VISITA EL ESPACIO HACIENDO CITA
(Vist the space with appintment only)
IG:@ligadf o email@example.com
LIGA, Space for Architecture is an independent platform founded in Mexico City in 2011 that promotes Latin American contemporary architecture through exhibitions, conferences and workshops.
Calle Doctor Erazo 176,
Col. Doctores, Del. Cuauhtémoc
CP 06720 Ciudad de México
VISITA EL ESPACIO HACIENDO CITA
(Vist the space with appintment only)
IG:@ligadf o firstname.lastname@example.org
New exhibition LIGA-ARCHIVOS.
Photographers: Arturo Arrieta, César Béjar, Luis Gallardo, Onnis Luque, Ariadna Polo and Luis Young.
Opening April the 21st, 19:00 pm.
Doctor Erazo 176, Colonia Doctores, CDMX
Available until august, 2022.
19:00 hrs (MX)
Don´t miss out!
The Tuesday, March 1 at 19:00 pm (GMT -6) we're present a new project on our platform LIGA-ARCHIVOS: three series by Dutch photographer Bob Schalkwijk (1933).
We're honored by the presence of Bob Schalkwijk; Wonne Ickx, architect and founding partner of LIGA; Gina Rodríguez, historian; Suleman Anaya, journalist and researcher in architecture and design; and Onnis Luque, photographer.
Lutron y LIGA presentan “Iluminando la Casa-Jardín Ortega de Luis Barragán”, en donde grandes diseñadores de iluminación y arquitectos toman los jardines de la Casa-Jardín Ortega como escenario e inspiración para homenajear la visión de Luis Barragán en la luz y la arquitectura.
Una fuente de inspiración, un millón de posibilidades.
"The LIGHT is an industrial object and familiar," wrote his
colleague Donald Judd in 1964 when first considering
implications or Dan Favin work; "It is a means new to art.
Art could be made of any number of objects, materials,
and techniques."And since then,it has been. Inventively
situating varying configuration of light in relationship to
architecture and occupying spaces with physical vol-
umes of light and color, Flavin's conception of art is
pretty much determined by light and color yet,the spatial
framework is the inflection point for Ihe viewer experi-.
ence.As Light and art mingle and blur, ight become art
and art deploys light as an expression.
La Casa-Jardín Ortega es una casa y un museo,donde la misma familia que desde la época de los 40s la habita hasta el dia de hoy y la mantiene como cuando Luis Barragán la diseño y el mismo habitó de 1942 a 1947.Posteriormente la dejó para construir su casa en el predio vecino que hoy es considerada una de sus más grandes obras realizadas en el barrio de Tacubaya formando parte de un nodo icónico en el patrimonio cultural y arquitectónico de la ciudad reconocida por la UNESCO.
Lutron de la mano de LIGA y la familia Ortega se han dado a la tarea de utilizar la luz y tecnología como herramienta de trabajo para explorar la relación entre los interiores,los patios y los jardines de Casa-Jardín Ortega desdibujando sus líneas al caer la noche. Diseñadores de iluminación y arquitectura de la actual generación experimentan una perspectiva diferente presentando estos espacios como salas museográticas abiertas, probando y rompiendo los límites fenomenológicos de los colores y de las formas de la arquitectura y el paisaje con la tecnología accesible en nuestros tiempos.
LIGA, Espacio para arquitectura, iniciativa sin fines de lucro que agradece y se suma a la creatividad y entusiasmo de los diseñadores invitados, quienes comprometidos por preservar el legado de Barragán contribuyeron con este proyecto. Los recursos recaudados se destinarán a la conservación y mantenimiento de Casa Ortega,considerada como el secreto mejor guardado de la obra de Luis Barragán.
Artec Studo / Taller ADG / Jorge Hernández de la Garza / Luca Salas / Luz en Arquitectura / Sombra / Tonal Taller / Yuri Zagorin.
Agradecemos a Casa-Jardín Ortega por abrir sus puertas a este gran proyecto.
Este proyecto es posible gracias a la colaboración y patrocinio de LUTRON, MAERIC, MT Ingeniería.
Inauguración miércoles 3 de noviembre 2021, 6:00pm CDMX.
July 24–December 2021.
Opening. Saturday, July 24, 2021.
3:30 p.m. Mexico City.
