InForma Journal, Universidad de Puerto Rico, Escuela de Arquitectura, San Juan (2024)

Q: ¿Cual es la direccion?

Universidad De Puerto Rico, Escuela De Arquitectura

16/09/2022

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

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

•Diseño y metodologías de investigación

•Bibliotecología o Ciencias de la Información

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

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

06/09/2022

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

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

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

📸

02/09/2022

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

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

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

08/08/2022

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

17/06/2022

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

14/06/2022

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

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

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

13/06/2022

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

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

Collage images by .

13/06/2022

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

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

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

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

***r

01/06/2022

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

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

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

Images of Democratic Parliament courtesy of

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

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

***r

31/05/2022

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

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

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

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

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

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

29/05/2022

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

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

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

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

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

Photography by Masha Kotliarenko.
***r

29/04/2022

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

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

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

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

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

Photography courtesy of .
***r

28/04/2022

“To All the Misfits: The Work of Adam Nathaniel Furman”, an interview by Dr. Regner Ramos.

The work of Adam Nathaniel Furman is quite literally wonder-full. It calls to you in its loudness, and takes you back to memories rummaging through toy bins and reading through comic books. His projects, which span across scales and mediums—from ceramic knick knacks to films, from furniture to jumbo installations—scream of celebration, inviting spectators, visitors, and users alike to imagine different worlds where the formal, traditional rules of architecture are smashed, re-stacked one on top of the other and painted in super-saturated, ultra-glossy kaleidoscopic patterns. It’s no wonder Furman is not everyone's cup of tea, and he’s okay with that. His work has been exhibited in London, Paris, New York, Milan, Rome, Eindhoven, Minneapolis, Portland, Kortrijk, Tel Aviv, Veszprem, Mumbai, Vienna and Glasgow, and is held in the collections of the Design Museum, the Sir John Soane's Museum, the Carnegie Museum of Art, the Abet Museum, & the Architectural Association. Furman’s work has also been published widely, with a breadth of international projects, and his new book, “Q***r Spaces: An Atlas of LGBTIA+ Places and Stories” (co-edited with Joshua Mardell), has just been published by RIBA.

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

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

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

Photography courtesy of .
***r

27/04/2022

“Gay Men Will be Cruising No Matter What: Transgressive Q***r Pleasure as World-Making Praxis”, a peer-reviewed research paper by Hugues Lefebvre-Morasse:
Gay men will be cruising no matter what, even during a global pandemic, when intimacy and social proximity are targeted as the main vectors of spread. Cruising—a practice consisting of gay men gathering in public spaces for anonymous sex—is transgressive in more than one way; it goes against the social, sexual ,and spatial norms constitutive of heteronormativity. It is a guilty pleasure that bears a transformative potential in this “guiltiness”. Drawing from José Esteban Muñoz’s notions of q***r futurity, this paper suggests an understanding of cruising as a critical spatial practice that holds world-making capacities, creating “q***r enclaves” within urbanity. The main method employed in this project is a combination of documentation (fieldwork) and representation (architectural drawings) taking the form of a critical inventory of cruising grounds around the province of Québec, Canada. The research-by-design project drifts between and across disciplines, affecting the same q***r world-making potentialities found in cruising

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

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

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

Photography by Gabor Monori.
***r

26/04/2022

Contributing writer Alexander Cuesta-Pantoja interviews Marcio Kogan in “Views from a Diverse Practice”. When asked about his project, “Happyland”Kogan notes:

“During my school years, projects were very conceptual. All of them were very ironic, strong social critiques, and with humor. And one day, when I finished school, I did not know how to design anything, because I just did this kind of theoretical and conceptual projects. I needed to learn architecture after I graduated, and after 10 years talking with Isay (Weinfeld), he asked, ‘Why don’t you do this project again?’ We built a big model of the city, which was Happyland 2. And this was a bit of an ironic vision of Sao Paulo, the violence, the chaos. And then you see, this is happening around. There is an impact to this project. You need to have big walls around the plot, some armored cars, and when you design apartment buildings you need to have strong security. This is the way we live.”

Read the full interview, published in our brand new Issue 14 ‘Guilty Pleasures’. inForma is now an open-access, web-based publication, designed by and .

