Suchergebnisse

The purpose of the following investigation is to understand how children from the old historic district El Refugio (or Barrio del Refugio) of the city of Puebla (Mexico) live in public spaces and what their days and nights look like. It is extremely important to understand the reasons for their appropriation of various places in the city because it allows one to explore the conditions in which they manifest autonomous attitudes. This article is therefore not only about customs and culture, but also about everyday relationships with the environment. Children are also involved in the activities of the group Re Genera Espacio (RGE) and the team of Benemérita Universidad Autónoma de Puebla (BUAP) in the development of all kinds of educational, artistic, and social activities. Among the most important results obtained is the observation that safety conditions are created by children in independent groups which move to other neighbourhoods ("barrios"), such as San Antonio and Santa Anita. Children make the street their space because they have important knowledge of the area.

Since its origin, the city of Puebla has had representative elements in its public spaces that have survived for a long time, they are ornamental and utilitarian objects which are landmarks of the city. Street furniture is a benchmark of identity too. All elements have legends, they are references that have given identity to streets and avenues. Natural elements also refer to a city's identity, like trees. But the natural element that defined origin, trace and growth of the city is one of the least visible. In the sixties, the San Francisco River was piped, as a sign of the new modernity, and today it is a boulevard where thousands of cars pass. Thus, bridges and other types of elements that the population still remember, mainly the elderly, have been forgotten. In recent years, some initiatives have emerged to rescue the historical memory of daily life and the revaluation of repre­sentative objects of the city center, such as the Casa Analco Community Museum project, coordinated by the Faculty of Architecture of BUAP in collaboration with residents of the Analco neighborhood. This article discusses both the monuments, their relics, elements of nature that shape the city's identity, as well as the gradual loss of these symbols.

