Metro Copilco is a station along Line 3 on the Mexico City Metro. Located in the Coyoacán borough, in the south of Mexico City, on Avenida Enríquez Ureña, it is the penultimate station along the southern portion of Line 3. The station logo depicts an Olmec representation of dragon. Copilco means "in the Royal Crown" in Nahuatl; the station opened on 30 August 1983. Above the station's platforms is the mural El perfil del tiempo by Guillermo Ceniceros, depicting paintings and art from ancient pre-Hispanic cultures, works by famous artists such as Leonardo da Vinci, Mexican art from José Guadalupe Posada, Diego Rivera and others; this station has a cultural display. Many of the passengers are students, headed for the nearby campus of the National Autonomous University of Mexico. Metro Copilco is close to the schools of medicine and dentistry; this station serves the Copilco Universidad, Romero de Terreros, Copilco el Alto and Pedregal de Santo Domingo neighborhoods, as well as several estates, such as Integración Latinoamericana and Copilco 300.
School of Odontology, UNAM School of Economics, UNAM School of Chemistry, UNAM School of Engineering, UNAM Central Library of the National Autonomous University of Mexico Southeast: Cerro Tres Zapotes street and Eje 10 Sur Enríquez Ureña, Romero de Terreros Southwest: Cerro Tlapacoya street and Eje 10 Sur Enríquez Ureña, Romero de Terreros North: Eje 10 Sur Enríquez Ureña, Romero de Terreros
Copyright infringement is the use of works protected by copyright law without permission, infringing certain exclusive rights granted to the copyright holder, such as the right to reproduce, display or perform the protected work, or to make derivative works. The copyright holder is the work's creator, or a publisher or other business to whom copyright has been assigned. Copyright holders invoke legal and technological measures to prevent and penalize copyright infringement. Copyright infringement disputes are resolved through direct negotiation, a notice and take down process, or litigation in civil court. Egregious or large-scale commercial infringement when it involves counterfeiting, is sometimes prosecuted via the criminal justice system. Shifting public expectations, advances in digital technology, the increasing reach of the Internet have led to such widespread, anonymous infringement that copyright-dependent industries now focus less on pursuing individuals who seek and share copyright-protected content online, more on expanding copyright law to recognize and penalize, as indirect infringers, the service providers and software distributors who are said to facilitate and encourage individual acts of infringement by others.
Estimates of the actual economic impact of copyright infringement vary and depend on many factors. Copyright holders, industry representatives, legislators have long characterized copyright infringement as piracy or theft – language which some U. S. courts now regard otherwise contentious. The terms piracy and theft are associated with copyright infringement; the original meaning of piracy is "robbery or illegal violence at sea", but the term has been in use for centuries as a synonym for acts of copyright infringement. Theft, emphasizes the potential commercial harm of infringement to copyright holders. However, copyright is a type of intellectual property, an area of law distinct from that which covers robbery or theft, offenses related only to tangible property. Not all copyright infringement results in commercial loss, the U. S. Supreme Court ruled in 1985 that infringement does not equate with theft; this was taken further in the case MPAA v. Hotfile, where Judge Kathleen M. Williams granted a motion to deny the MPAA the usage of words whose appearance was "pejorative".
This list included the word "piracy", the use of which, the motion by the defense stated, serves no court purpose but to misguide and inflame the jury. The term "piracy" has been used to refer to the unauthorized copying and selling of works in copyright; the practice of labelling the infringement of exclusive rights in creative works as "piracy" predates statutory copyright law. Prior to the Statute of Anne in 1710, the Stationers' Company of London in 1557, received a Royal Charter giving the company a monopoly on publication and tasking it with enforcing the charter; those who violated the charter were labelled pirates as early as 1603. Article 12 of the 1886 Berne Convention for the Protection of Literary and Artistic Works uses the term "piracy" in relation to copyright infringement, stating "Pirated works may be seized on importation into those countries of the Union where the original work enjoys legal protection." Article 61 of the 1994 Agreement on Trade-Related Aspects of Intellectual Property Rights requires criminal procedures and penalties in cases of "willful trademark counterfeiting or copyright piracy on a commercial scale."
