Towards a New Emotional Architecture

by paco díaz

towards a new

emotional architecture

I L L U S T R A T E D

E S S A Y

ABPL_90403

towards_a_new_ emotional_architecture Visions and Agendas in Architecture

PROFESSOR: KAREN BURNS STUDENT: EDUARDO FRANCISCO DÍAZ LÓPEZ 1165045

TABLE OF CONTENTS

1 > Abstract

3>

Concepts

4>

A country without identity

9>

Emotional Architecture

15> New vanguards

17> A new emotional architecture

25 > Conclusion

26> Bibliography

abstract

emotions; identity; phenomenology; orientation; neuroarchitecture

Architecture over time has had many facets, where emotions have played an important role; however, there are some facets where it is more noticeable than others, and that is because architecture changes according to the needs, time and context in which it is developed.

There is a movement called emotional architecture that emerged in the mid-20th century in Mexico, where emotion is the main protagonist, and emerges as a transition between purely functional architecture and the recovery of the identity of Mexican culture.

This movement emerged after architecture in Mexico was immersed in functionalism, the product of an armed revolution and external influences. Architecture in this country had four main stages, key to understanding emotional architecture: pre-revolutionary architecture known as ‘Porfirian’, characterized by its influence on European architecture; post-revolutionary architecture characterized by brutal functionalism; the emotional architecture that emerges as an experimental to the problems of that time, and finally the new vanguards of the emotional architecture.

Emotional architecture then emerges as a challenge to functionalism and as a response to an identity crisis in Mexican architecture. There are iconic pieces of emotional architecture that can only be understood by living, however, the characteristics that identify this type of architecture continue, prevail over time and are transformed.

Today, it is time for a new emotional architecture. The world is broken and worried about solving current problems; environmental crises, capitalism, anthropocene, technology; architecture nowadays is trying to face these problems, but it is leaving aside the part that has always characterized this field: emotions. A new emotional architecture that responds to current problems is possible, necessary and urgent.

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concepts

Emotion /noun/

instinctive or intuitive feeling as distinguished from reasoning or knowledge

Identity /noun/

the fact of being who or what a person or thing is Phenomenology /noun/

the science of phenomena as distinct from that of the nature of being Orientation /noun/

a person’s basic attitude, beliefs, or feelings in relation to a particular subject or issue Neuroarchitecture /noun/

any built environment which has been designed whilst following principles derived from neurosciences

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a country without identity

“In the bones, but with a French hat with ostrich feathers”.

-’La Catrina’,

by José Guadalupe Posada

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There is a movement in architecture called ‘emotional architecture’, and it has its origins in post-revolutionary times in Mexico, around the 1940’s and 1950’s. Mexico experienced its Mexican Revolution (1910-1917) at the same time as the First World War (1914-1918), the same reason why the country did not participate in it. This country lived under a dictatorship for 35 years, known as the ‘Porfirian’ era (1876-1911), thanks to the name of its dictator Porfirio Díaz. During this time, President Díaz led the country in great progress; he connected the country with railway networks, restructured the army, promoted a rigorous educational system, there was a great industrial development1, and an increase in architectural works in the country began to be noticed. People in the early years lived happily and accepted this dictatorship in a certain way in exchange for the progress they saw in the country.

Díaz always had great admiration for European lands, especially France, so much of the architecture that was built during this period has mainly French and Italian influence; Buildings built in those years today still an icon of the country, however, they lacked a Mexican identity. Díaz declared in 1908 in the British magazine ‘Person’s magazine’, that he would leave power so that someone else could be president, however, in 1910 he began his re-election campaign, and this caused the Mexican Revolution2. The Mexican Revolution was an armed conflict between 1910 and 1917, it began as a struggle against the power of General Porfirio Díaz, where they sought a true change3.

The muralist Diego Rivera, husband of Frida Kahlo, painted a mural where he portrays the Mexico of those times; in the middle of observing the ‘Catrina’, the work of the engraver José Guadalupe Posada, who was a critic of the Porfirian era, walking in the central Alameda of Mexico City, where he says the famous phrase ‘In the bones, but with a French hat, with feathers de ostrich’, which tells us about the position of many Mexicans who preferred to live in a dictatorship and with European influence until death, despite the fact that this meant a crisis in the identity of Mexico.