En México, son pocos los ejemplos exitosos de mejoramiento de condiciones de accesibilidad en centros históricos. No se ha conceptualizado la relación que hay entre las actividades cotidianas, el reconocimiento de la diversidad humana y la conservación del patrimonio. Tampoco se entiende que la accesibilidad es un derecho humano, encima de la estética y la priorización del monumento, ya que hay edificios antiguos que conservan sus usos originales y de afluencia diaria como los templos católicos, considerados a su vez recintos culturales ya que son contenedores de patrimonio, arte (bienes muebles) y practicas sociales con atracción turística.En Puebla, existe la experiencia de un proyecto participativo e incluyente de accesibilidad donde se involucraron a cinco inmuebles de interés patrimonial. Son templos históricos que forman un itinerario por su cercanía e importancia en el primer cuadro de la ciudad. En un primer tramo, están Santa Mónica, considerado un santuario que recibe a miles de fieles cada semana, el ex convento de Santo Domingo, donde se encuentra la capilla del Rosario, y la Basílica Catedral de la ciudad, conectados por la calle peatonal más importante de la ciudad, "La 5 de mayo". Hacia el sur, completando la ruta, se localizan San Juan de Letrán, "El Hospitalito", y La Soledad, con a su vez se comunican con el Museo Amparo. Todos los templos son antiguos, datan de los siglos XVI al XIX.Durante 2015 y 2016, a través de un trabajo conjunto entre autoridades locales, universidades y asociaciones civiles, además del apoyo económico de una entidad local municipal y otra internacional del gobierno chileno, se colocaron diversos elementos para la mejora de la accesibilidad, como rampas metálicas reversibles, y se intervinieron pavimentos en atrios y accesos. Hasta la fecha (2020), es un proyecto de alcance territorial para el beneficio de todos, no solo para las personas con movilidad reducida, que permite un desplazamiento autónomo y de fácil utilización, inclusive para aquellas personas que requieren ser asistidas por otra persona, ya que los porcentajes de pendientes en las rampas oscilan entre el seis y diez por ciento.La metodología desarrollada para abordar el trabajo fue mediante la incorporación de un equipo interdisciplinar, en este caso Re Genera Espacio, que difundió la importancia de reconvertir estos inmuebles patrimoniales en espacios accesibles, una acción promovida ante los custodios de los cinco templos, realizar un análisis diagnóstico de cada caso, desarrollar el proyecto y supervisar los trabajos con la finalidad de que cumplieran con las normativas y recomendaciones locales e internacionales.El proyecto fue recibido de buena manera por los custodios, después de un largo proceso de trabajo, así como por el resto de la población, lo que se refleja en un aumento considerable de personas con alguna discapacidad que acuden a los recintos, sean feligreses o turistas, y de otras personas con movilidad reducida que hacen uso de los espacios abiertos, como atrios y calles. Hacemos énfasis en que se requieren más intervenciones en otros espacios considerados menos importantes. Este es un primer paso hacia ciudades más accesibles, en este caso una zona histórica, que requiere intervenciones urgentes para crear redes de accesibilidad. El presente trabajo dio pauta a otros proyectos que se han venido desarrollando por parte del equipo, no solo con discapacidades motrices, también con personas con ceguera y debilidad visual. ; In Mexico, there are few successful examples of improving accessibility conditions in historic centers. The relationship between daily activities, the recognition of human diversity and the conservation of heritage has not been conceptualized. It has not been understood that accessibility is a human right, above the aesthetics and prioritization of the monument, since there are old buildings that retain their original uses and daily affluence such as Catholic temples, which are also considered cultural sites and containers of heritage, art (movable property) and social practices with tourist attraction.In Puebla, there is the experience of a participatory and inclusive accessibility project where five heritage buildings were involved. They are historical temples that form an itinerary due to their proximity and importance in the original area of the ancient city. In the first section, there is Santa Monica, considered a sanctuary that receives thousands of faithful every week, the former convent of Santo Domingo, where the Rosario chapel is located, and the city's Cathedral Basilica, connected by the pedestrian street more important of the city, "La 5 de mayo". Towards the south, completing the route, San Juan de Letrán, "El Hospitalito" and La Soledad are located, with the Amparo Museum near of them. All temples are ancient, dating from the 16th to 19th centuries.During 2015 and 2016, through joint work between local authorities, universities and civil associations, in addition to the financial support of a local municipal entity and another international entity from the Chilean government, various elements were put in place to improve accessibility, like metalic ramps reversibles, and there were intervened pavements in atriums and accesses. Even in 2020, it is a project of territorial scope for the benefit of all, not only for people with reduced mobility, which allows autonomous and easy-to-use travel, even for those people who need to be assisted by another person, since the percentages of slopes on the ramps range between six and ten percent.The methodology developed to the work was through the incorporation of an interdisciplinary team, Re Genera Espacio, which promoted the importance of reconverting these heritage buildings into accessible spaces, an action promoted before the custodians of the five temples, as well as establishing a diagnostic analysis of each case and develop the project, in addition to supervising the work in order to realize with local and international regulations and recommendations.The project was well received by the custodians, after a long process of work, as well as by the rest of the population, which is reflected in a considerable increase in people with disabilities who come to the temples, whether they are parishioners or tourists, and other people with reduced mobility who make use of open spaces, such as atriums and streets. We emphasize that more interventions are required in other spaces considered less important. This is a first step towards more accessible cities, in this case a historic area, which requires urgent interventions to create accessibility networks. This work gave guidelines to other projects that have been developed by the team, not only with motor disabilities, but also with people with blindness and visual weakness. ; A Mèxic, són pocs els exemples reeixits de millorament de condicions d'accessibilitat en centres històrics. No s'ha conceptualitzat la relació que hi ha entre les activitats quotidianes, el reconeixement de la diversitat humana i la conservació de l'patrimoni. Tampoc s'entén que l'accessibilitat és un dret humà, a sobre de l'estètica i la priorització de l'monument, ja que hi ha edificis antics que conserven els seus usos originals i d'afluència diària com els temples catòlics, considerats al seu torn recintes culturals ja que són contenidors de patrimoni, art (béns mobles) i practiques socials amb atracció turística.A Puebla, hi ha l'experiència d'un projecte participatiu i incloent d'accessibilitat on es van involucrar a cinc immobles d'interès patrimonial. Són temples històrics que formen un itinerari per la seva proximitat i importància en el primer quadre de la ciutat. En un primer tram, estan Santa Mònica, considerat un santuari que rep a milers de fidels cada setmana, l'ex convent de Sant Domingo, on es troba la capella del Rosari, i la Basílica Catedral de la ciutat, connectats pel carrer de vianants més important de la ciutat, «la 5 de maig». Cap al sud, completant la ruta, es localitzen Sant Joan del Laterà, «El Hospitalito», i La Soledat, amb al seu torn es comuniquen amb el Museu Amparo. Tots els temples són antics, daten dels segles XVI a l'XIX.Durant 2015 i 2016, a través d'un treball conjunt entre autoritats locals, universitats i associacions civils, a més del suport econòmic d'una entitat local municipal i una altra internacional de govern xilè, es van col·locar diversos elements per a la millora de l'accessibilitat, com rampes metàl·liques reversibles, i es van intervenir paviments en atris i accessos. Fins a la data (2020), és un projecte d'abast territorial per al benefici de tots, no només per a les persones amb mobilitat reduïda, que permet un desplaçament autònom i de fàcil utilització, inclusivament per a aquelles persones que requereixen ser assistides per una altra persona, ja que els percentatges de pendents en les rampes oscil·len entre el sis i deu per cent.La metodologia desenvolupada per abordar el treball va ser mitjançant la incorporació d'un equip interdisciplinari, en aquest cas Re Genera Espai, que va difondre la importància de reconvertir aquests immobles patrimonials en espais accessibles, una acció promoguda davant els custodis dels cinc temples, realitzar una anàlisi diagnòstic de cada cas, desenvolupar el projecte i supervisar els treballs amb la finalitat que complissin amb les normatives i recomanacions locals i internacionals.El projecte va ser rebut de bona manera pels custodis, després d'un llarg procés de treball, així com per la resta de la població, el que es reflecteix en un augment considerable de persones amb alguna discapacitat que van als recintes, siguin feligresos o turistes, i d'altres persones amb mobilitat reduïda que fan ús dels espais oberts, com atris i carrers.Fem èmfasi en que es requereixen més intervencions en altres espais considerats menys importants. Aquest és un primer pas cap a ciutats més accessibles, en aquest cas una zona històrica, que requereix intervencions urgents per crear xarxes d'accessibilitat. El present treball va donar pauta a altres projectes que s'han desenvolupat per part de l'equip, no només amb discapacitats motrius, també amb persones amb ceguesa i debilitat visual.