Piracy traditionally refers to acts of copyright infringement intentionally committed for financial gain, though more copyright holders have described online copyright infringement in relation to peer-to-peer file sharing networks, as "piracy". Richard Stallman and the GNU Project have criticized the use of the word "piracy" in these situations, saying that publishers use the word to refer to "copying they don't approve of" and that "they imply that it is ethically equivalent to attacking ships on the high seas and murdering the people on them." Copyright holders refer to copyright infringement as theft. In copyright law, infringement does not refer to theft of physical objects that take away the owner's possession, but an instance where a person exercises one of the exclusive rights of the copyright holder without authorization. Courts have distinguished between copyright theft. For instance, the United States Supreme Court held in Dowling v. United States that bootleg phonorecords did not constitute stolen property.
Instead, "interference with copyright does not equate with theft, conversion, or fraud. The Copyright Act employs a separate term of art to define one who misappropriates a copyright:' an infringer of the copyright.'" The court said that in the case of copyright infringement, the province guaranteed to the copyright holder by copyright law – certain exclusive rights – is invaded, but no control, physical or otherwise, is taken over the copyright, nor is the copyright holder wholly deprived of using the copyrighted work or exercising the exclusive rights held. A 1979 East German court ruling found that software was "neither a scientific work nor a creative achievement" and ineligible for copyright protection, legalizing software copying in the country; the term "freebooting" has been used to describe the unauthorized copying of online media videos, onto websites such as Facebook, YouTube or Twitter. The word itself had been in use since the 16th century, referring to pirates, meant "looting" or "plundering".
This form of the word – a portmanteau of "freeloading" and "bootlegging" – was suggested by YouTuber and podcaster Brad
Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera was a prominent Mexican painter. His large frescoes helped establish the Mexican mural movement in Mexican art. Between 1922 and 1953, Rivera painted murals in, among other places, Mexico City, Cuernavaca, San Francisco and New York City. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York. Rivera had a volatile marriage with fellow Mexican artist Frida Kahlo. Rivera was born in Guanajuato, Mexico, to a well-to-do family, the son of María del Pilar Barrientos and Diego Rivera Acosta. Diego had a twin brother named Carlos. Rivera was said to have Converso ancestry. Rivera wrote in 1935: "My Jewishness is the dominant element in my life." Rivera began drawing at the age of three, a year after his twin brother's death. He had been caught drawing on the walls, his parents, rather than punishing him, installed chalkboards and canvas on the walls.
As an adult, he married Angelina Beloff in 1911, she gave birth to a son, Diego. Maria Vorobieff-Stebelska gave birth to a daughter named Marika in 1918 or 1919 when Rivera was married to Angelina, he married his second wife, Guadalupe Marín, in June 1922, with whom he had two daughters: Ruth and Guadalupe. He was still married, they married on August 21, 1929 when he was 42 and she was 22. Their mutual infidelities and his violent temper led to divorce in 1939, but they remarried December 8, 1940 in San Francisco. Rivera married Emma Hurtado, his agent since 1946, on July 29, 1955, one year after Kahlo's death. Rivera was an atheist, his mural Dreams of a Sunday in the Alameda depicted Ignacio Ramírez holding a sign which read, "God does not exist". This work caused a furor; the painting was not shown for nine years --. He stated: "To affirm'God does not exist', I do not have to hide behind Don Ignacio Ramírez, he was sponsored to continue study in Europe by Teodoro A. Dehesa Méndez, the governor of the State of Veracruz.
After arrival in Europe in 1907, Rivera went to study with Eduardo Chicharro in Madrid and from there went to Paris, France, to live and work with the great gathering of artists in Montparnasse at La Ruche, where his friend Amedeo Modigliani painted his portrait in 1914. His circle of close friends, which included Ilya Ehrenburg, Chaim Soutine, Amedeo Modigliani and Modigliani's wife Jeanne Hébuterne, Max Jacob, gallery owner Léopold Zborowski, Moise Kisling, was captured for posterity by Marie Vorobieff-Stebelska in her painting "Homage to Friends from Montparnasse". In those years, Paris was witnessing the beginning of Cubism in paintings by such eminent painters as Pablo Picasso, Georges Braque and Juan Gris. From 1913 to 1917, Rivera enthusiastically embraced this new school of art. Around 1917, inspired by Paul Cézanne's paintings, Rivera shifted toward Post-Impressionism with simple forms and large patches of vivid colors, his paintings began to attract attention, he was able to display them at several exhibitions.
