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This paper shows a qualitative research regarding the social and material implications of practices of repairing household objects in vulnerable areas. Based on an ethnographic study and the articulated vision of social and sustainable design, this research addresses the principles of planned obsolescence and the culture of consumption as entrenched and naturalized instances. This paper presents a theoretical discussion within the framework of sustainable actions such as reuse, maintenance and repair. The methodology of this project is based on the in-situ case study of durable domestic goods reparation in the context of social housing in the district of Puente Alto, Santiago de Chile. Through the analysis of domestic repairing experiences the relevance of safeguarding shared memories is highlighted, as well as developing creative and innovative strategies in order to prolong the objects lifetime.REVISTA 180 (2019) 43 • ANTONIO JOSÉ BATLLE LATHROP • PEDRO ÁLVAREZ CASELLI Cómo citar este artículo: Batlle, A. y Álvarez, P. (2019). Reparación de objetos domésticos como resistencia al diseño desechable. Revista 180, 43, 66-74. http://dx.

Post cartel en Chile: la pérdida del aura y su devaluación en tiempos de GooglePost poster in Chile: The loss of the aura and its devaluation in the Google Era.Resumen. El presente texto, desde una perspectiva cualitativa, analiza la circulación de carteles (en formato impreso y digital), principalmente vinculados a la esfera del espectáculo, el entretenimiento y la cultura en el contexto nacional reciente 1 , por medio de una discusión bibliográfica. Tiene como objetivo documentar, analizar y abrir un debate respecto del actual estatuto de la producción de carteles en un escenario donde nuestra subjetividad se ha ampliado en razón de un profundo cambio en los modos de producción y circulación de esta herramienta de comunicación, cuestionando la autonomía del diseñador. Se busca profundizar en una zona de investigación en la cual el cartel ha tenido una suerte de discontinuidad histórica que actualmente se torna aún más compleja dada su proliferación y presencia, tanto en el espacio urbano como en redes sociales digitales. El artículo en cuestión remite a un despliegue de artefactos culturales híbridos, inmediatos, transitorios e incluso kitsch, que son testimonio de la mentalidad de una época concreta. Palabras clave: autodiseño, cartel chileno, dimensión aurática, kitsch, softwares de edición gráfica.Abstract. The present text analyzes the circulation of posters (in print and digital formats), mainly related to the show sphere, to entertainment and to culture in the national recent context. It is aimed at keeping records, analyzing and opening a debate in respect to the present statute of the production of posters, in a scene where our subjectivity has been extended due to a profound change in the ways of production and circulation of this communication tool, questioning the designer's autonomy. It seeks to deepen in a research area, in which the poster has been somehow historically discontinued, and at present it becomes more complex, due to its proliferation and its presence in the urban area as well as in the digital social networks. The document concerned is referred to a deployment of hybrid cultural devices, which are temporary or even kitsch. They are an evidence in the spirit of a definite age.

In the second half of the 1960s, prêt-à-porter (ready-to-wear) fashion was established in Chile. As an alternative to haute couture (high fashion), prêt-à-porter brought an eagerness for modernisation that was reflected in the setting up of a network of women-led boutiques, which developed strongly between 1967 and 1973. This article first examines the precedents that allowed for the creation of a ‘local fashion system’ that promoted collective work around trades such as knitting and dressmaking. It also analyses the arrangement of a circuit of boutiques in the comuna of Providencia, a strategic sector of Santiago de Chile (the capital city) that fostered the dynamics of social gathering. Later, the article describes the profile of the designer-entrepreneurs whose work was attuned to a female consumer segment that aimed to access a new formula of the modernising bourgeoisie. It also reassesses the rise of a movement called Moda Autóctona, which distanced itself from European fashion and was supported by the government during the socialist regime of Salvador Allende. Lastly, it tackles the eventual dismantling of this network of women’s fashion stores as a result of the installation of a military dictatorship in Chile.

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