20.6.22

Ideología y la semana del patrimonio

Carta publicada en El Líbero, 26 de mayo, 2022


Señor Director,

Desconcertante el cambio realizado por el Ministerio de las Culturas, las Artes y el Patrimonio designando como “Día de los Patrimonios 2022” a lo que hasta el año pasado fuera la “Semana del Patrimonio”. Esta conmemoración instituida en 1999 cumpliría 23 años de labor republicana en el reconocimiento y valoración de nuestra cultura. Tal celebración ha destacado todo lo que conforma el patrimonio nacional, invitando a la cohesión social, el diálogo que educa, el respeto y por ende a la armonía entre chilenos.

8.5.21

Directora IHP participa en Comisión de Cultura, Artes y Comunicación de la Cámara de Diputados

Nota original publicada por el Instituto de Historia y Patrimonio

"La Directora del Instituto de Historia y Patrimonio de la Facultad de Arquitectura de la Universidad de Chile Beatriz Maturana Cossio participó de la sesión especial sobre la nueva Ley de Patrimonio en la Comisión de Cultura, Artes y Comunicación de la Honorable Cámara de Diputados el pasado 30 de abril, donde abordó la destacada trayectoria y contribución al patrimonio tangible e intangible y la cultura de nuestro Instituto y la omisión del mismo en el propuesto nuevo Consejo del Patrimonio.

La sesión especial tuvo por objeto recibir en audiencias públicas a diversas entidades, organizaciones, universidades, municipalidades, ente otros, en el marco de la discusión general de la indicación sustitutiva presentada por el Ejecutivo al proyecto de ley, iniciado en mensaje, que establece una nueva institucionalidad y perfecciona los mecanismos de protección del patrimonio cultural, correspondiente al boletín N° 12.712-24. 

Valores patrimoniales que no se limitan al objeto arquitectónico, sino que incluyen también el espacio urbano, su historia y su cultura. Foto: Plaza Pedro de Valdivia, Providencia.

16.6.20

CROSSWAYS. THE BRIDGE AS A READYMADE

ANTHONY MCINNENY, BEATRIZ MATURANA COSSIO, AND MUSEO BENJAMÍN VICUÑA MACKENNA

The original article is published at Project Anywhere

Image 2La Ciudad Enferma es Rescatable (The Sick City Can be Saved), 2016. A quote attributed to the Mayor of Santiago, Benjamín Vicuña Mackenna (1875).  Cast plumb bobs, inscribed with this quote suspended in front of two historical engineering plans. Below, Ernesto Ansart, engineer of Vicuña Mackenna, and his plan for the canalization (1873). Above, Engineer Martinez’s final design (1885) indicating the position of the nine metal bridges. Composite image and plumb bobs by Anthony McInneny.

A series of 9 Meccano type bridges were installed during the late 19 C as part of the canalization of the Mapocho River (Image 2). The canal and its bridges were the centerpiece of the modernization of Santiago de Chile as the “Paris of South America” and linked the north and south sides of the city for three kilometers. These links were easily moved or removed, replaced and multiplied during the 20 C.  In the 21 C, three sites along the Mapocho contain the remaining four metal Crossway.

8.11.19

El Metro, los puentes y su Ciudad

Carta publicada en Diario El Mercurio, Octubre 21, 2019
Beatriz Maturana Cossio

Intervención realizada el día 19 de octubre en varios lugares del centro de Santiago, para destacar y lamentar la devastación de la ciudad, que incluyó la destrucción de 80 estaciones del Metro (Maturana y McInneny). 

En la ciudad Herzegovina, durante la guerra que finalmente dividió a Yugoslavia, donde hasta ese entonces los ciudadanos convivían a pesar de sus diferencias religiosas, todos tuvieron muertes que lamentar. Las familias lloraron la traición de sus propios vecinos, el hambre y a sus muertos, en la privacidad de sus casas. Sin embargo, no fue hasta que el Puente de Mostar fue destruido por un bombardeo en 1993, que los ciudadanos salieron a llorar colectivamente su Puente, ese puente que representaba su historia, sus vidas compartidas, su Ciudad. El culpable de tal violencia se suicidó años después—así fue la magnitud y significancia de la destrucción del Puente de Mostar.

9.4.13

Charla de lanzamiento del libro "La espacialidad del niño que no ve"

Inaugural speech for the launch of the book: "Spatiality of the child who doesn´t see" (Dic.20, 2012).

