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Carlotta Claire De Bellis Trinity University Art and Architecture of Mexico City December 9, 2019

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Carlotta Claire De Bellis Trinity University Art and Architecture of Mexico City December 9, 2019 Carlotta Claire de Bellis Trinity University Art and Architecture of Mexico City December 9, 2019 El Correo Mayor: a Symbol of Porfirian Modernity In the heart of Mexico City, there is a very extravagant post office: El Correo Mayor (the Main Post Office), which is still in function today and attracts many tourists for its unique architectural beauty and significance. The edifice was built between 1902 and 1907 by the Italian architect Adamo Boari, and it was part of President Porfirio Diaz’s urbanization plans. Although it reflects an important social role, the building’s function cannot be immediately discerned. It falls under the “palace” tradition mimicking in construction adjacent historical buildings like the Museo ​ Nacional de Arte, Palacio de Iturbide, Palacio de Los Azulejos, and the Palacio de Mineria. El Palacio Postal [figure 1] has quite a prominent location as it is the main post office for the city of Mexico; it is situated on the Eje Central, in the Colonia Centro (center district), near the Alameda center, which indicates the importance that Diaz placed on it. The utilitarian function of ​ the building is in stark contrast to its elaborate and seemingly unnecessary ornamentation. Its palazzo-like structure is influenced by the Spanish Colonial architecture which was formed after the Italian Renaissance, while its mestizaje, or racial and cultural mixing, components make it ​ ​ ​ ​ undoubtedly Mexican. The Correo Mayor clearly emulates European— particularly Italian— ideas of prestige and power, but it also presents hints of a variety of different and more revolutionary styles such as Art Nouveau, a secessionist movement that breaks with traditional art movements. From the vantage point of western European architecture, this building appears to be a bizarre combination of conflicting styles. However, this is not the case for the Correo Mayor. To fully understand this building one has to elide their European assumptions and understand it under the context of 20th century Mexican Architecture. Its eclecticism must be interpreted in the context of the architect’s thoughtful historicism. El Correo Mayor as it quotes from multiple historical sources is truly a modern building for the novel institution of the postal system. Thus, the Correo Mayor, Mexico City’s Main Post Office, reflects the Porfirian regime’s aspirations for modernity in an unconventional way because it synthesizes colonial-era styles, such as the plateresque, with the latest technological innovations. Mexico City’s Main Post Office was part of the larger plan of urban development of the city of Mexico at the turn of the twentieth century. The country under the 34 years of the Porfiriato tried to create a historic synthesis “harmonizing” native past and modern cosmopolitan aspects. Porfirio Diaz’s goal was to legitimize the power and authority of the new country. He tried to invent a new historia patria in order to modernize the country by attracting foreign capital, so that Mexico could be ​ 1 up to European standards. He advanced his plan in part through architecture, and specifically by ​ commissioning public buildings in a “neo-gothic revival style.” As Mariscal underlines in his book La Patria y la Arquitectura Nacional, Mexican national architecture developed from colonial ​ architecture combining with modern Mexico by mixing in the Indigenous and modern with the Spanish during the Colonial period. Therefore, national modern architecture is nothing more than the most balanced melange of different historical quotations from the most disparate parts of the world. The Porfiriato was able to consolidate the central power of the state, strengthen the capital sector and promote foreign investments. Painting and architecture during this time were better funded than any time since independence, and served to affirm the centralized authority and the cosmopolitan sophistication of the upper class and society at large. The regime’s motto was “orden y ​ progreso” which went hand in hand with producing a centralized postal system. Positivism was the ​ philosophical movement that operated during the early 1890s during the Porfirio Díaz’s regime, and ​ ​ its members were called Científicos. They were influenced by Positivism, the philosophy of the ​ ​ ​ ​ ​ ​ Frenchman Auguste Comte, advocated what they considered to be the practical application of ​ ​ scientific methods, specifically those of the social sciences, to problems of finance, industrialization, 2 and education. The regime was trying to assemble through buildings like the Correo Mayor an ​ imagined community.3 The building's purpose in fact was to legitimize Mexico’s power, though an assembly of cultural elements that were inclusive and understood only by the commanding oligarchy that dressed itself under the “democratic” regime. The influential figure who helped with the crafting of Mexico’s aspirational identity under the Porfiriato was the