While she was with them, Amorocho worked on designs and construction for the Hotel Tequendama. The firm, which included partners Gabriel Serrano Camargo, Camilo Cuellar Tamayo and José Gómez Pinzón, was known for designing some of the most important buildings in Bogotá, including many hospitals, the Jockey Club, and several businesses. For two years, she built schools and office buildings and then went to work at the firm of Cuéllar Serrano and Gómez for a decade. Īfter La Violencia began in 1948, Luz began working for the Ministry of Public Works in Tumaco reconstructing buildings destroyed in the rioting. The illustrated article showed how the plazas could be redesigned to provide hygienic apartment housing with green spaces and wide streets and included a management plan for obtaining financing for the construction. In the article, as Amorocho advocated for Bogotá to modernize based on an urban plan and suggested designs to modify the city. Angulo, and Carlos Martínez, director of the magazine PROA Arquitectura, which caused a sensation. In 1946, she published an article, Bogotá puede ser una ciudad moderna, (Bogotá can be a modern city) with other Colombian architects, Enrique García, José J. Amorocho was named one of the directors of the school and taught draftsmanship and architecture. In the year that Amorocho graduated, the Ministry of Education founded the Cundinamarca High School of Female Culture ( Spanish: Colegio Mayor de Cultura Femenina de Cundinamarca) under the direction of Ana Restrepo del Corral. Amorocho entered college in 1940 and graduated in 1945, from the School of Architecture at the National University of Colombia as the first woman architect of Colombia. They were poor, but the family had many books and the children were encouraged to study. Her parents were from Socorro, Santander but had moved to Bogotá for better opportunities. “The Problem with Bananas.” Consultado mayo 13, 2021.María Luz Amorocho Carreño was born in 1922 in Bogotá, Colombia to Ana Lucía Carreño Phillips and Marco Amorocho Tulio. “La Banana Republic: imaginarios bananeros de la identidad hondureña representados en 100 tarjetas postales” en Hegemonia – Revista Eletrônica do Programa de Mestrado em Direitos Humanos, Cidadania e Violência/Ciência Política do Centro Universitário Unieuro, número 24, julio-diciembre de 2018. Colección de 75 álbumes fotográficos aproximadamente 10,400 fotografías y negativos que documentan la actividad de United Fruit Company en Centroamérica, Sudamérica, las Antillas y Estados Unidos entre 1891 y 1962. Archivo “United Fruit Company Photograph Collection, 1891–1962” en Baker Library Historical Collections de Harvard University.Biannual Report on Global Food Markets, Roma: FAO, 2019. The significance of the region to World Supply” en Food Outlook.
“Bananas and Major Tropical Fruits in Latin America and the Caribbean. Not to mention how the banana trade contributed to the formation of xenophobic, racist, and sexist stereotypes of local inhabitants. An artistic, cultural and philosophical approach is used to analyse these pieces and to allow a greater understanding of how the mass cultivation of bananas contributed to the growth of social inequality in Latin America, changing traditional ways of life and transforming the landscape and environment of the region. Starting with Cuban photographer Raúl Corrales and his 1960 piece Caballería (The Cavalry), in which a group of men ride on horseback celebrating the revolutionary government’s expropriation of United Fruit Company plantations, Banana Craze stretches to the present day and will continue progressing into the future. Banana Craze brings together almost 100 pieces of contemporary Latin American artists in which the banana is the main feature. Banana Craze is the first major study of how a natural resource such as the banana has shaped the past and the present of a continent, and how this phenomena finds expression through culture.
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