Synopsis: "Mario José Buschiazzo's work as a restorer, researcher and promoter of studies related to the History of Argentine and Latin American Architecture has left a significant mark in the historiographic field, within which he has been considered an essential reference when examining and interpreting colonial architecture. Based on the exploration of a varied series of documentary sources, this book studies Buschiazzo's performance in the period determined by the launch, in 1955, of the collection American Architects Contemporaries and his death in 1970, this approach sheds new light on his career, highlighting his interest in contemporary American architecture."[2]​.

Synopsis: "The circular city evokes the routes and forms of presence of death in fin-de-siècle Buenos Aires and interrogates, on the basis of ritual senses, the way in which death circulated and transformed urban settings and their times. Between the years 1868 and 1903, a group of social actors actively participated in the transformation of the modes of funerary treatment that had been installed since colonial times. With the purpose of establishing hygienic and moral control over the city, they discussed and sometimes disputed with the Catholic religion the institutional domain of death. Although the circle is a common image for Western liturgy since ancient times, this metaphorical figure is never complete and perfect: it is sometimes interrupted, retracted, deformed, superimposed and entangled. This book explores the spaces and territories of death, understood as acted, material and symbolic, diverse and dynamic scenarios, with the aim of producing a contribution to the urban history of Buenos Aires. Aires."[3]​.

Synopsis: "How was the process that led Purmamarca to go from being a 'marginal', 'hidden' town and an 'orchard city' to being identified as a connected and iconic place, to that sort of 'boutique town' of the Quebrada de Humahuaca? This book aims to answer that question by examining the territorial, material and symbolic transformations, tributary of the heritage and touristification processes that are settled in a "[4]​

Synopsis: "In this book, the author takes the training processes of young researchers in the Area of History and Criticism of the Faculty of Architecture, Design and Urbanism of the University of Buenos Aires (FADU - UBA) as an object of study. What dimensions of the training process are significant? By what devices are they trained? What methodological tools are used in research training within the design disciplines? From these questions the classic functions of the liberal profession and the training process is defined as "internal work" -of the subject itself-, as a reflective instance on its own practice. The analysis illuminates dimensions that have been little studied in the specific framework of this Faculty and Area, and aims to offer tools to reflect on the work of trainers, and interpretations of the knowledge, links and desires that arise in relation to the processes that young researchers go through"[5]​.

Synopsis: "What ideas and what social effects did the prison projects have for Buenos Aires between 1969 and 1927? In a context of significant cultural, urban and demographic changes, the deprivation of liberty began to be thought of, by some sectors of the leadership, from control, normalization and social regeneration. This led to the development of various projects that, built or not, constituted ideal spatial and territorial proposals, devices of invisibilization and moral correction who managed to condense an image of that culture, an idea of a city that was intended to be modern. The author, through the examination of various materials, manages to account for the different imaginaries that come together in those prison projects; the construction of this particular object of study allows him an original reading of the city and its sites."[6]​.

Synopsis: "The Zoological Garden is an object of Buenos Aires culture that establishes relationships between citizens and the animal world, combining scientific discourses, narratives and representations of urbanity itself in a context that is at times exotic. It is a space of a communicative nature that integrates the repertoire of urban elements dedicated to nature in the city. Its layout, its buildings and its illustrated guides have shaped the didactic meaning of the site. From a perspective of visibility and bodily experience, the zoo accentuates the "[7]

Synopsis: "This book studies the history of the urban space constituted by the Legislative Palace, its adjacencies and the definitive layout of Agraciada Avenue in the city of Montevideo (currently, Avenida del Libertador Brigadier General Juan Antonio Lavalleja) until its intersection with 18 de Julio Avenue between the years 1887 and 1945, a set that condenses a series of projects and debates about how to “make a city” between the late 19th and early 19th centuries. of the 20th century in Uruguay. Starting from this significant object, Tosoni restores and examines the convergence of aspects of representational order linked to the republican ideals of the Nation-State, the dialogues and the coexistence of the academic logics of Beaux Arts "Beaux Arts (architecture)") and the modern logics of the CIAM, the deployment of professional actions and their networks of relationships. These three guidelines configure a horizon of meaning that raises multiple connections with the protagonists, American productions and ideas. European, and the historiographic corpus".[8]​.