Italian architect Adamo Boari. This very eclectic and worldly architect fit perfectly with the Porfriato’s desire of the modernization of Mexico. This mission of modernization and legitimization was sought by cultural elites, like the Cientificos and the leaders of the regime, so ​ ​ they could transform Mexico’s image into one as unique and prestigious as any country in the world. This was thought to be important for both Mexican citizens and for Mexico’s place in the world in general. Boari was an Italian railway engineer, from Ferrara, who after completing his education 4 moved to Brazil for work in 1887. As Boari stated “ today, more than ever, each country must take 5 pride in its architectural forms, by modernizing them.” Boari after taking part in the construction 1 Vaughan, Mary K., and Stephen E. Lewis. 2006. The Eagle and the Virgin : Nation and Cultural ​ Revolution in Mexico, 1920-1940: 6 ​ 2 The Editors of Encyclopaedia Britannica. “Porfiriato.” Encyclopædia Britannica, Encyclopædia ​ ​ ​ Britannica, Inc., 9 Aug. 2019, www.britannica.com/topic/Porfiriato. 3 Anderson, Benedict R. O'G. 2016. Imagined communities: reflections on the origin and spread of nationalism. ​ ​ ​ 4 Toselli, Alessandra Farinelli. 1995 Adamo e Sesto Boari: Architetti Ferraresi del Primo Novecento, Ferrara: ​ ​ ​ Liberty House: p9 5 ​Moyssen, Xavier. 1995. “The Italo-Aztec Theatre” p 96-97 6 of two new railway infrastructure projects left South America and returned to Italy. In​ 1893 Boari returned to the American continent but in its northern part, he joined Daniel’s Burnham's architectural studio as a technician, and he began his architectural studies at the University of Chicago. The Italian architect was eager to showcase his understanding of acquired American knowledge, he participated with his drawings in the World’s Colombian Exposition. In 1883 he became part of Luis Sullivan’s office where he met architects like Frank Lloyd Wright and Walter 7 Burley Griffin. ​ These architects would soon become part of the Steinway Hall Group and start working and experimenting on the world’s first “skyscrapers” by using internal metal structures. ​ Boari was also very invested in and influenced by this modern and stimulating ambiance, during his stay in Chicago he submitted his drawings for many building competitions both nationally and internationally. According to Neumann his designs entries for the “Luxfer Prism” competition were ​ 8 even more radical than Wright’s proposal. In​ 1897 he moved to Mexico City after winning the “Legislative Palace competition”, he was then sent by the regime all over Europe in order to take inspiration from the great works of European architecture. Unfortunately, this trip created so much scandal because of its excessive expenses that Boari was removed from the lead of the building’s construction, and the project was awarded to Emilie Bernard. Although his first building for the city of Mexico was never constructed, Boari found an alliance with dictator Porfirio Diaz, after proposing a Monument to Diaz that would have been positioned as one of the glorietas on the Paseo de la Reforma. This road was envisioned as an urban ​ ​ 9 extension that would work as a blank slate where the Regime could recast Mexican history. The knowledge that Boari acquired in Chicago worked synergistically with the one he later learned in Mexico City, by proposing to incorporate concepts that he would have learned in Chicago like the Garden City in his proposal for renovating the Alameda Park. In that same area he was commissioned both the Teatro National and the Palacio de Correos which would help the country enter “the league of modern nations.”10 Boari sought Modernism not only in the forms of European Revival, but his innovations were rooted in Pan-American discourse, this was able to give a topographical specificity to his modernism. The Italian architect in fact was incredibly interested in Mayan and Aztec architecture as he subtly incorporates their elements into his designs giving them 6 ​Condello, A. 2002. "An American Architect in Mexico City (1900-1910): Adamo Boari, the Steinway Hall Group and the Pan-American Identity". PLANNING HISTORY. 24: 9. ​ ​ 7 ​Checa-Artasu, Martín. De Ferrara a la Ciudad de México pasando por Chicago: la Trayectoria Arquitectónica de Adamo Boari (1863-1904). Biblio 3W. Revista Bibliográfica de Geografía y Ciencias Sociales. 20 de enero de 2015, Vol. XX, nº 1111, p5 8 ​Neumann, Dietrich, “The Century’s Triumph in Lighting: The Luxfer Prism Companies and their Competition to Early Modern Architecture” in JSAH, March 1995 (54): 33 9 Oles, James. 2013. Art and Architecture in Mexico. Thames & Hudson World of Art. Thames & ​ ​ ​ Hudson Ltd., p 199 10 Johns, Michael, 1997. The City of Mexico in the Age of Diaz. Austin: University of Texas, p5 ​ ​ ​ the importance they deserve. This interest for Meso-American Architecture will be later reflected also in North America in Wright’s Hollyhock House in 1922. The Correo Mayor is a great example of understanding Mexican modernity under the Porfiriato as it is one of the Boari’s only buildings that remains standing today and faithful to its original conception.
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