THIS WORK IS TAKEN FROM ONGOING RESEARCH, FOCUSING ON ANALYZING THE STUDENT MAGAZINES OF CHILEAN ARCHITECTURE SCHOOLS, WHOSE ISSUES, PUBLISHED BETWEEN 1930 AND 1990, FOSTERED IMPORTANT CHANGES IN THE AREA?S TEACHING SYSTEMS. FROM THE THIRTEEN TITLES DETECTED UP UNTIL NOW, ONE OF THE LINES OF WORK STOPPED TO REVIEW THE IMAGES USED AND THAT, ALONGSIDE THEIR HOMEMADE NATURE, SHOWS AUTHENTIC AND AVANT-GARDE VISUAL RESOURCES FOR THEIR TIME AND ALSO UNVEILS, THE PHASES OF CHILEAN AND UNIVERSITY YOUTH IMAGINARY. THE ANALYSIS AS A WHOLE, CONSIDERS THE THEORETICAL MEETING PROPOSED BY CHARTIER (2005), INASMUCH AS THE CONSOLIDATION OF CULTURAL HISTORY, COINCIDES WITH MITCHELL (2009) IN TERMS OF VISUAL STUDIES, IS CONFIRMED ALONGSIDE BURKE (2005) IN THE USE OF THE IMAGE AS A HISTORIC DOCUMENT, AND WITH ROJAS MIX (2006), IN SEMANTIC UNITS THAT CONDENSE IMAGES AND AS A REFLECTION OF SOCIAL REALITIES. THUS, THE PURPOSE OF THIS TEXT WAS TO ANALYZE THE GRAPHICAL DISCOURSE REPRESENTED IN SOME OF THESE PUBLICATIONS, DOING SO AS THE MEETING POINT OF ARCHITECTURAL MODERNITY. TO ACHIEVE THIS, METHODOLOGICALLY SPEAKING, IT INVERTED THE TRADITIONAL EDITORIAL PROCESS, EXTRACTING GRAPHICAL MATERIAL (PHOTOS, TYPOGRAPHS, DRAWINGS, AND SKETCHES), WENT FURTHER INTO THEIR CREATION PROCESS AND, FINALLY, CONTRASTED THIS WITH THE ACCOMPANYING TEXT. AS A CONCLUSION, IT CAN BE VENTURED THAT EACH MAGAZINE, DESPITE THEIR DIFFERENT TIMES, GRAPHICS OR IDEOLOGICAL LANGUAGE, OFFERS A VARIED IMAGINARY OF THE AVANT-GARDE UNIVERSITY THAT, THROUGH EDITORIAL EXPRESSIONS LIKE THESE, AUGURED THE CHANGES THAT DEEPLY INFLUENCED THE FLEDGLING CHILEAN ARCHITECTURAL CULTURE.