Synopsis: "In the first issue of the magazine Anales in 1948, Mario Buschiazzo highlighted “the precise, documented, methodical work of the new generations” and circumscribed within the Institute that had just created a new space of specialization for artistic studies. Many decades later, the “Mario J. Buschiazzo” Institute of American Art and Aesthetic Research (IAA) maintains that imprint, that of having constituted a pioneering space for the development of studies on art and architecture from a rigorous perspective, emphatically far removed from those studies close to the essay. This book delves into the institutional experience of the IAA based on a conviction about its crucial role in the consolidation of artistic historiography as a university discipline and in the professionalization of art and architecture historians. The figure of Buschiazzo constitutes a main axis, as well as the set of institutional practices that took place between 1946 and 1970: the editorial projects, the definition of Colonial Art. an object of programmatic study, links with abroad, inter-institutional exchanges and the development of teaching and research".[9]​.

"This book is a turning point in the urban history of Buenos Aires, since it marks a renewal in the way of observing the city that starts from our own way of looking as architects, urban planners and fundamentally as urban historians. A perspective in which ideas, techniques, institutions, mental images, concrete practices and diverse wills intersect, whose periodization arises from the differences and slippages observable in the conceptions of city government, in the modalities of management and forms of intervention and control. This instrumental wealth "It is the complete opposite of the current practice of carrying out research from a limited group of sources and allows us to see urban phenomena from their own technical specificity and then explain, without dismissing the interpretations of cultural history, that many of the decisions about the shape of the city had to do largely, during the period studied, with the evolution of technical and scientific paradigms that converged in a growing rationalization that accompanied the formation of the modern State." (Excerpt from the prologue by Fernando Aliata).[10]​.

Synopsis: "How to account for the complex and non-linear processes that were behind the modernization of Buenos Aires? The book shows that, through the relationship between plans and projects, it is possible to review some of the changes in the ways of thinking and operating on the city in the cycle of metropolization. The plans, more than utopian or imaginary, are considered as political-technical proposals that condense representations, since they refer to forms of management and images of desired cities and societies. For their part On the other hand, the projects, fragments of those broad and integral visions, reconstituted again and again in the long urban temporalities, sometimes materialize, as a result of a controversial network of models that circulate and translate, of actors in dispute and of conditions of possibility. In this context, the alternatives of the official plans are analyzed - the New Centenary Plan, the Plan of the Building Aesthetics Commission of 1925, the proposals of the Municipal Office of the Urbanization Plan. the 1930s—in relation to the implementation of three major projects that structured Buenos Aires. From these stories of the city and urban planning, Alicia Novick illuminates the modalities according to which residues of utopias, fragments of models, remains of political decisions were configuring the territory of the modern city."[11]​.

Synopsis: Valeria Bril's book studies the established and alternative imaginaries of the bedroom in homes in Buenos Aires from the period 1950-1970 based on a selection of novels and architectural publications of the time. The author proposes a tour of the bedroom space of the novels that allows us to reveal a range of images and metaphors that, from the "unreal", call into question the "real" images of the discipline about this same place, whose function and meaning quickly escapes the limits of its own definition as a place to sleep. It is from the contrast between literature and architecture that seeks to make visible problems linked to the inhabitant, to the spatial configurations, to the objects and the symbolic dimension that differentiate the bedroom from other parts of the house, and in this way manages to demonstrate the complexity and multiplicity of meanings that it condenses. In short, the author invites you to cross the threshold of the bedroom door and enter a different universe, in which the images of intimacy, confinement, the soul and death, among others, can take on a different meaning, and thus contribute to rethinking the established representations of bedrooms in architecture.[12]​.

Synopsis: In From the port to the city... Ruiz Díaz weaves together mass immigration, urban growth, international trade and infectious diseases with the careful study of the lazaretto, the isolation house and the health station as key institutions in the effort to sanitize the city. Several scales of analysis run through the text: that of the city, that of the River Plate area, the regional scale – including Argentina, Brazil and Uruguay – and the transatlantic scale. This perspective allows Ruiz Díaz to elaborate on what the title of the book suggests, that is, the port as a space where health initiatives are deployed that will then be transferred to the urban fabric, to the city itself and, to a lesser extent, the country. From the port to the city... enriches the abundant narratives about the urban history, the architectural history, and the history of health and illness of Buenos Aires at the end of the 19th century and the beginning of the 20th. It also offers a localized history of technology and science in Buenos Aires. It is in this subfield of studies, with only a handful of studies, where the work of Ruíz Díaz is innovative and pioneering.[13]​.

Extract from the prologue by Diego Armus.