Rivera died on November 24, 1957. In 1920, urged by Alberto J. Pani, the Mexican ambassador to France, Rivera left France and traveled through Italy studying its art, including Renaissance frescoes. After José Vasconcelos became Minister of Education, Rivera returned to Mexico in 1921 to become involved in the government sponsored Mexican mural program planned by Vasconcelos. See Mexican muralism; the program included such Mexican artists as José Clemente Orozco, David Alfaro Siqueiros, Rufino Tamayo, the French artist Jean Charlot. In January 1922, he painted – experimentally in encaustic – his first significant mural Creation in the Bolívar Auditorium of the National Preparatory School in Mexico City while guarding himself with a pistol against right-wing students. In the autumn of 1922, Rivera participated in the founding of the Revolutionary Union of Technical Workers and Sculptors, that year he joined the Mexican Communist Party, his murals, subsequently painted in fresco only, dealt with Mexican society and reflected the country's 1910 Revolution.
Rivera developed his own native style based on large, simplified figures and bold colors with an Aztec influence present in murals at the Secretariat of Public Education in Mexico City begun in September 1922, intended to consist of one hundred and twenty-four frescoes, finished in 1928. His art, in a fashion similar to the steles of the Maya, tells stories; the mural En el Arsenal shows on the right-hand side Tina Modotti holding an ammunition belt and facing Julio Antonio Mella, in a light hat, Vittorio Vidali behind in a black hat. However, the En el Arsenal detail shown does not include the right-hand side described nor any of the three individuals mentioned. Leon Trotsky lived with Kahlo for several months while exiled in Mexico; some of Rivera's most famous murals are featured at the National School of Agriculture at Chapingo near Texcoco, in the Cortés Palace in Cuernav
Juana Inés de la Cruz
Sor Juana Inés de la Cruz, O. S. H. was a self-taught scholar and student of scientific thought, philosopher and poet of the Baroque school, Hieronymite nun of New Spain. She was known as a nun who demonstrated the courage to challenge opinions and speak out for her beliefs, her outspoken opinion granted her lifelong names such as, "The Tenth Muse", "The Phoenix of America", or the "Mexican Phoenix". Sor Juana lived during Mexico's colonial period, making her a contributor both to early Mexican literature as well as to the broader literature of the Spanish Golden Age. Beginning her studies at a young age, Sor Juana was fluent in Latin and wrote in Nahuatl, became known for her philosophy in her teens. Sister Juana educated herself in her own library, inherited from her grandfather. After joining a nunnery in 1667, Sor Juana began writing poetry and prose dealing with such topics as love and religion, she turned her nun’s quarters into a salon, visited by the city’s intellectual elite. Among them was Countess Maria Luisa de Paredes, vicereine of Mexico.
Her criticism of misogyny and the hypocrisy of men led to her condemnation by the Bishop of Puebla, in 1694 she was forced to sell her collection of books and focus on charity towards the poor. She died the next year, she was born Juana Inés de Asbaje y Ramírez de Santillana in San Miguel Nepantla near Mexico City. She was the illegitimate child of a Spanish Captain, Pedro Manuel de Asbaje, a Criolla woman, Isabel Ramírez, her father, according to all accounts, was absent from her life. She was baptized 2 December 1651 and described on the baptismal rolls as "a daughter of the Church", she was raised in Amecameca. As a child, Juana hid in the Hacienda chapel to read her grandfather's books from the adjoining library, something forbidden to girls, she learned how to write Latin at the age of three. By age five, she could do accounts. At age eight, she composed a poem on the Eucharist. By adolescence, Juana had mastered Greek logic, at age thirteen she was teaching Latin to young children, she learned the Aztec language of Nahuatl and wrote some short poems in that language.
In 1664, at the age of 16, Juana was sent to live in Mexico City. She asked her mother's permission to disguise herself as a male student so that she could enter the university there. Not being allowed to do this, she continued her studies privately, she was a lady-in-waiting at the colonial viceroy's court, where she came under the tutelage of the Vicereine Leonor Carreto, wife of the Viceroy of New Spain Antonio Sebastián de Toledo. The viceroy, wishing to test the learning and intelligence of this 17-year-old, invited several theologians, jurists and poets to a meeting, during which she had to answer many questions unprepared and explain several difficult points on various scientific and literary subjects; the manner in which she acquitted herself astonished all present and increased her reputation. Her literary accomplishments garnered her fame throughout New Spain, she was much admired in the viceregal court, she received several proposals of marriage, which she declined. In 1667, she entered the Monastery of St. Joseph, a community of the Discalced Carmelite nuns, as a postulant.
