By Luis E. Carranza
The interval following the Mexican Revolution was once characterised by way of unparalleled inventive experimentation. trying to show the revolution's heterogeneous social and political goals, that 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 recent 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 ebook round chronological case reports that convey how architectural conception and creation mirrored a variety of understandings of the revolution's importance, Carranza specializes in structure and its courting to the philosophical and pedagogic standards of the muralist move, the advance 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. moreover, the publication additionally covers vital architects and artists who've been marginally mentioned inside of architectural and paintings historiography.
Richly illustrated, structure as Revolution is without doubt one of the first books in English to give a social and cultural heritage of early twentieth-century Mexican structure.
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Extra info for Architecture as Revolution: Episodes in the History of Modern Mexico (Roger Fullington Series in Architecture)
The landscape, full of colors and rhythms, will communicate its richness to emotion. Reality will be like fantasy. The aesthetics of the clouded and gray [northern countries] will be seen as a sickly art of the past. 57 The tropics would become the seat of this new race. Its center, in the Amazon region, would be called Universópolis. 58 For Vasconcelos, the opposite of Universópolis was “Anglotown,” which he deﬁned as a metropolis. Spengler used the term “metropolis” to deﬁne the material, architectural expression of a civilization at its peak and, therefore, on its way into decline.
Latin America, on the other hand, was still rooted in the telluric, and therefore its creations remained intuitive. 46 Additionally, the emerging nature of Mexico and the life cycle of cultures suggest that Latin America had not yet reached the highest cultural state. For Vasconcelos, Mexican and, more broadly, Latin American culture—because of its history, geography, and people—had the possibility of reaching the aesthetic state, while Europe and North America remained in the materialistic second stage of energy.
The educational environment in the United States was the ideological extension of industrialized production that encouraged the student to become acclimated to the mechanized environment of the factory. Instead of awakening curiosity in the student, Dewey’s system of education and production wilted and subsequently subdued the student’s interior consciousness. The end result was something similar to Georg Lukács’ deﬁnition of reiﬁcation: [The Dewey system,] with an appearance of liberty, then, accomplishes the production of millions of human subjects who are apt to take advantage of certain aspects of the 21 architecture as revolution exterior realm: blind to the disinterested experience, faithful to the ﬂock, and with no other goal than to break records—the same happens in work as in play and enjoyment.
Architecture as Revolution: Episodes in the History of Modern Mexico (Roger Fullington Series in Architecture) by Luis E. Carranza