This intervention is a body of work that describes part of an investigation titled — El Sinseñalismo—which explores the concepts of digital disconnectivity and deceleration and its relationship with art and architecture. Through this endeavor Tezontle seeks to suggest a reconnection with the elemental essence of humankind.
‘Fair Shelter’ is a living space for a fictional explorer in which a ‘signal-less’ life can be sustained. A diorama of sorts, this space seeks to display this character’s life by means of a series of objects, artifacts, and sculptures that represent and symbolize the daily routine of the user. Elements that recall, through their interactions with the most basic forms of life, a way of relating and reconnecting with the essential, while questioning our contemporary way of living— behavioral patterns, customs, and uses we take for granted. By creating an ephemeral space, the installation also explores themes of temporality in architecture, calling into question the very notion of permanece.
With our new project called LIGA-ARCHIVOS (LIGA Archives) we add a view towards the past to our programming at LIGA. Through a web platform and public programs, we aim to show, activate, and promote valuable architectural work and photography in the hands of families or small foundations in Mexico (and Latin-America).
Next Tuesday, January 26th at 7 pm, we invite you to join us for the launch of LIGA-ARCHIVOS, presenting the archive of the photographers Roberto and Fernando Luna, through an online conversation* with Wonne Ickx (founding partner of LIGA), Ana María Artigas Cantú (Francisco Artigas’ daughter), Mario Ballesteros (Editor of Travesías magazine) and Luis Fernando Luna (Fernando Luna’s son).
* The transmission will be hosted on our YouTube channel and via our Facebook page.
LIGA 34: TEZONTLE
Tezontle, formed by Lucas Cantú and Carlos H. Matos, uses tools and codes from architecture and sculpture, placing itself at an ambiguous point between both disciplines. Starting from different aesthetic and historical references, they have built an idiosyncratic imaginary that refers to a bucolic utopia, at the same time modernist, pre-hispanic and primitivist.
LIGA and Panel-Rey present an online conversation series of single family residencies in our neighbour country, United States.
Brief conversations between Wonne Ickx and our guest architect to talk about their most relevant housing projects.
1. Wednesday, Oct 21st: Ardmore House. Kwong Von Glinow
2. Wednesday, Oct 28th: Haus Gables. Jennifer Bonner (MALL).
3. Wednesday, Nov 4th: House #10. MOS Architects.
4. Wednesday, Nov 11th: Vault House. Sharon Johnston (Johnston Marklee).
5. Wednesday, Nov 18th: Mother House. Paul Andersen (Independent Architecture).
LIGA 33: AMUNÁTEGUI VALDÉS.
The upcoming exhibition at LIGA is in charge of Amunátegui Valdés, a Chilean duo that works from Santiago de Chile and Los Angeles, California. The architects Cristobal Amunátegui and Alejandro Valdés produce a broad range of projects in different scales and media, including furniture design, exhibits, buildings, writing and lectures. A dialogue between architectural history and contemporary culture is a central focus point of their practice.
LIGA 33 by Amunátegui Valdés, is entitled "Compendium" and explores configurations in which architecture neither designs nor composes, but rather organizes and assembles the material world to mediate between humans, technique and nature. It takes clues from historical references such as tabernacles, cabinets, miniatures and mobile shrines, to investigate juxtapositions of elements as a way to create environments of meaning and experience. The project is planned to open in the fall, in presence of both architects.
For the moment, LIGA is open to the public (by appointment only) to visit the exhibition LIGA 32 "Shameless Copy" by the brazilian firm Terra e Tuma.
ONLY BY APPOINTMENT (email@example.com)
Monday, July 6th, we open our doors to visit our current show LIGA 32: TERRA E TUMA. Shameless copy.
Visits are individual. All necessary health and safety measures will be taken.
The use of face masks is mandatory for access.
We are very happy to announce we are the winners of a Co-Investment Grant from the Mexican Fund for Arts and Culture (FONCA) for our project LIGA-ARCHIVES.
The project seeks to make visible and to promote existing historical archives related to architecture in Mexico. We want to give small family archives or foundations with limited resources, the possibility to share their valuable material through a web platform and to activate their archive through our public program.
More news soon!
