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Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Title: the Avant-Garde in the Architecture and Visual Arts of Post
1 Title: The avant-garde in the architecture and visual arts of Post-Revolutionary Mexico Author: Fernando N. Winfield Architecture_media_politics_society. vol. 1, no.3. November 2012 Mexico City / Portrait of an Architect with the City as Background. Painting by Juan O´Gorman (1949). Museum of Modern Art, Mexico. Commenting on an exhibition of contemporary Mexican architecture in Rome in 1957, the polemic and highly influential Italian architectural critic and historian, Bruno Zevi, ridiculed Mexican modernism for combining Pre-Columbian motifs with modern architecture. He referred to it as ‘Mexican Grotesque.’1 Inherent in Zevi’s comments were an attitude towards modern architecture that defined it in primarily material terms; its principle role being one of “spatial and programmatic function.” Despite the weight of this Modernist tendency in the architectural circles of Post-Revolutionary Mexico, we suggest in this paper that Mexican modernism cannot be reduced to such “material” definitions. In the highly charged political context of Mexico in the first half of the twentieth century, modern architecture was perhaps above all else, a tool for propaganda. ARCHITECTURE_MEDIA_POLITICS_SOCIETY Vol. 1, no.3. November 2012 1 2 In this political atmosphere it was undesirable, indeed it was seen as impossible, to separate art, architecture and politics in a way that would be a direct reflection of Modern architecture’s European manifestations. Form was to follow function, but that function was to be communicative as well as spatial and programmatic. One consequence of this “political communicative function” in Mexico was the combination of the “mural tradition” with contemporary architectural design; what Zevi defined as “Mexican Grotesque.” In this paper, we will examine the political context of Post-Revolutionary Mexico and discuss what may be defined as its most iconic building; the Central Library at the Universidad Nacional Autónoma de Mexico. -
Chapter 6. Agricultural Policy and Rural Poverty– 139
Chapter 6. Agricultural policy and rural poverty– 139 Chapter 6. Agricultural policy and rural poverty Introduction There are several reasons to expect that agricultural policies have an impact on rural poverty in Mexico, and this view is widely held. First, the high incidence of poverty in rural areas and the fact that agriculture is a rural activity means that the two overlap in spatial terms. Consequently, many poor people are involved in agriculture, and a part of total agricultural output is provided by poor land-owners and poor labourers. Second, the historical role of the land tenure system in Mexico to redistribute wealth is closely connected to the agricultural sector for which land is a critical input: the process of dividing land holdings has an impact on agriculture, and the evolution of agriculture affects returns to land. These associations give rise to an expectation that agricultural policies can, should or do alleviate poverty in rural areas. Thus, while the focus of this study is on agricultural policies, and previous chapters have discussed their effects on the agricultural sector and commodity markets, in this chapter the effects of agricultural policies on rural poverty is explored in terms of the incidence of support. The focus on agricultural policy is maintained, save in those cases where programmes provided outside the confines of sectoral policy provide an important benchmark, so this assessment is strictly relevant to the impacts of agricultural policies on rural poverty.1 Moreover, the direct effects of income transfers are addressed, not second-round effects; the potential that an agricultural policy would generate greater regional short- or long-run economic growth that helps poorer people indirectly, by raising their wages for example, is not entertained here.2 Evidence shows that the reforms to agricultural policies brought about substantial improvements in the distribution of transfers, but this success is relative to a basis that, as of the early 1990s, exhibited a pronounced bias against the rural poor. -
The Casa Cristo Gardens in Guadalajara, Jalisco, Mexico