En el nombre de Mónica Díaz Vera y Constanza Mena Maino, autoras del libro “Espacialidad del niño que no ve”, y en mi nombre (Beatriz), les doy las gracias a todos por estar aquí. Para mí fue una sorpresa y es un verdadero honor haber sido invitada a lanzar este profundo, sutil e importante libro y que además cuenta con un prólogo especialmente escrito por Juhani Pallasmaa.

A través de la investigación realizada por las autoras y a través de los estudios a los que ellas se refieren—desde la perspectiva del aprendizaje espacial de los niños que no ven—este libro nos educa, nos sensibiliza y nos hace receptivos a una percepción distinta de lo cotidiano. De la misma forma en que un niño ciego enfrenta el mundo—como bien explican sus autoras, desde el detalle (o de lo particular) a lo general—este libro nos asiste a entender que quizás el cambio que necesitamos hacer para acoger diversidad, no es tan dificultoso, es más que nada un cambio de visión (me gusta la intencionalidad con que Mónica y Constanza han usado este término) y de voluntad.

Invitación al lanzamiento del libro, Dic. 20, 2012. 

25.4.11

Pritzker Prize 2011 to Eduardo Souto de Moura: acknowledging local context

By Beatriz C. Maturana

According to the words of the Pritzker Prize jury, in the 80’s and at the height of post-modernism, Souto de Moura's buildings were “intensely out of fashion”.[1] Souto de Moura deliberately did not give in to the pressure to conform to architectural fashion or fads. Working with and within his own architectural national context has provided Souto de Moura with an abundance of meaningful references to build upon. The jury referred to Souto de Moura’s architectural work in terms of the “echoes of architectural traditions”, “mindful of its context” that reinforces history while, “expanding the range of contemporary expression”.[1] His most challenging, innovative and unconventional trait is that Souto de Moura’s architecture is bravely local.

Braga Municipal Stadium. Photograph by Luís Ferreira Alves. Image source: The Pritzker Architecture Prize. © The Hyatt Foundation

22.2.11

Changing panorama: a reflection on Tahrir Square and WikiLeaks

The political demonstrations that began in Tunisia and spread to Egypt and to other countries in the region, appear to have instilled a new sense of possibility, solidarity and optimism in large parts of the world—citizens might be able shape their history after all. This also poses many questions that need discussing, for instance, the role of the public realm (Tahrir Square), the role of social media and of citizens, local and across the other side of the world—and our role.

Tahrir Square. Photograph by Monasosh
Are we witnessing a new stage of political evolution? And if this is the case, what is our responsibility as professionals? To what degree has the social and public space facilitated these events? And, are these special types of public spaces? What are the characteristics of, say, Tahrir Square, that could assist public civic expression?

22.11.10

Architectural Biennale Chile 2010

"XVII Bienal de Arquitectura: 8.8 RE-CONSTRUCCIÓN"
Reports Beatriz C. Maturana


After the 8.8 earthquake that hit Chile in February 27—a year in which Chile celebrates it bicentenary of independence—this biennale is not surprisingly characterized by a focus on reconstruction projects; among them, housing, public buildings, and infrastructure. In spite of the enormous reconstruction task, the overall mood of the display is optimistic and confident.

Many of these projects are proposals by various faculties of architecture located in cities representing the most devastated areas. Thus, often these projects are located in small coastal and country towns that would have seldom been featured at earlier biennales. This is one of the many important aspects of this biennale worth carrying into the future.

24.10.10

'Inés of my Soul': another review


In this book Isabel Allende sets upon the difficult task of creating a narrative that strings together the pieces of history and distant records from the 1530’s conquest of Chile. The book is written in first person giving a voice to Inés de Suárez, a genuine female ‘conquistador’. Allende brings to us fleshed out characters who, through Inés de Suárez, are introduced to us as if we were part of an intimate conversation—Inés is in this way trusting her story to us. This book presents a superb insight on those gruesome and treacherous wars of conquest.


4.10.10

Architectural education and the shared space: Agrado’s city

The city, where culture and the society’s realities are expressed, is described by Lewis Mumford in the following terms:
The city in its complete sense, then, is a geographic plexus, an economic organization, an institutional process, a theatre of social action, and an aesthetic symbol of collective unity. [1]
At the two extremes, I have been to magnificent cities of rather plain architecture and also visited mediocre cities with impressive pieces of architecture—pieces that do not contribute to give the city a coherent rhythm and which instead fight for attention. I was eager to travel to London and see with my own eyes those buildings that I had only seen in photographs, for instance Richard Rogers’ Lloyds building or Norman Foster’s Gherkin—prominent buildings that define the skyline and that, from afar, stand as a promise of a good city. Yet, when in close proximity the enchantment vanishes to expose the real self, a meagre and greedy architectural stance that interiorises anything that may be good about its architecture.

