GRAD MRP UF JmunozBook

Introduction

Mexican identity is expressed through its architecture, bright colors, energetic music, murals and history. From the 1920’s to the late 1950’s Mexico underwent an idealistic revolution inspired on the emergence of social primal necessities. After the civil revolution of 1910 Mexico was left in a need of an identity, one that would not ignore their pre-Columbian roots, which were buried by the Spanish colonialism and replaced with cities organized on cuadriculas that superimposed themselves over the already established and successful Aztec cities. Mexico was in search of an infrastructure that would support the new regime and uphold the foundation of better education, health and workforce programs. With the new Constitution of 1917 the concept of social equality permeated the air, and with that in place “the Revolutionary government also needed new ministerial buildings to administer these programmes-buildings which, by their very presence in the city would also demonstrate the seriousness of the government’s intentions”1

Architecture however, was one step behind this revolutionary mindset. It was the muralist who opened discussions with the achievements of the Mexican Revolution through their graphic depiction of the social worker and the indigenous people. However, one must understand that it was the close relationship between the muralists and architects during the 1920’s what initiated the modern influence and impact on Mexican architecture. Muralists like Diego Rivera, David Alfaro Siqueiros and Jose Clemente Orozco took on the opportunity to redefine Mexicanidad through the transformation of the traditional practice. In early 1920’s muralist began their introduction into architecture through what Valeria Fraser calls “plastic integration,” which entailed that architects would integrate the possibility of murals into their design by adding large plain walls to the structure. Given that early modernist architecture in Mexico was minimalist and abstract, it rejected the idea of decoration and ornament.2 The incorporation of murals and ideological narratives thus posed a problem because it would cause the diminishing of glass walls, which according to modern ideals were a big part of the design allowing transparency of the spaces. Hence, the incorporation of these walls as murals meant that even at its early stages, a transformation to the Mexican modernistic ideals would have to take place. Muralism became a language, the words of the revolutionary promises. It established itself as modern and Mexican. Valerie Fraser goes on to say that “‘Mexican’ art could not be invented using artificial historicisms but that ‘mexicanidad’ would in fact emerge on its own.”3 Thus the depiction of historical events through the murals became a medium for the mexicanidad to emerge.

Furthermore, in the architecture field during the early 1920’s, a younger generation of architects was energized with a route of pragmatic functionalism. One cannot over look the direct link between the birth and rapid explosion of this functionalist movement in architecture in Mexico and the arrival of Vers une Architecture to Mexico in 1924. Its impact on young architects was embodied in their methods and approach to architecture. Among them a young architect Juan O’Gorman found his personal expression in this novel concept and went on to claim for himself the honor of having been the first Le Corbusian functionalist in Mexico.4