She chose not to enter that order. In 1669, she entered the monastery of the Hieronymite nuns, which had more relaxed rules, she chose to become a nun so that she could study as she wished since she wanted "to have no fixed occupation which might curtail my freedom to study."In the convent and earlier, Sor Juana became intimate friends with fellow savant, Don Carlos de Sigüenza y Góngora, who visited her in the convent's locutorio. She stayed cloistered in the Convent of Santa Paula of the Hieronymite in Mexico City from 1669 until her death, there she studied and collected a large library of books; the Viceroy and Vicereine of New Spain became her patrons. She addressed some of her poems to paintings of her friend and patron María Luisa Manrique de Lara y Gonzaga, daughter of Vespasiano Gonzaga, Duca di Guastala, Luzara e Rechiolo and Inés María Manrique, 9th Countess de Paredes, which she addressed as Lísida. One noted critic of her writing was the bishop of Puebla, Manuel Fernández de Santa Cruz, who in November of 1690 published Sor Juana's critique of a 40-year-old sermon by Father António Vieira, a Portuguese Jesuit preacher.
In addition to publishing that without her permission, under the pseudonym of Sor Filotea, he told her to focus on religious instead of secular studies. He published his criticisms to use them to his advantage against the Priest and while he agreed with her criticisms, he believed that as a woman, she should devote herself to prayer and give up her writings. In response to critics of her writing, Juana wrote a letter, Respuesta a Sor Filotea de la Cruz, in which she defended women's right to education: "Oh, how much harm would be avoided in our country" if women were able to teach women in order to avoid the danger of male teachers in intimate setting with young female students, she said that such hazards "would be eliminated if there were older women of learning, as Saint Paul desires, instructions were passed down from one group to another, as in the case with needlework and other traditional activities."She famously remarked by quoting an Aragonese poet and echoin
Club Universidad Nacional
Club de Fútbol Universidad Nacional A. C. known as Pumas de la UNAM, Pumas UNAM, UNAM, or Pumas, is a Mexican league football club based in Ciudad Universitaria in Mexico City. Club Universidad Nacional represent the National Autonomous University of Mexico and play their home matches at Estadio Olímpico Universitario, located on UNAM's main campus. Universidad Nacional is one of the most popular clubs in Mexico, they have won four international titles. The team is known for their youth development system which has produced international players such as Hugo Sánchez, Manuel Negrete, Luis Flores, Claudio Suárez, Luis García, Alberto García Aspe, David Patiño, Jorge Campos, Gerardo Torrado, Efraín Juárez, Héctor Moreno, Pablo Barrera, Israel Castro, Eduardo Herrera and Jesús Gallardo. Claudio Suarez is the best on the Pumas. Club Universidad Nacional was an amateur club of college students from the University's several schools and developed into a professional team competing in the Mexican football league.
It is now one of the biggest stadiums in all of Mexico. UNAM have evolved into one of the most popular Mexican teams and have gained an international following; the team's blue and gold colors were selected as a tribute to the University of Notre Dame, whose football coaches helped to develop an American-style football team at the university. The nickname was inspired by Roberto'Tapatio' Mendez, who coached the team from 1946–64 and whose motivational speeches compared his players to pumas; the nickname stayed with the public, all the athletic teams representing the University have been called Pumas. Their home ground is the Estadio Olímpico Universitario, the setting for the 1968 Summer Olympic Games, it has a seating capacity of over 72,000. Olympic Academic Stadium is situated within the University campus which enables easy access by the University students; the Pumas have training facilities within the University campus but their main complex is the Cantera, located near the University. The dean of the University, Luis Chico Goerne, made the first attempt to affiliate a representative of UNAM to the top football Mexican championship of the day, by filing a petition to join the Liga Mayor de Fútbol Professional del Distrito Federal.