The São Paulo-based firm, known for its austere, pragmatic buildings, exhibits eight of its single-family home projects in this labyrinthine space. The models, made of basic neutral grey materials, are presented simply and straightforwardly, like all of Terra e Tuma’s work. It is not the beauty of the individual models that counts, however, but rather the relations established between them. Set up as a series, in a darkened space, with very precise lighting, some of them are placed in front of a mirror in which the following project is reflected. These superimposed silhouettes interconnect the projects in a complex spatial relationship, transforming a series of single works into an overview of the firm’s methods and production as a whole.
Free event. Limited places available
Please contact us at: firstname.lastname@example.org
A dialogue on water ecosystems through an interdisciplinary approach. The three speakers will talk about projects where art and ecology open up new forms of research, exchange and production.
LIGA has been selected by the Graham Foundation for Advanced Studies in the Fine Arts as one of the 54 organizations worldwide to receive one of their 2019 Grant for Organizations. Through the Graham Foundation website we have announced our 2019-2020 exhibition program that continues to focus on emerging and influential Latin American architectural practices.
A construction that reminds us of the rib cage of a great whale, trapped inside the gallery space itself. The "thorax" is fragile and flexible at the same time, a space that simultaneously represses and protects our vital organs: between prison and protective cave. It is difficult to know if the wooden structure inquestion is the fragile beginning of a construction (the wooden studs of a workin progress), or if it is its ruin, that what remains after the shipwreck.
"The machine is invented to respond to specific needs. Once it exists, the operator can go far beyond its original capacities: by breaking the rules imposed by the machine itself, creative outcomes emerge that were unimagined before using the machine, before breaking its rules."
To download competition bases, please click ¨DESCARGAR¨ here below. Scroll down in document for English text:
Una vez en el espacio de la galería, y tomando la forma de un personaje/escultura, se preguntan cual será su papel en esta obra. Pedraglio toma "Seis personajes en busca de un autor" (1925) del dramaturgo italiano Luigi Pirandello como base para un guión, eliminando todas aquellas frases que no aluden directamente al tema central de la obra: Seis personajes que se presentan en escena para formar parte de una representación. Las actrices irrumpen así en el espacio de LIGA, e insisten en que se les permita contar su propia historia: ya sea la de los personajes que representan en la ciudad, o la de las actrices que ahora les toca ser.
Since their introduction to museums in the 19th century, dioramas have constituted a museographic device for displaying spaces to scale, where remote places, geographically or dislocated in time, are reflected. A mixture of art and science, dioramas became the first attempt at virtual reality, through the interrelation between a foreground and a painting in a curved background. Thus the diorama represented a natural space that was transformed into a landscape through its own constructive morphology.
For this project, the Mexican studio Pedro&Juana works with the device of diorama as a radical architectural gesture: a "window into the city" that reproduces a visual reality from an exercise in taxidermy, framing what by inertia is always in constant change. Through this intervention, Pedro & Juana makes an open question on the relationship between culture and nature, representation and reality, and the "power" of the subject and its capacity to contain, compose and fragment inside a vitrine the constructed world.
For their exhibition at LIGA, Chilean researchers Pedro Alonso and Hugo Palmarola are presenting, for the first time in Mexico, a summary of their investigation into the “genealogies” of systems of construction models in Chile during the years of socialism under Salvador Allende. An investigation that links architecture to social and cultural transformations, fruit of the geopolitical avatars of modernity.
The exhibition takes a starting point the project “Monolith Controversies,” an investigation undertaken for the Venice Biennale 2014, curated by Rem Koolhaas, as part of the section “Absorbing Modernity.” A hybrid object stood in the middle of the Pavilion of Chile: a concrete panel 3 x 3 m in height, produced by the KPD factory donated by the USSR to the city of Quipulé in Chile, to support the socialist government of Salvador Allende.
