRE FA23 MASTER OF INTERIOR ARCHITECTURE

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INTERIOR ARCHITECTURE FA23 INT3013 INTERIORS THESIS 1

MARIA INES LATORRE, STUDENT

NINA BRIGGS, THESIS 1 INSTRUCTOR

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

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The CPPLA students express appreciation for Andrew Wilcox, revered Chair of the Landscape Architecture Department for his unwavering and dedicated leadership throughout the Covid-19 Pandemic – and "This research endeavor and contemplative space are affectionately always. dedicated to my parents, whose gift of a

home transcends physical boundaries. They not only provided me with a place of shelter butininstilled me the Andy, your guidance and care adapting in to constant profound ability to create a 'home' wherever life takes me. Their enduring lessons of home, change has been theon gluethe that essence holds the Landscape Architecture department together. Thank you for being irrespective of location or circumstance, form the foundation of this work.”

a beacon of positivity and purpose in an uncertain time. Thank you for working so hard to help us reach our educational goals. Your calm compassion, empathy and professionalism are invaluable – supporting staff, faculty and students – are a testament to your integrity and grace. We see you and we are eternally grateful for your commitment to CPPLA.

With gratitude and love, INES

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Impossible Architecture, MC Escher.

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CONTENTS: 09-10 l NOTE FROM THE AUTHOR 11-16 l INTRODUCTION 17- 30 | 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

31 - 50 | 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

51- 80 | TEMPORARY VERSUS PERMANENT INTERIOR COMFORT, SAFETY & BELONGING • •

How interiors make inhabitants feel Small acts of home-making and belonging

81- 90 | CULTURAL PRIVILEGE, PROPRIETY AND VALUE • • • •

What is Mexico to us?

Identity, culture, heritage and interior architecture Labor, caste and the vestiges of colonialism Wealth, home ownership, property values and construction

91 | CONCLUTION 92- 95 | REFERENCES 02

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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 own. 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 not only 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 material, 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, 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 de 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 ever 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.

Map of Teotihuacan researchgate.net

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 “Dia 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 “Dia 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, 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 contemplating new beginnings, it becomes imperative to grasp the notion that evolution inherently implies change. The trajectory of architecture and interior architecture, until recently, has been on a linear path, advancing rapidly but often neglecting the parallel and encompassing needs rooted in the functionality and habitability of dwellings. This deviation from the holistic perspective is a departure from the essence of old settlements, where spaces between buildings played a crucial role as meeting 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, acting as a delayed reflection, mirror the nuanced interplay of socioeconomic, political, and environmental changes over time. 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 Botton offer valuable insights into the relationship between built environments and societal dynamics, underscoring the interconnected nature of architecture, community, and cultural evolution.

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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 that 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.

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 homes 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 a ”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” 66

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’. admagazine

"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. (To be developed)

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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.

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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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(is going to be rewritten) 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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CULTURAL PRIVILEGE, PROPRIETY AND VALUE

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What is Mexico to us?

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Identity, culture, heritage and interior architecture

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Labor, caste and the vestiges of colonialism

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Wealth, home ownership, property values and construction

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CONCLUTIONS

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REFERENCES

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BIBLIOGRAPHY:

• William McDonough, “Design, Ecology, Ethics and The Making of Things” (1996) • James Corner, “Terra Fluxus” in The Landscape Urbanism, ed Charles Waldheim (2006) • Mary McLeod, `Every day and “other” spaces (1999) • "The Division of Labor in Society" (1893), Émile Durkheim • "The Elementary Forms of Religious Life" (1912), Émile Durkheim • "A Pattern Language: Towns, Buildings, Construction" (1977), Christopher Alexander • "The Timeless Way of Building" (1979), Christopher Alexander • "The Poetics of Space" (1958), Gaston Bachelard • "The Psychoanalysis of Fire" (1938), Gaston Bachelard • "The Death and Life of Great American Cities" (1961), Jane Jacobs • "Cities and the Wealth of Nations" (1984), Jane Jacobs • Brooks S.K., Webster R.K., Smith L.E. The psychological impact of quarantine and how to reduce it: rapid review of the evidence. Lancet. 2020 • A home of the future, shaped by the coronavirus pandemic, By Michele Lerner, August 19, 2021

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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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