Synopsis: "Mario José Buschiazzo's work as a restorer, researcher and promoter of studies related to the History of Argentine and Latin American Architecture has left a significant mark in the historiographic field, within which he has been considered an essential reference when examining and interpreting colonial architecture. Based on the exploration of a varied series of documentary sources, this book studies Buschiazzo's performance in the period determined by the launch, in 1955, of the collection American Architects Contemporaries and his death in 1970, this approach sheds new light on his career, highlighting his interest in contemporary American architecture."[2]​.

Synopsis: "The circular city evokes the routes and forms of presence of death in fin-de-siècle Buenos Aires and interrogates, on the basis of ritual senses, the way in which death circulated and transformed urban settings and their times. Between the years 1868 and 1903, a group of social actors actively participated in the transformation of the modes of funerary treatment that had been installed since colonial times. With the purpose of establishing hygienic and moral control over the city, they discussed and sometimes disputed with the Catholic religion the institutional domain of death. Although the circle is a common image for Western liturgy since ancient times, this metaphorical figure is never complete and perfect: it is sometimes interrupted, retracted, deformed, superimposed and entangled. This book explores the spaces and territories of death, understood as acted, material and symbolic, diverse and dynamic scenarios, with the aim of producing a contribution to the urban history of Buenos Aires. Aires."[3]​.

Synopsis: "How was the process that led Purmamarca to go from being a 'marginal', 'hidden' town and an 'orchard city' to being identified as a connected and iconic place, to that sort of 'boutique town' of the Quebrada de Humahuaca? This book aims to answer that question by examining the territorial, material and symbolic transformations, tributary of the heritage and touristification processes that are settled in a "[4]​

Synopsis: "In this book, the author takes the training processes of young researchers in the Area of History and Criticism of the Faculty of Architecture, Design and Urbanism of the University of Buenos Aires (FADU - UBA) as an object of study. What dimensions of the training process are significant? By what devices are they trained? What methodological tools are used in research training within the design disciplines? From these questions the classic functions of the liberal profession and the training process is defined as "internal work" -of the subject itself-, as a reflective instance on its own practice. The analysis illuminates dimensions that have been little studied in the specific framework of this Faculty and Area, and aims to offer tools to reflect on the work of trainers, and interpretations of the knowledge, links and desires that arise in relation to the processes that young researchers go through"[5]​.

Synopsis: "What ideas and what social effects did the prison projects have for Buenos Aires between 1969 and 1927? In a context of significant cultural, urban and demographic changes, the deprivation of liberty began to be thought of, by some sectors of the leadership, from control, normalization and social regeneration. This led to the development of various projects that, built or not, constituted ideal spatial and territorial proposals, devices of invisibilization and moral correction who managed to condense an image of that culture, an idea of a city that was intended to be modern. The author, through the examination of various materials, manages to account for the different imaginaries that come together in those prison projects; the construction of this particular object of study allows him an original reading of the city and its sites."[6]​.

Synopsis: "The Zoological Garden is an object of Buenos Aires culture that establishes relationships between citizens and the animal world, combining scientific discourses, narratives and representations of urbanity itself in a context that is at times exotic. It is a space of a communicative nature that integrates the repertoire of urban elements dedicated to nature in the city. Its layout, its buildings and its illustrated guides have shaped the didactic meaning of the site. From a perspective of visibility and bodily experience, the zoo accentuates the "[7]

Synopsis: "This book studies the history of the urban space constituted by the Legislative Palace, its adjacencies and the definitive layout of Agraciada Avenue in the city of Montevideo (currently, Avenida del Libertador Brigadier General Juan Antonio Lavalleja) until its intersection with 18 de Julio Avenue between the years 1887 and 1945, a set that condenses a series of projects and debates about how to “make a city” between the late 19th and early 19th centuries. of the 20th century in Uruguay. Starting from this significant object, Tosoni restores and examines the convergence of aspects of representational order linked to the republican ideals of the Nation-State, the dialogues and the coexistence of the academic logics of Beaux Arts "Beaux Arts (architecture)") and the modern logics of the CIAM, the deployment of professional actions and their networks of relationships. These three guidelines configure a horizon of meaning that raises multiple connections with the protagonists, American productions and ideas. European, and the historiographic corpus".[8]​.