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2001 Towards Establishing a Process for Preserving Historic Landscapes in Mexico: The aC sa Cristo Gardens in Guadalajara, Jalisco, Mexico Marcela De Obaldia Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Landscape Architecture Commons Recommended Citation De Obaldia, Marcela, "Towards Establishing a Process for Preserving Historic Landscapes in Mexico: The asC a Cristo Gardens in Guadalajara, Jalisco, Mexico" (2001). LSU Master's Theses. 2239. https://digitalcommons.lsu.edu/gradschool_theses/2239 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. TOWARDS ESTABLISHING A PROCESS FOR PRESERVING HISTORIC LANDSCAPES IN MEXICO: THE CASA CRISTO GARDENS IN GUADALAJARA, JALISCO, MEXICO. A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master in Landscape Architecture in The Department of Landscape Architecture by Marcela De Obaldia B.Arch., Universidad Autónoma de Guadalajara, 1998 May 2002 DEDICATION To my parents, Idalia and José, for encouraging me to be always better. To my family, for their support, love, and for having faith in me. To Alejandro, for his unconditional help, and commitment. ii ACKNOWLEDGEMENTS I would like to thank all the people in the Department of Landscape Architecture for helping me to recognize the sensibility, kindness, and greatness behind a landscape, and the noble tasks that a landscape architect has in shaping them. -
Death and the Invisible Hand: Contemporary Mexican Art, 1988-Present,” in Progress
DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by Mónica Rocío Salazar APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Charles Hatfield, Co-Chair ___________________________________________ Charissa N. Terranova, Co-Chair ___________________________________________ Mark Rosen ___________________________________________ Shilyh Warren ___________________________________________ Roberto Tejada Copyright 2016 Mónica Salazar All Rights Reserved A mi papá. DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by MÓNICA ROCÍO SALAZAR, BS, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES – AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS December 2016 ACKNOWLEDGMENTS Research and writing of this dissertation was undertaken with the support of the Edith O’Donnell Institute of Art History. I thank Mrs. O’Donnell for her generosity and Dr. Richard Brettell for his kind support. I am especially grateful to Dr. Charles Hatfield and Dr. Charissa Terranova, co- chairs of this dissertation, for their guidance and encouragement. I thank Dr. Mark Rosen, Dr. Shilyh Warren, and Dr. Roberto Tejada for their time and commitment to this project. I also want to thank Dr. Adam Herring for his helpful advice. I am grateful for the advice and stimulating conversations with other UT Dallas professors—Dr. Luis Martín, Dr. Dianne Goode, Dr. Fernando Rodríguez Miaja—as well as enriching discussions with fellow PhD students—Lori Gerard, Debbie Dewitte, Elpida Vouitis, and Mindy MacVay—that benefited this project. I also thank Dr. Shilyh Warren and Dr. Beatriz Balanta for creating the Affective Theory Cluster, which introduced me to affect theory and helped me shape my argument in chapter 4. -
Final-Spanish-Language-Catalog.Pdf
NARRACIÓN TALLADA: LOS HERMANOS CHÁVEZ MORADO 14 de septiembre de 2017 – 3 de junio de 2017 Anne Rowe Página anterior Detalle de La gran tehuana, José Chávez Morado. Foto Lance Gerber, 2016 Esta página Detalle de Tehuana, Tomás Chávez Morado. Foto Lance Gerber, 2016 Índice de contenido Texto, diseño y todas las imágenes © The Annenberg Foundation Trust at Sunnylands 2017 En muchos casos, las imágenes han sido suministradas por los propietarios Los Annenberg y México Embajador David J. Lane página 6 o custodios de la obra. Es posible que las obras de arte individuales que aparecen aquí estén protegidas por derechos de autor en los Estados Unidos Una fuente para Sunnylands páginas 8 – 17 de América o en cualquier otro lugar, y no puedan ser reproducidas de ninguna manera sin el permiso de los titulares de los derechos. El arquitecto Pedro Ramírez Vázquez páginas 18 – 20 Para reproducir las imágenes contenidas en esta publicación, The Annenberg Los hermanos y su obra páginas 21 – 27 Foundation Trust at Sunnylands obtuvo, cuando fue posible, la autorización de los titulares de los derechos. En algunos casos, el Fideicomiso no pudo ubicar al titular de los derechos, a pesar de los esfuerzos de buena fe realizados. El José Chávez Morado páginas 28 – 31 Fideicomiso solicita que cualquier información de contacto referente a tales titulares de los derechos le sea remitida con el fin de contactarlos para futuras Tomás Chávez Morado páginas 32 – 35 ediciones. Publicado por primera vez en 2017 por The Annenberg Foundation Trust at Sunnylands, 37977 Bob Hope Drive, Rancho Mirage, CA 92270, Museo José y Tomás Chávez Morado página 36 Estados Unidos de América. -
The Architecture of the Mexican Revolution
