LA-RFL-03-001 / Casa Chávez Peón, Arq. Francisco Artigas, Jardines de Pedregal, CDMX, 1952.
LA-RFL-03-002 / Caseta de ventas, Arq. Francisco Artigas, Jardines de Pedregal, CDMX, 1950.
LA-RFL-03-003 / Casa Bustamante Aguirre, Arq. Francisco Artigas, Pedregal de San Ángel, CDMX, 1955.
LA-RFL-03-004 / Casa Rojas (Brisa 311), Arq. Francisco Artigas, Jardines de Pedregal, CDMX, 1962.
LA-RFL-03-005 / Casa Rojas (Brisa 311), Arq. Francisco Artigas, Jardines de Pedregal, CDMX, 1962.
LA-RFL-03-006 / Casa Rojas (Brisa 311), Arq. Francisco Artigas, Jardines de Pedregal, CDMX, 1962.
LA-RFL-03-007 / Casa Rojas (Brisa 311), Arq. Francisco Artigas, Jardines de Pedregal, CDMX, 1962.
LA-RFL-03-008 / Comité de Escuelas, Arq. Francisco Artigas, México, CDMX, 1962.
LA-RFL-03-009 / Comité de Escuelas, Arq. Francisco Artigas, México, CDMX, 1962.
LA-RFL-03-010 / Comité de Escuelas, Arq. Francisco Artigas, México, CDMX, 1962.
LA-RFL-03-011 / Comité de Escuelas, Arq. Francisco Artigas, México, CDMX, 1962.
LA-RFL-03-012 / Comité de Escuelas, Arq. Francisco Artigas, México, CDMX, 1962.
LA-RFL-03-013 / Casa-estudio Artigas, Arq. Francisco Artigas, San Ángel, CDMX, 1952.
LA-RFL-03-014 / Casa-estudio Artigas, Arq. Francisco Artigas, San Ángel, CDMX, 1952.
In 2019, while researching a selection of Fernando Luna’s photographs for a publication by PRODUCTORA, we made an initial visit to Mrs. Alicia Rodríguez B. de Luna, widow of Fernando Luna. At her home near Desierto de los Leones, she showed us a cardboard box containing a range of materials: large-format plates, 35mm negatives, and a series of CD-ROMs with previously digitized images, prepared for various occasions. Labels such as “MoMA NY Exhibition,” “Bellas Artes,” and others were clearly visible.
The photographs featured in Series 03 – Other Works come from a mix of original formats—including large-format and 35mm negatives—and are preserved in varying resolutions and conditions. By comparing several of the 35mm negatives with images published in Artigas’s 1972 book, we believe that many of these photographs were likely taken as preliminary studies or scouting shots for later, carefully staged compositions.