Synopsis: "In the first issue of the magazine Anales in 1948, Mario Buschiazzo highlighted “the precise, documented, methodical work of the new generations” and circumscribed within the Institute that had just created a new space of specialization for artistic studies. Many decades later, the “Mario J. Buschiazzo” Institute of American Art and Aesthetic Research (IAA) maintains that imprint, that of having constituted a pioneering space for the development of studies on art and architecture from a rigorous perspective, emphatically far removed from those studies close to the essay. This book delves into the institutional experience of the IAA based on a conviction about its crucial role in the consolidation of artistic historiography as a university discipline and in the professionalization of art and architecture historians. The figure of Buschiazzo constitutes a main axis, as well as the set of institutional practices that took place between 1946 and 1970: the editorial projects, the definition of Colonial Art. an object of programmatic study, links with abroad, inter-institutional exchanges and the development of teaching and research".[9]​.

"This book is a turning point in the urban history of Buenos Aires, since it marks a renewal in the way of observing the city that starts from our own way of looking as architects, urban planners and fundamentally as urban historians. A perspective in which ideas, techniques, institutions, mental images, concrete practices and diverse wills intersect, whose periodization arises from the differences and slippages observable in the conceptions of city government, in the modalities of management and forms of intervention and control. This instrumental wealth "It is the complete opposite of the current practice of carrying out research from a limited group of sources and allows us to see urban phenomena from their own technical specificity and then explain, without dismissing the interpretations of cultural history, that many of the decisions about the shape of the city had to do largely, during the period studied, with the evolution of technical and scientific paradigms that converged in a growing rationalization that accompanied the formation of the modern State." (Excerpt from the prologue by Fernando Aliata).[10]​.

Synopsis: "How to account for the complex and non-linear processes that were behind the modernization of Buenos Aires? The book shows that, through the relationship between plans and projects, it is possible to review some of the changes in the ways of thinking and operating on the city in the cycle of metropolization. The plans, more than utopian or imaginary, are considered as political-technical proposals that condense representations, since they refer to forms of management and images of desired cities and societies. For their part On the other hand, the projects, fragments of those broad and integral visions, reconstituted again and again in the long urban temporalities, sometimes materialize, as a result of a controversial network of models that circulate and translate, of actors in dispute and of conditions of possibility. In this context, the alternatives of the official plans are analyzed - the New Centenary Plan, the Plan of the Building Aesthetics Commission of 1925, the proposals of the Municipal Office of the Urbanization Plan. the 1930s—in relation to the implementation of three major projects that structured Buenos Aires. From these stories of the city and urban planning, Alicia Novick illuminates the modalities according to which residues of utopias, fragments of models, remains of political decisions were configuring the territory of the modern city."[11]​.

Synopsis: Valeria Bril's book studies the established and alternative imaginaries of the bedroom in homes in Buenos Aires from the period 1950-1970 based on a selection of novels and architectural publications of the time. The author proposes a tour of the bedroom space of the novels that allows us to reveal a range of images and metaphors that, from the "unreal", call into question the "real" images of the discipline about this same place, whose function and meaning quickly escapes the limits of its own definition as a place to sleep. It is from the contrast between literature and architecture that seeks to make visible problems linked to the inhabitant, to the spatial configurations, to the objects and the symbolic dimension that differentiate the bedroom from other parts of the house, and in this way manages to demonstrate the complexity and multiplicity of meanings that it condenses. In short, the author invites you to cross the threshold of the bedroom door and enter a different universe, in which the images of intimacy, confinement, the soul and death, among others, can take on a different meaning, and thus contribute to rethinking the established representations of bedrooms in architecture.[12]​.

Synopsis: In From the port to the city... Ruiz Díaz weaves together mass immigration, urban growth, international trade and infectious diseases with the careful study of the lazaretto, the isolation house and the health station as key institutions in the effort to sanitize the city. Several scales of analysis run through the text: that of the city, that of the River Plate area, the regional scale – including Argentina, Brazil and Uruguay – and the transatlantic scale. This perspective allows Ruiz Díaz to elaborate on what the title of the book suggests, that is, the port as a space where health initiatives are deployed that will then be transferred to the urban fabric, to the city itself and, to a lesser extent, the country. From the port to the city... enriches the abundant narratives about the urban history, the architectural history, and the history of health and illness of Buenos Aires at the end of the 19th century and the beginning of the 20th. It also offers a localized history of technology and science in Buenos Aires. It is in this subfield of studies, with only a handful of studies, where the work of Ruíz Díaz is innovative and pioneering.[13]​.

Extract from the prologue by Diego Armus.