By Luis E. Carranza
The interval following the Mexican Revolution was once characterised by way of unparalleled creative experimentation. looking to convey the revolution's heterogeneous social and political goals, which have been in a continual country of redefinition, architects, artists, writers, and intellectuals created targeted, 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 inventive avant-gardes. Organizing his e-book round chronological case stories that convey how architectural conception and creation mirrored quite a few understandings of the revolution's importance, Carranza makes a speciality of structure and its courting to the philosophical and pedagogic requisites of the muralist circulation, the improvement of the avant-garde in Mexico and its notions of the Mexican urban, using pre-Hispanic architectural kinds to handle indigenous peoples, the advance of a socially orientated architectural functionalism, and the monumentalization of the revolution itself. moreover, the e-book additionally covers very important architects and artists who've been marginally mentioned inside architectural and artwork historiography.
Richly illustrated, Architecture as Revolution is likely one of the first books in English to give a social and cultural historical past of early twentieth-century Mexican architecture.
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Additional info for Architecture as Revolution: Episodes in the History of Modern Mexico
Vasconcelos considered Latin American artists, particularly those working in Mexico, capable of simultaneously using European methods and models and the inheritance of the colonial period to highlight the region and the actions of their people. As a result, art became representational of an autochthonous landscape without political boundaries or uniformity. The paintings of the Mexican highlands, he noted as an example, were similar to those of the highlands of Peru or Colombia. 69 In addition, using European models to depict place did not imply a reliance on the “decadent” (Spengler), “antiquarian” (Nietzsche), or mediocre elements of its culture.
56 The machines and derivative civilization did not equal or rival, in Vasconcelos’ schema, the ancient cultures. Mere technical advances, in other words, do not represent the height of a culture. The mechanization of the world, one of the functions characteristic of the whites, could be redeemed if it could aid in the mixing of the races and provide the technical knowledge and modernity they needed. Material advances and sciences, then, could only be beneﬁcial if they allowed the new race to conquer the tropics.
Paradoxically, the end result was to create a vernacular expression with universalizing aims. Vasconcelos considered Latin American artists, particularly those working in Mexico, capable of simultaneously using European methods and models and the inheritance of the colonial period to highlight the region and the actions of their people. As a result, art became representational of an autochthonous landscape without political boundaries or uniformity. The paintings of the Mexican highlands, he noted as an example, were similar to those of the highlands of Peru or Colombia.