The city of Puebla was put on the UNESCO list of Cultural Heritage of Humanity in 1987; its history dates back to the sixteenth century allowing for the preservation of various important buildings, such as churches with baroque and neoclassical facades, buildings from the period known as Novo Hispanics, when some of its historic neighbourhoods were founded, including the Barrio el Refugio, hereinafter referred to as BR, where indigenous people employed in the lime manufacture used to live. Since those times, however, the neighbourhood has become a place with bad reputation, "a den of thieves" (Leicht). The traditional, religious commemoration, the "Fiesta Patronal de la Virgen del Refugio," is the most important celebration in the neighbourhood. In the Church of La Virgen del Refugio, built in the seventeenth century after an inhabitant painted a mural with the image of the virgin, the "mañanitas" are sung with the Mariachi. During the patronal feast, the "El Refugio Cultural Festival" is held with more than a hundred artists taking part and creating about a thousand murals according to the organiser's estimation. This happens in the city where a project "Puebla Ciudad Mural" was started, as an initiative of the "Colectivo Tomate," which sought to regenerate the neighbourhood through art, in alliance with the government and private companies. However, these policies are more tourist oriented rather than benefit the neighbourhood. For this reason, the graffiti movement "Festival Cultural el Refugio" is becoming a meeting point for urban artists from Mexico and Puebla, accustomed to taking up public or private space, as they demand space where they can live and express themselves. For ten years the festival has realised more than one thousand pieces of urban art, including Wild Style graffiti, bombs, stickers, stencil, and murals. All this is done under the patronage of the artists themselves, as three hundred of them come from all over the country to take part in every edition of the festival that does not receive any government support or other form of sponsorship.