In Search of New Forms The Architecture of the Mexican Revolution Diana Paulina Pérez Palacios* The old Medical Center collapsed in the 1985 earthquake; it was later replaced by the Twentyfirst Century Specialties Center. he culmination of the Mexican Revolution would would promote nationalist values and foster develop- bring with it a program for national construction. ment. This would only be achieved through a program TThe development of this nation, reemerging from for advancing in three priority areas: education, hous- the world’s first twentieth-century revolutionary move- ing, and health. ment, centered on creating a political apparatus that When I say that the nation was just beginning to build itself, I literally mean that the government made *Art critic; [email protected]. a priority of erecting buildings that would not only sup- Photos by Gabriel González (Mercury). ply the services needed to fulfill its political program, 62 but that they would also represent, in and of them- selves, the ideals of the Mexican Revolution. The culmination In the 1920s, after the armed movement ended, of the Mexican Revolution considerable concern existed for the Department of would bring with it a program Health to be forged as a strong institution for society. for national construction. This meant it would undertake great works: the Popo- tla Health Farm; the department’s head offices; and the Tuberculosis Hospital, located in the southern part ects and residential estates such as Satellite City and of Mexico City. In the 1940s and 1950s, more spaces the Pedregal de San Angel area would be built when, for health care were created, such as the Gea González toward the middle of the twentieth century, architects and La Raza Hospitals and the Medical Center. -
Authoritarian Survival and Poverty Traps: Land Reform in Mexico
World Development Vol. 77, pp. 154–170, 2016 0305-750X/Ó 2015 Elsevier Ltd. All rights reserved. www.elsevier.com/locate/worlddev http://dx.doi.org/10.1016/j.worlddev.2015.08.013 Authoritarian Survival and Poverty Traps: Land Reform in Mexico MICHAEL ALBERTUS a, ALBERTO DIAZ-CAYEROS b, BEATRIZ MAGALONI b and BARRY R. WEINGAST b,* a University of Chicago, USA b Stanford University, USA Summary. — Why do governments in underdeveloped countries pursue policies that undercut long-term economic growth? Focusing on Mexico’s massive but inefficient land reform, we argue that governments do so to underpin political survival. Using a panel dataset of Mexican states from 1917 to 1992, we find that land distribution was higher during election years and where the threat of rural unrest was greater. Furthermore, PRI support eroded more slowly in states receiving more reform. The program, which carried restrictive property rights, thus served the PRI regime’s electoral interests. But while land distribution generated a loyal political clientele, it generated steep costs – lower long-term economic growth. Ó 2015 Elsevier Ltd. All rights reserved. Key words — economic growth, land reform, authoritarian regimes, clientelism, redistribution, Mexico 1. INTRODUCTION Mun˜oz-Pin˜a, de Janvry, & Sadoulet, 2003). The literature in political science, history, and sociology suggests that land A general conundrum of government in underdeveloped reform was either employed as an instrument of peasant con- countries is why political officials pursue policies that under- trol or regime ‘‘legitimation” (e.g., Esteva, 1980; Warman, mine long-term economic growth. Governing coalitions in 1972). these countries create monopolies and limit economic entry to We build on these works, focusing on why the governing create rents for favored constituents that distort prices and pre- Institutional Revolutionary Party (PRI) structured property vent competitive markets (North, Wallis, & Weingast, 2009); rights in an inefficient manner. -
Claustro De La Merced: a Re-Evaluation of Mudéjar Style in Colonial Mexico
Claustro de la Merced: A Re-Evaluation of Mudéjar Style in Colonial Mexico Mariana Gómez Fosado The term Mudéjar art or Mudejarismo was coined primarily to a type of wooden ceiling ornamentation known in 1859 by Spanish historian, José Amador de los Ríos. as artesonados, recalling the use of muqarnas and Seljuk Mudéjar art has its origins in the Iberian Peninsula, pres- wooden ceilings in Islamic architecture. ent day Spain and Portugal, a product of the convivencia, Nonetheless, recent scholarship has drawn attention or coexistence of the Abrahamic religions throughout the to the fact that the categorization of these buildings as later medieval period. Scholars describe Mudéjar art as a Mudéjar was primarily based on formal analysis, typical “uniquely Iberian artistic hybrid” in which Islamic motifs of twentieth-century scholarship. According to art histo- were assimilated and incorporated into Christian and Jewish rian María Judith Feliciano, for instance, this has led to works of art.1 Mudéjar art primarily included architecture, an anachronistic analysis of Mudejarismo, as well as as- but was also displayed in ceramics, textiles, and wood sessments that only considered the views of the Spanish carving among others. The most emblematic features of viceroyalty, undervaluing the expression of contemporary Mudéjar are mainly considered in the decoration of archi- ideals of local indigenous populations.4 Scholars also state tectural exteriors and interior spaces, in which bright colors that scholarship is in “need of critical analyses -
Mexican Plays with Architecture and Colour
