By Luis E. Carranza
The interval following the Mexican Revolution used to be characterised by way of remarkable inventive experimentation. trying to exhibit the revolution's heterogeneous social and political goals, which have been in a continual kingdom of redefinition, architects, artists, writers, and intellectuals created particular, 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 publication round chronological case stories that convey how architectural conception and construction mirrored a number of understandings of the revolution's value, Carranza makes a speciality of structure and its dating to the philosophical and pedagogic specifications of the muralist stream, the improvement of the avant-garde in Mexico and its notions of the Mexican urban, using pre-Hispanic architectural varieties to handle indigenous peoples, the improvement of a socially orientated architectural functionalism, and the monumentalization of the revolution itself. furthermore, the e-book additionally covers vital 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 offer 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
This mediation stemmed from Vasconcelos’ explicit vision of enacting a monumental educational and consciousness-raising campaign in Mexico that was ultimately aimed at all Latin America. Its goal was to challenge the active economic and cultural colonialism of advanced capitalist countries and propose, in its place, a utopia that integrated art and life at all levels. While this utopia reﬂected Vasconcelos’ aesthetic and philosophical theories within the context of post-Revolution Mexico, it ultimately represented his ideals of racial miscegenation in the creation of a new Latin American state.
Dialectically, Vasconcelos placed the autochthonous 27 architecture as revolution and the spirit of the time—its zeitgeist—as two goals for which the artist should strive. On one hand, the artists were to incorporate existing traditions and, following Spengler, respond to the particular environments where they worked. And on the other hand, the artists were to tap into the emotions, feelings, and beliefs unique to the moment, something similar to Alois Riegl’s notion of kunstwollen. Paradoxically, the end result was to create a vernacular expression with universalizing aims.
The goals of the diﬀerent Latin American races were ultimately reduced to the ambitions of the Anglo (white) and Hispanic races. For their part, the whites had destroyed the races that inhabited their region and only allowed intercourse with other whites. ”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.
Architecture as Revolution: Episodes in the History of Modern Mexico by Luis E. Carranza