The petition was rejected in favor of Club Marte de Morelos. Therefore, Pumas played 13 years in Mexicos Liga De Ascenso. By the 1940s, the dean Gustavo Baz Prada assigned the task to prepare the UNAM representative to Rodolfo "Butch" Muñoz player of Club España; the new manager formed its new team with members of the student body of the many schools and faculties of the university. The UNAM representative joined many university tournaments, with successful results, "Butch" Muñoz went on to manage the team for 13 years; this prepared the team to complete their transition to professional status. In August 1954, the Club Universidad was accepted as a member of the Segunda División, in those days the second tier division of professional football in Mexico; this achievement was accomplished with the support of the dean Nabor Carrillo and Guillermo Aguilar Alvarez Sr. a benefactor of the club. Aguilar Alvarez was appointed by the dean as the chairman of the club. On September 12, 1954 UNAM played an away match against Monterrey.
After competing for three years, Club Universidad requested a one-year moratorium in its competing in Segunda División play to undergo a programme rebuilding process. Within that year, Hector Ortiz was appointed as the new manager of the club, a Board of Patrons was formed. UNAM realized its objective of promotion from Segunda División to Primera División when Club Universidad won the home-played promotion match on January 9, 1962 by defeating Club Cataluña de Torreón, 9–1; the match ended, the students rushed the pitch, honored its team by carrying them off the field on their shoulders—this was the first step towards the consolidation of the club. The following day, dean Ignacio Chávez Sánchez congratulated the team when he met with them: Octavio Vial, players: Homero Villar, Raúl Chanes, José Antonio "La Espátula" Rodríguez, Rafael Ramirez Jimenez, Alfredo Echávarri, José Ruiz, Carlos Gutierrez, Alfredo "Tito" Zenteno, José Luis "El Chango" Ledezma, Antonio Sámano, Jorge Gaitán, Guillermo Vázquez Sr. José Luis González "La Calaca", Lorenzo Garcia, Carlos Calderón de la Barca, Manuel "Manolo" Rodríguez, Edmundo "El Poli" Pérez, Gustavo "El Gato" Cuenca.
The team established itself in the Primera División, the Board of Patrons prepared for the continuation of the team's success by establishing youth system to develop new players. After two years under the management of Alfonso "El Pescado" Portugal, the Spaniard Ángel Zubieta took the reins of the team; this enabled the program to identify "foreign" reinforcements, but rely on promoting from the youth system. The first half of the decade was marked by the arrival of three of the most important foreign players in the existence of the club, they arrived to join a solid base of native-players such as Miguel Mejía Barón, Héctor Sanabria, Arturo Vázquez Ayala, José Luis "Pareja" López, Leonardo Cuellar. In the second half of the decade those same players would give the club its first titles in the top division. In 1975 the club adopted a new administration consisting of an independent civil association that helped the University to support the club. In the 1974 -- 75 season, Universidad won the Campeón de Campeones.
In the 1976–77 season, Club Universidad became league champion for the first time in its history. That championship was followed by two sub championships; the culmination of a successful decade for Clu
Ana Gabriela Guevara Espinoza is a now-retired Mexican track and field athlete who specialized in the 400 meters. She served as a Mexican Senator for the 2012–2018 term, her parents are Cesar Octavio Guevara and Ana María Espinoza, she has four siblings: Azalia, César and Jaime. Ana's career began in 1996, when she started touring and participating in her first international competitions. In 1998, she won two silver medals in the Central American and Caribbean Games in the 400 and 800 meters, her first major victory was the gold medal in the 400 meters at the 1999 Pan American Games in Canada. A year she qualified to the 2000 Sydney Olympics going to the 400 meters finals, finishing with a reasonable 5th place with a time of 49.96 seconds. After that race, she won 28 consecutive international races before a second place finish in Rome in July 2004. In 2001, she won the 400 meter race at the Herculis in Monaco, one of the two 400 meter events held at Golden League competitions that year. At the 2001 World Championships in Athletics, Guevara made the finals in the 400 m.
She came off the last turn leading the race with about 105 meters to go. She could not keep the fast pace and was passed by Amy Mbacke Thiam from Senegal and Lorraine Fenton from Jamaica with no more than 20 meters to go. Guevara won the bronze medal posting a season best with a time of 49.97 seconds. In fact and Mbacke Thiam posted personal bests, the last one being a national record. In 2002, she won all seven competitions of 400 m of the Golden League sharing the jackpot of one million dollars in gold bars with three athletes, she won the gold medal at the 2002 IAAF World Cup in 400 m and 400 m relay, running for the Americas team. She won the 2002 IAAF Grand Prix Final in Paris. In 2003, she defended her title in the 400 m at the 2003 Pan American Games winning the gold medal, she won the 400 meter race at the Weltklasse Zürich, one of the two 400 m events held at Golden League competitions that year. On August 27, 2003, in Paris, she won the 2003 World Championships in Athletics in the women's 400 meters.
