The city, as a physical space, is a place of interaction and, as a social space, a territory characterized by the heterogeneity of its inhabitants. This condition gives rise to an interest in researching the concepts of diversity and inclusion so characteristic of the contemporary big city. The approach to this urban reality is carried out from a cinematographic perspective due to the importance of cinema as a socializing agent. Film analysis serves as a methodological tool to understand how the film Elemental (Peter Sohn, 2023), by Disney-Pixar, deals with urban social issues. This study investigates the sociocultural challenges facing the contemporary city based on the representation of urban diversity made by the animated film Elemental. The results point towards the configuration of a space for collaboration that promotes the common good, the governing principle of all community creation and the basic principle of the birth of cities. In addition, the general guidelines that lead to the conception of an inclusive narrative are discovered.

During the process of modernization of cities in the late 19th and early 20th centuries, there were movements of rejection of the urban model proposed by modernity. Ibiza became a place of inspiration, standing in contrast to the “totalitarian and mechanized urban civilization” (Pizza, 2023), attracting intellectuals and photographers fascinated by its rural landscape, its architecture and its inhabitants. In the 1950s, the Catalan photographer Oriol Maspons discovered the island and captured the essence of its vernacular houses, everyday life, and authenticity of Ibiza. His work aligns with that of contemporaries such as Joaquim Gomis and Francesc Català-Roca. The analysis of Maspons' photographs offers a new perspective on Ibiza’s visual heritage, which served as inspiration for modern architects and consolidated an image of the island as an authentic place away from urban tumult.

El presente trabajo analiza, tanto de forma estadística como compositiva, los monumentos escultóricos dedicados a sacerdotes en el territorio de Costa Rica. De esta forma, se podrá verificar en qué medida el discurso liberal anticlerical, que determinó y determina los derechos cívicos de los sacerdotes en Costa Rica, realmente afectó en la creación de monumentos cívicos en el país.

El presente trabajo analiza las estrategias urbanísticas de los últimos cuarenta años en París, que han hecho de los museos un elemento central en su planificación. Por medio del tratamiento de documentos oficiales de urbanismo se traza la evolución del museo en tanto que herramienta de desarrollo urbano y turístico. En un segundo tiempo, basados en los casos de tres museos parisinos, se analiza la evolución de la estructura espacial y de la función de las instituciones museográficas. Se observan diversas adaptaciones de una nueva arquitectura que responde a condiciones socio-económicas emergentes en los territorios urbanos. Así, el caso parisino plantea nuevos principios en la evolución del museo en tanto que producto turístico y cultural. Igualmente con la experiencia de París se identifican los efectos que puede acarrear el museo si se usa indiscriminadamente como un producto de marketing turístico, cultural y urbano: la polarización social y la gentrificación.

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The most relevant urban project designed forSegoviaduring the Autarchy (1939-1957) was around the expansion axis called “La Pista Militar”. New workers from the rural area as well as logistic reasons for the army forces located inSegoviawere in the core of the project. The plan consisted in opening a huge avenue (2 km long and 14 m width) to link three distant military focus (Baterías, Base Mixta and Academia de Artillería). The purpose of this axis was to facilitate the military communications between those three points and at the same time to dispose a right place for commemorating acts to show the power of the military dictatorship. Besides, this new road opened a new urban expansion area with high blocks of flats. The whole project was not carried out completely due to its high cost.

Leon Battista Alberti was a man of letters who also cultivated the servile arts. His architectural work is correlative of his treatise, De re aedificatoria, where lays the foundation for the promotion of architecture to the field of the liberal arts. It opens with Brunelleschi, among others, modernism in the Visual Arts. This currency link to the primacy of the visual on the oral, and will allow paint to soar on the mechanical arts. To do this, enter the lineamentta the concinnitas as rhetorical elements and, as mechanisms enabling the correction, interpretation, reflection and knowledge that will have its final on the notion of taste denouement, as it happens in the liberal arts.

The reflection tries to show how abstract objectivity assumed by photography is the result of a relativistic comparative, nascent intuition around the cultural turn of late eighteenth, which upsets by the positivist eagerness with which its possibility, indebted to the machinery and the reductive economy of large modern cities, which becomes image and environment is managed.In the same way that the perspective had been a symbolic action of a modern episteme setting, as it showed Panofsky, rather than a universal objectivity that know that other cultures will be diverted, the propensity of a desire for absolute objectivity in image, articulates a power of physiological inquiry-symbolic rocket that we cannot imagine of form being divided in western culture particularly conclusive at the end of the nineteenth century with the triumph of capitalism and the large cities of the International Exhibitions Therefore can sign up that criticism that opens this optimism, which involve the socalled historical avantgarde, are just that, a deviation from this optimism from positive vision and mechanical economic objectivity imposes and sublimated, and not a consequence of the overcoming of the art, as common and simply believed.An analysis of the nature of the image calls for investigations of the anthropology that establish its value deviated from the reproductive fact that the liquid in the effusion, worth the paradox, liquid companies that contributes to shaping.