By Luis E. Carranza
The interval following the Mexican Revolution was once characterised via remarkable creative experimentation. looking to show the revolution's heterogeneous social and political goals, which have been in a continual country of redefinition, architects, artists, writers, and intellectuals created special, occasionally idiosyncratic theories and works.
Luis E. Carranza examines the interdependence of contemporary structure in Mexico and the urgent sociopolitical and ideological problems with this era, in addition to the interchanges among post-revolutionary architects and the literary, philosophical, and creative avant-gardes. Organizing his publication round chronological case experiences that convey how architectural concept and creation mirrored quite a few understandings of the revolution's importance, Carranza makes a speciality of structure and its dating to the philosophical and pedagogic necessities of the muralist flow, the improvement of the avant-garde in Mexico and its notions of the Mexican urban, using pre-Hispanic architectural types to deal with indigenous peoples, the improvement of a socially orientated architectural functionalism, and the monumentalization of the revolution itself. furthermore, the e-book additionally covers very important architects and artists who've been marginally mentioned inside architectural and paintings historiography.
Richly illustrated, Architecture as Revolution is likely one of the first books in English to provide a social and cultural background of early twentieth-century Mexican architecture.
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Extra resources for Architecture as revolution : episodes in the history of modern Mexico
The vitalism of aesthetic knowledge and production would redeem mankind. To understand Vasconcelos’ proposal it is necessary, then, to focus on the issues and problematics central to the material production of the building and its component pieces. Otherwise, one risks falling into the trap of reading Vasconcelos’ proposals and resulting forms as part of a reactionary nationalism intended to isolate artistic or cultural production from any political or ethical imperative and force it to become a means for legitimizing the institutionalization of power, economic expansion, and (continued) political oppression.
53 The mixing of Hispanic colonizers with indigenous peoples, in the end, served as a bridge for the mixture of all peoples. The possibilities of this miscegenation, Vasconcelos wrote, could be found in the universalizing and synthesizing qualities of Latin American struggles for independence, the union of Latin American states that Simón Bolívar sought, and the desire of the leaders of Latin American independence movements to proclaim all men as equal. ”55 The location where this mission would take place became the next subject of Vasconcelos’ theories.
The Greek culture, according to Vasconcelos’ reading of history, organized and ultimately transformed itself into the paradigmatic “white” European civilization. The whites, as civilizations had done before them and in a historically cyclical fashion, would conquer and colonize other lands and peoples. Vasconcelos contended that the primary task or “mission” of the white race—the descendants of the Greeks—was not to colonize. ”52 Latin American independence from Spain and Portugal was, for Vasconcelos, a rupture rather than a deﬁnitive break with the traditions, history, and culture of those powers.