She set a personal record, a national record, a world leading time, running away from the field in 48.89 seconds. That time as of 2008, is the ninth fastest time in history, she won the 400 m at the 2003 IAAF World Athletics Final in Monaco. Guevara made her second Olympic appearance in 2004 as the flag carrier for the Mexican delegation and represented her country in the 400 m. After winning her heat in the first round, her corresponding semi-final, she would go on to win the silver medal in the final, she won the 400 m at the 2004 IAAF World Athletics Final in Monaco. A year at the 2005 World Championships in Athletics, she won the bronze medal in the 400 meters with a time of 49.81 seconds, despite the heavy rainfall that occurred during the event. In 2007, for the third consecutive time, she won the gold medal in the 400 m at the 2007 Pan American Games. In addition, she led Mexico's 4 x 400 m relay team to a second place finish. About a month at the age of 30, Guevara participated in her fourth World Championships in Athletics in Osaka, Japan.
She finished in fourth place with a season best time of 50.16 seconds, just 0.01 seconds ahead of 24-year-old DeeDee Trotter of the United States. On January 16, 2008, she announced her definitive retirement from all competitions due to conflicts with Mariano Lara, the president of the Mexican Athletics Federation. No help was received at that time from Carlos Hermosillo, director of the CONADE, who did not act and the problem only grew bigger and continued for months. Ana said, "My retirement from sport in Mexico is now definitive, I contemplated the possibility of participating independently at the Olympic Games, but my dream was to participate for my country." In 2009, Guevara entered politics, standing as the Democratic Revolution Party candidate for Miguel Hidalgo Delegation in Mexico City losing to Demetrio Sodi from the National Action Party. She is a Mexican Senator for the 2012–2018 term having been postulated by the PRD, the Labor Party, the Citizen Movement Party. On December 13, 2016, near Mexico City, Guevara was struck by a car while riding her motorcycle and was physically beaten by the four men who were in the car.
News outlets created a national outrage over this incident. Official Website Ana Guevara at IAAF Ana Guevara's race history at The-Sports.org
Mario Pani Darqui was a famous Mexican architect and urbanist. He was one of the most active urbanists under the Mexican Miracle, gave form to a good part of the urban appearance of Mexico City, with emblematic buildings, such as the main campus of the UNAM, the Unidad Habitacional Nonoalco-Tlatelolco, the Normal School of Teachers, the National Conservatory of Music and other big housing projects called multifamiliares, his son Knut is a well-known artist. Mario Pani was born in Mexico City, he studied architecture in France and Mexico, on he would found the National College of Architects in 1946. In 1938, he began the journal Arquitectura Mexico, published until 1979, he introduced the international style in Mexico, was the first promoter of big housing Tower block projects. Pani was a great innovator of the urban design of Mexico City, was involved in the construction of some of its newer parts, developing or participating in the more ambitious and important city-developing plans of the 20th century in Mexico, like Ciudad Satélite, the Juárez and Miguel Alemán tower blocks, the condominium in Paseo de la Reforma, the first of its type in Mexico.
Pani's works include: Hotel Reforma Escuela Nacional de Maestros National Conservatory of Music of Mexico Hotel Plaza, now Secretariat of Urban Development and Housing Secretaria de Recursos Hidráulicos Centro Urbano Presidente Alemán Centro Urbano Presidente Juárez Ciudad Universitaria of the UNAM based on main plan designed by student Teodoro Gonzalez de Leon Ciudad Satélite Torre Insignia Unidad Habitacional Nonoalco-Tlatelolco Port of Entry, Sonora Reforma 268 Condominium on Río Guadalquivir between Paseo de la Reforma and Río Volga, Colonia Cuauhtémoc 1986: National Prize for Arts and Sciences "fine arts" Modernist architecture in Mexico Mario Pani. La construcción de la modernidad/ Miquel Adrià La idea del apartamento en México durante el Movimiento Moderno: El proyecto de habitación colectiva en la obra de Carlos Obregón Santacilia, Francisco J. Serrano y Mario Pani. Pérez-Duarte Fernandez, Alejandro. ISBN 3639551567 Youtube.com video: Con los ojos de Mario − Pani I —