LESZEK MALUGA* MeXiCAn plays WITH ARCHITECTURE AND COLOUR MekSYkAńSkie zabawy ArCHiTekTUrą i koLoreM A b s t r a c t Colour plays a significant role in Mexican culture. Our study deals with four areas of using colour in a spatial composition on an architectural and urban scale. These are murals, i.e. monumental painting in the structure of architectural objects, colour- ful traditional and modern architecture, ornamental forms and structures, and current trends in the revalorisation of historical cities. Keywords: Mexican architecture, spatial composition, colour in architecture Streszczenie W kulturze Meksyku dużą rolę odgrywa kolor. W opracowaniu ukazano cztery ob- szary zastosowania koloru w kompozycji przestrzennej w skali architektonicznej i ur- banistycznej. Są to murale, czyli monumentalne malarstwo w strukturze obiektów architektonicznych, barwna architektura tradycyjna i nowoczesna, formy i struktury dekoracyjne oraz aktualne tendencje w rewaloryzacji miast zabytkowych. Słowa kluczowe: architektura meksykańska, kompozycja przestrzenna, kolor w architekturze * Assoc. Prof. Ph.D. D.Sc. Arch. Leszek Maluga, Department of Drawing, Painting and Sculpture, Faculty of Architecture, Wrocław University of Technology. 123 1. Games with space Constructing is a necessity for some people, for others it is a pleasure – a play with space, material, colour, an intellectual, artistic, aesthetic game. This play, however, should first of all bring pleasure to all those for whom – in the author’s intention – it is created. This ought to involve much greater engagement on the part of the author than a merely dispassionate discharge of professional duties. reversing the order, we must state that if architecture may give pleasure, apart from satisfying basic functional needs, then it should be a sort of a game or play with space. -
In Mexican Social Housing
THE MEANING OF ‘SOCIAL’ IN MEXICAN SOCIAL HOUSING A STUDY OF INFONAVIT HOUSING DEVELOPMENTS IN MAZATLAN, MEXICO Claudia Gabriela Pérez Ibarra Supervisors: Dr Paula Meth and Dr Glyn Williams The University of Sheffield Department of Urban Studies and Planning Thesis submitted for the degree of Doctor of Philosophy MARCH 2016 To my mum, who taught me to see the best in myself A mi mamá, quién me enseñó a ver lo mejor en mí To my nan, who taught me to see the best in others A mi abuelita, quién me enseñó a ver lo mejor en los demás ACKNOWLEDGEMENTS Thanks to a woman of whom I am immensely proud to be her daughter, Xóchitl Ibarra. Thanks for your love, your teachings, your hard work, your sacrifice, your example, your support, your integrity, your strength; I am where I am thanks to you. Thanks for everything. To Paula and Glyn, thanks so much for your inexhaustible support, invaluable teachings, and wise guidance during my PhD; I will be forever grateful for making me feel welcome in your office and your home. Thanks to my auntie Chava, who lovingly hosted me (and fed me), and enthusiastically helped me during my fieldwork in Mazatlán. Many thanks to all those who agreed on participating in my research, particularly to the residents who shared their lives with me in ‘INFONAVIT Jabalíes’, ‘Prados del Sol’, ‘Pradera Dorada’, and ‘URBI Villa del Real’ in Mazatlán. As well, thanks to my teachers, colleagues and students; I learned so much from all of you. And to the USP staff, thanks very much for your support from day one. -
Forest Conservation Policies and the Neoliberal Land Reform in Mexico
Forest Conservation Policies and the Neoliberal Land Reform in Mexico: A Cultural Ecology Approach to the Payments for Environmental Services in the Huasteca Potosina Region By Aida Ramos Viera Submitted to the graduate degree program in Geography and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. __________________________________ Chairperson, Peter Herlihy __________________________________ Jerome Dobson __________________________________ Stephen Egbert __________________________________ Jorge Soberón __________________________________ Kelly Kindscher Date Defended: June 4th 2015 The Dissertation Committee for Aida Ramos Viera certifies that this is the approved version of the following dissertation: Forest Conservation Policies and the Neoliberal Land Reform in Mexico: A Cultural Ecology Approach to the Payments for Environmental Services in the Huasteca Potosina Region ________________________________ Chairperson Peter Herlihy Date approved: July 27, 2015 ii Abstract This research analyzes the relationship between the environmental and social elements in Mexico’s Payment for Environmental Services (PES) program in the Huasteca Potosina region from 2003-2011. Both the regional and local scales are examined to understand patterns of deforestation and identify the factors influencing community forest conservation. The multi-scale approach to deforestation on social properties is based on GIS analyses of land tenure and forest change in 613 agrarian nucleos,