This concrete monolith, part an industrial product, part a monument to the present, was a symbol of the social and economic transformation of Chile through the mass construction of social housing. The model came from France, and had been invented as a cheap and efficient solution during the post-war reconstruction period in Europe. It was later adopted by the Soviet Union due to the housing shortage arising from the de-Stalinization process led by the Soviet leader Nikita Khrushchev. Its third incarnation emerged in Cuba, where the system was readapted as the Soviet “Great Panel” in 1963, as the result of the donation of a concrete panel production factory to the regime of Fidel Castro. By means of these adaptations, the panel system finally reached the Chile of Salvador Allende, following a new donation of a KPD panel factory to support the Chilean people in the wake of the 1971 earthquake. One of the first panels to be produced was signed by the hand of Allende himself, as a symbol of a new era, an example of modernization and new social policies for housing. Following the 1973 coup d’état, the factory switched direction and strategy, altering the path set out by the socialist wing. The wall, which was signed together with the Russian ambassador with the legend “Thank you Soviet and Chilean comrades,” was canceled out with a new layer, converting the social monolith into a traditional religious altar: the triumph of the conservative right over socialism and the burial alive of a moment loaded with hopes and airs of renewal. The factory continued operating, and the concrete panel would be assimilated into two politically antagonistic phases, representing its fourth and fifth interaction: the socialist KPD (1972) and the neoliberal VEP (1976).
For the exhibition, the two researchers make a recount through photographs of the history of the panel as a reflection of the architectural, political and cultural history of Chile, starting with a journey of several decades until its recovery and exhibition at the Venice Biennale. In the LIGA space a model of a “Matrioshka” building is on display, where the different interconnected systems of this model converge, with values of similarity and repetition, standardization and variation of an object, which is linked to technological, architectural, design, art, political and cultural processes.
In addition, drawings and press documents will be exhibited that accompanied the sociocultural process of Chile and the transformation of the city during the period of Salvador Allende. Finally, a previously unseen documentary will be shown that covers the whole process of the recent discovery and unveiling of the panel.
About the researchers: Pedro Alonso is an architect who holds a master’s in Architecture from the Pontificia Universidad Católica de Chile, and a doctorate in Architecture from the Architectural Association of London. Hugo Palmarola studied design at the Pontificia Universidad Católica de Chile (PUC). He holds a master’s in the History and Theory of Industrial Design from the Universidad Nacional Autónoma de México (UNAM), where he also studied a doctorate in Latin American studies with a thesis on the technological imaginary during the Golden Age of Mexican Cinema.
Book Launch: “A House Is Not Just a House”. A book published by Columbia Books on Architecture and the City, New York.
“A House Is Not Just a House” [Una casa no es solo una casa], revisa el trabajo de Tatiana Bilbao en torno a la vivienda. Su trabajo construye argumentos sobre la producción de espacios domésticos de una forma expansiva a la par que mínimal, inseparable del contexto donde se ubican y basados en los principios fundamentales del habitar. El libro incluye reflexiones de colegas y académicas como Amale Andraos, Gabriela Etchegaray, Hilary Sample e Ivonne Santoyo-Orozco.
La presentación del libro en LIGA junta a sus autoras en un debate que servirá para conocer a fondo el trabajo de Tatiana Bilbao y ahondar en las genealogías de la vivienda social. Un proyecto que enlaza también con la reciente exposición inaugurada en LIGA “Trayectorias de un panel”, sobre la historia geopolítica de la vivienda en Chile.
A House Is Not Just a House forma parte de la serie Transcripts on Housing, de la serie GSAPP Transcripts, en colaboración con M.Arch Housing Studios en Columbia University GSAPP.
In November 2018 we inaugurate our new LIGA venue in the Doctores neighborhood of Mexico City, where we are continuing our exhibition program, diversifying and expanding new lines of research, publishing projects and public activities.
We are open from Tuesday to Satudardy from 11am to 6pm.
In this issue we will reflect together with architects, artists and theoreticians on the way in which structures to house, organize and influence human life are planned and built, together with forms of resistance that contribute to destabilizing the pillars of the neoliberal system.
In the mirage of functionality, the collateral effects of a developmental principle that (re)produces itself, ignoring gentrification, dispossession and displacement, become invisible. How can architects address their practice critically, establishing a space for dialogue that reverses the exercises of power? Under what working parameters can honest processes be established, where architecture works in favor of the well-being of the community? How to think about architecture on the basis of an active heterogeneity that is able to connect the past and the future in order to sustain a hybrid present?
Collaborators: Laura Burocco, María Berríos, Tadeo Cervantes, Mónica Chuji, Dorothée Dupuis, Ruth Estévez, Jorge Lobo, Iván López Munuera, Andrea Pacheco, Godofredo Pereira, Fernando Portal, Marina Reyes Franco, Elisa Silva, Vere Van Gol.