Lo nuevo, de nuevo

The forty-four years that separate the publication of Lo nuevo, de nuevo and the first architecture biennial in Chile not only mark the period in which Chilean architecture has found itself, but also the period in which more energy has been spent on Be recognized. The neoliberal curtain on which this story has taken place allows us to better understand the imperative need that this biannual reinvention of the new in architecture has taken. Thus, with the Chilean architecture biennials as the object of research, this book not only reconstructs a little-known history (despite its proximity), but also reveals other less obvious aspects of it, allowing a broader and more in-depth reading. . At the end of the second decade of the 21st century the same decade in which the biennial apparatus reached both its massification and its global exhaustion , Lo Nuevo, again allows us to distance ourselves from the permanent novelty and observe the biennials of Chile as a historically situated phenomenon. Perhaps reading the history of these encounters will allow us to begin to think of different ways of meeting in the future. Therein lies the historical value and the essential condition of this book. The forty-four years that separate the publication of Lo nuevo, de nuevo and the first architecture biennial in Chile not only mark the period in which Chilean architecture has found itself, but also the period in which more energy has been spent on Be recognized. The neoliberal curtain on which this story has taken place allows us to better understand the imperative need that this biannual reinvention of the new in architecture has taken. Thus, with the Chilean architecture biennials as the object of research, this book not only reconstructs a little-known history (despite its proximity), but also reveals other less obvious aspects of it, allowing a broader and more in-depth reading. . At the end of the second decade of the 21st century the same decade in which the biennial apparatus reached both its massification and its global exhaustion , Lo Nuevo, again allows us to distance ourselves from the permanent novelty and observe the biennials of Chile as a historically situated phenomenon. Perhaps reading the history of these encounters will allow us to begin to think of different ways of meeting in the future. Therein lies the historical value and the essential condition of this book.