Figure 1 - One of the entries to Richard Rogers' Lloyds building. Photograph by author.

22.2.09

Jaywalking: the day I asserted my rights as a car

Written on Friday April 11th. 2003

We had decided to have some fun that night. For long all our efforts had focused on opposing the war on Iraq. We had not succeeded of course and Australia was part of this war. We were saddened by the news, the civilian deaths, the misery, and the destruction of Iraqi cities. Appalled by the violence of the so called, “Coalition of the willing”.

This night we were going to have a break, "let’s go dancing, Brazilian music for a change!" We dressed up a bit and drove to Smith Street. As we approached the corners of Gertrude and Smith Streets, we saw a “take over the streets” demonstration with some anti-US slogans. A few young, mainly hippie looking demonstrators had managed to stop the traffic along Smith St. It was too good to go pass by without showing solidarity with the initiative. We stopped, I said hello to a few demonstrators, they looked at me with a bit of distrust. In the crowd I recognised my Melbourne University classmate Andy. I was thrilled to see him there. Not because we had ever talked about anything, or even talked for that matter, but because at this stage I thought that there were no committed students at Melbourne University who would be prepared to act on their convictions. I was so happy in fact that I gave him a huge hug—he must have been surprised, but he warmly returned my greeting.

22.12.08

Notes on "513 Glenroy Line"

By Beatriz C. Maturana

Photograph by Matthew Lew, bifurcaciones


Three aspects fascinated me about Carlos Alcalde’s article, "513 Glenroy Line". The first is his sharp and direct commentary about Melbourne—no Anglo affectation, not masking the shock, no acceptance of local notions of correctness. The second is the content of course, particularly in regards to the harshness of the city, the commonly accepted (and general unawareness) of extremes of monotony. The third is his deep understanding of the way in which cities work, the interconnectedness of all, people, economy, form, distribution of architectural woks and transport. This last point interests me greatly because here Alcalde places himself in the urbanist' shoes and speaks as an urbanist would do (a American urbanist, non-Anglo that is). This cross-disciplinary understanding would not surprise anyone in a European or American (non-Anglo) context, although this is highly unusual here where separation among urban professional fields is extreme—to the point of ‘silence’. This lack of convivial collaboration and conversation among urban disciplines seem to be replicated in the city—a “kingdom of commodity”, of “super-survivors”, of postcard type of imagery and then… the suburbs, as Alcalde notes.

15.10.08

"to what exiled country are you returning?"

Link to photographs: to what exiled country are you returning?

July 2008, Amman, Jordan, Jordan National Gallery of Fine Arts. Sculpture by Palestinian artist Ahmad Ka'nan, entitled "to what exiled country are you returning?" The keys represent the homes that Palestinians have been forced to abandon.

I was inspired to publish my photos after seeing an album by my friend Marwa Yousef's entitled AMRIK (find here). Her photos where taken in Ramallah Cultural Palace. Mine, featuring the same exhibit, where taken in Santiago Chile. AMRIK focuses on the Arab presence in America (non-Anglo). As far as I know this show has been exhibited in Palestine, Egypt, Brazil and Chile.

10.5.03

Thoughts on the restoration of basic human and professional ethics

Thoughts on the restoration of basic human and professional ethics
Published in Planning News, Volume 29 No. 3 May 2003
In response to the article “Dreaming of Baghdad” (Planning News, Volume 29 No. 3 April 2003)


War on Iraq is illegal, unjustified and a crime. Surely the prevention of war and the consequent destruction should be debated by planners and not presented as an opportunity for innovative planning or worse, ardently supported as a way to “suggest” western planning standards.

The refusal by Australia to support the UN is central to any discussion before any cake is divided up between coalitions or consortiums of willing planners “Dreaming of Baghdad”.

Basic professional ethics should have motivated us to oppose this war and the subsequent murdering of civilians, the destruction of their infrastructure and heritage. It is not acceptable that we "professionals" will profit from the reconstruction of Iraq - this is immoral and unethical. As professionals we should continue to denounce the practice of profiting from people's suffering and the violations of their human rights, the destruction of their cities and environment, their sovereignty and dignity.



     Copyright © beatriz.maturana 2003-