The city of Puebla was put on the UNESCO list of Cultural Heritage of Humanity in 1987; its history dates back to the sixteenth century allowing for the preservation of various important buildings, such as churches with baroque and neoclassical facades, buildings from the period known as Novo Hispanics, when some of its historic neighbourhoods were founded, including the Barrio el Refugio, hereinafter referred to as BR, where indigenous people employed in the lime manufacture used to live. Since those times, however, the neighbourhood has become a place with bad reputation, "a den of thieves" (Leicht). The traditional, religious commemoration, the "Fiesta Patronal de la Virgen del Refugio," is the most important celebration in the neighbourhood. In the Church of La Virgen del Refugio, built in the seventeenth century after an inhabitant painted a mural with the image of the virgin, the "mañanitas" are sung with the Mariachi. During the patronal feast, the "El Refugio Cultural Festival" is held with more than a hundred artists taking part and creating about a thousand murals according to the organiser's estimation. This happens in the city where a project "Puebla Ciudad Mural" was started, as an initiative of the "Colectivo Tomate," which sought to regenerate the neighbourhood through art, in alliance with the government and private companies. However, these policies are more tourist oriented rather than benefit the neighbourhood. For this reason, the graffiti movement "Festival Cultural el Refugio" is becoming a meeting point for urban artists from Mexico and Puebla, accustomed to taking up public or private space, as they demand space where they can live and express themselves. For ten years the festival has realised more than one thousand pieces of urban art, including Wild Style graffiti, bombs, stickers, stencil, and murals. All this is done under the patronage of the artists themselves, as three hundred of them come from all over the country to take part in every edition of the festival that does not receive any government support or other form of sponsorship.

The city of Puebla was put on the UNESCO list of Cultural Heritage of Humanity in 1987; its history dates back to the sixteenth century allowing for the preservation of various important buildings, such as churches with baroque and neoclassical facades, buildings from the period known as Novo Hispanics, when some of its historic neighbourhoods were founded, including the Barrio el Refugio, hereinafter referred to as BR, where indigenous people employed in the lime manufacture used to live. Since those times, however, the neighbourhood has become a place with bad reputation, "a den of thieves" (Leicht). The traditional, religious commemoration, the "Fiesta Patronal de la Virgen del Refugio," is the most important celebration in the neighbourhood. In the Church of La Virgen del Refugio, built in the seventeenth century after an inhabitant painted a mural with the image of the virgin, the "mañanitas" are sung with the Mariachi. During the patronal feast, the "El Refugio Cultural Festival" is held with more than a hundred artists taking part and creating about a thousand murals according to the organiser's estimation. This happens in the city where a project "Puebla Ciudad Mural" was started, as an initiative of the "Colectivo Tomate," which sought to regenerate the neighbourhood through art, in alliance with the government and private companies. However, these policies are more tourist oriented rather than benefit the neighbourhood. For this reason, the graffiti movement "Festival Cultural el Refugio" is becoming a meeting point for urban artists from Mexico and Puebla, accustomed to taking up public or private space, as they demand space where they can live and express themselves. For ten years the festival has realised more than one thousand pieces of urban art, including Wild Style graffiti, bombs, stickers, stencil, and murals. All this is done under the patronage of the artists themselves, as three hundred of them come from all over the country to take part in every edition of the festival that does not receive any government support or other form of sponsorship.

Casa Analco es un proyecto de la Facultad de Arquitectura de la Benemérita Universidad Autónoma de Puebla (FABUAP) que propone un acercamiento comunitario a los barrios del Centro histórico de Puebla, a partir del rescate de un inmueble antiguo. Desde 2018, el equipo de trabajo ha desarrollado diversas estrategias con la finalidad de usar el espacio antes de su intervención, una acción que no es común en las edificaciones de una institución como la Benemérita Universidad Autónoma de Puebla (BUAP), por lo que el inmueble ha sido promovido para realizar acciones voluntarias, talleres de interés patrimonial y la exposición de diversos temas por parte de especialistas. Esto demuestra que hay nuevas maneras de aprovechar y proteger el patrimonio antes de su intervención total, al evaluar las condiciones de los inmuebles y promover su recuperación a partir de la participación, en este caso, con la comunidad universitaria, voluntarios externos y la población de Analco, uno de los barrios más antiguos de Puebla. Bajo las condiciones actuales en que se encuentra el inmueble, se ha vinculado a los alumnos con la realización de cursos sobre levantamientos arquitectónicos en casas patrimoniales, técnicas y procedimientos de acabados con materiales tradicionales, además del trabajo sobre rehabilitación y la gestión para su intervención. Se busca consolidar un espacio cultural donde el público en general, sobre todo los vecinos del barrio, pueda beneficiarse de diferentes tipos de iniciativas y programas que ligan a grupos y colectivos que promueven la participación ciudadana.