Photography of Happyland Vol. 2 courtesy of StudioMK27.

20/04/2022

The Editorial Board of inForma Journal and the University of Puerto Rico School of Architecture would like to announce the journal’s new Editors-in-Chief: Cruz García and Nathalie Frankowski, co-founding partners of WAI Architecture Think Tank, a studio created to contribute to the collective intelligence of architecture by focusing on its understanding and ex*****on from a panoramic approach.

Garcia and Frankowski integrate a wide range of mediums and strategies to their practices, including designing culturally and socially sensible buildings, publishing critical texts and manifestos, teaching and workshops around the world, innovative research and curatorial projects, film, installations, book design, and children’s installations and publications. Of growing international interest, their work has been presented in exhibitions and festivals at the Museum of Art, Architecture and Technology (MAAT) in Lisbon, the Museum of Modern Art (MoMA) in New York, the Vitra Design Museum in Weil am Rhein, the inaugural Chicago Architecture Biennial, Arch+ / Kunst-Werke Institute for Contemporary Art in Berlin, the Chengjian Video and Photography Biennale in Chongqing, the Shenzhen / Hong Kong Urbanism and Architecture Bi-City Biennale, the Wrong Digital Art Biennale and many more.

Currently teaching at Iowa State University, García and Frankowski will be leading Issue 15 of the Journal, on the theme of “Networks of Solidarity”. They’re joined by their Editorial Board for the issue: Dr. Luis Othoniel Rosa (University of Nebraska-Lincoln), Ilze Wolff (Wolff Architects), and Nora Akawi (The Cooper Union).

As the journal’s first q***r editor during 2016–2022, Dr. Regner Ramos hands over the reigns to the first Black editor and the first female editor of the journal. He will stay on board as Chair of the Board, along with Dr. Danielle Willkens (Georgia Tech), Dr. Sabina Andron (The Bartlett School of Architecture), and Dr. Benjamin Bross (Univerisity of Illinois at Urbana Champagne).

inForma Issue 14 “Guilty Pleasures” and the Call for Papers for Issue 15 “Networks of Solidarity”: www.informa-upr.com/about

Stay tuned for more.

03/03/2021

Conversando con EMBT.

23/02/2021

💥JOIN US for our second virtual launch party on March 3rd, with Benedetta Tagliabue. Director of the internationally acclaimed Miralles Tagliabue EMBT, Benedetta joins Contributing Writers Isabella Hillman and Lisandra Pérez, from her studio in Barcelona for a live conversation.
This event will be in Spanish. Register using link in bio, and share with your friends and schedule it in you calendars. Live on ZOOM at 1PM (San Juan Time), the event is free and open to all.
Photography of Miralles Tagliabue EMBT’s Scottish Parliament by Duccio Malagamba.

03/02/2021

💥JOIN US for our second virtual launch party on March 3rd, with Benedetta Tagliabue. Director of the internationally acclaimed Miralles Tagliabue EMBT, Benedetta joins Contributing Writers Isabella Hillman and Lisandra Pérez, from her studio in Barcelona for a live conversation.
This event will be in Spanish. Register using link in bio, and share with your friends and schedule it in you calendars. Live on ZOOM at 1PM (San Juan Time), the event is free and open to all.
Event Image by Jacques Zekian, Creative Direction by Regner Ramos, Typography designed by Regular Practice.

31/01/2021

Fill in the blanks to guess what was written on the walls, on the summer of 2019.
Photography by Osvaldo Delbrey for his visual essay “Clear Messages, Part Two”. Check it out in our new issue, available for purchase via Paypal:
In-campus pickup: $24
Shipping to USA: $39
Shipping intl: $59
DM for orders.

26/01/2021

One of our photo essays in our 13th issue, “Atlas Altan: Naïve Architecture of Polish Allotment Sheds”, by Wojciech Mazan and Maciej Mazan. This series of photographs, with an allotment always located in the middle of the frame, tries to represent the mundane and ordinary. It captures the simple surroundings of those who inhabit Polish cities but are often overlooked, focusing on the allotment as unapologetic forms of freedom and expression enclosed in community gardens. The colorized photographs exist in the print journal, as part of this issue’s color identity.