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1. “El Porfiriato” [The Porfiriato], Secretaría de la Defensa Nacional, published July 2015, https://www.gob.mx/sedena/documentos/ el-porfiriato

2. “Revolución Mexicana: en qué consistió y quiénes fueron los principales líderes” [Mexican Revolution: what it consisted of and who were the main leaders], BBC News Mundo, published November 2018, https://www.bbc.com/mundo/noticias-america-latina-46245076 3. “Revolución Mexicana: en qué consistió y quiénes fueron los principales líderes” [Mexican Revolution: what it consisted of and who were the main leaders] BBC News Mundo, November 2018, https://www.bbc.com/mundo/noticias-america-latina-46245076

4. Alain Prieto, “La nueva arquitectura que surgió con la Revolución” [The new architecture that emerged with the Revolution], Expansión, published November 2013, https://obras.expansion.mx/arquitectura/2013/11/20/la-nueva-arquitectura-que-surgio-con-la-revolucion

“The first Mexican awakening of contemporary architecture4”

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Once the revolution was over, the country entered a post-revolutionary era, where architecture, like the dictator, suffered from exile; in the case of Díaz, he went into exile in Paris where he later died, and in architecture, the Porfirian neoclassical was banished, and thus began a functionalist architecture that responded to the precariousness of the nation.

The first Mexican ‘awakening’4 of architecture occurred during the 1920’s, when architecture began to reclaim its Mexican identity, however, foreign architectural currents continued to arrive in Mexico, this time with ‘Art Deco’ and the influence of the skyscrapers of New York. So many functionalist buildings arose under the influence of Art Deco, with some including elements of national identity by the new concern of nationalism. This ‘Mexican awakening’ of identity was reflected in national symbols superimposed on buildings, however, this is how this need to recover a Mexican identity in architecture began.

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“The result is that the man of the 20th century feels crushed by so much ‘functionalism’, by so much logic and utility within modern architecture (...) Only by receiving true emotions from architecture can man once again consider it as an art” Mathias Goeritz

5. María Teresa De Alba. “Cabaret Voltaire”. https://dialnet.unirioja. es/descarga/articulo/3985116.pdf 6. E. Ambaz. The Architecture of Luis Barragán. (Nueva York: The Museum of Modern Art. 1976), 8.

7. El Eco, UNAM. “Manifiesto de la arquitectura emocional, 1953”. [Manifesto of emotional architecture, 1953], Published July 2015. https:// Museo%20Experimental%20El,principal%20funci%C3%B3n%20es%20la%20emoci%C3%B3n.

8. Andrea Ochoa. “Arquitectura emocional: entre el funcionalismo y la identidad mexicana” [Emotional architecture: between functionalism and Mexican identity]. ADmagazine. Published December 2021. https:// www.admagazine.com/arquitectura/que-es-la-arquitectura-emocional-movimiento-mexicano-20201110-7677-articulos

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eleco.unam.mx/manifiesto-de-la-arquitectura-emocional-1953/#:~:text=El%20nuevo%20

emotional architecture

The emotional architecture movement arises as a response to the brutal functionalism of post-revolutionary architecture, as well as a need to create a Mexican identity in architecture. There are two characters who are considered pioneers in this field, who are the sculptor Mathias Goeritz and the Mexican Pritzker Luis Barragán.

In 1953 in a country outside the interference of the world wars, in which everything was possible, Mexico, Mathias Goeritz inaugurated the experimental museum ‘El Eco’ [the Echo], designed, built and directed by him5, where he also wrote a ‘Manifesto of the emotional architecture’ to explain his theory; With the ‘El Eco’ museum, Mathias Goeritz inaugurates the concept of emotional architecture, the same concept that Luis Barragán would later adopt to explain his own architecture6.

The emotional architecture manifesto explains the objectives of this new experimental museum and with it, the principles and characteristics of emotional architecture. According to this manifesto, the main objective is emotion7; this museum challenges modern architecture that emphasizes too much the rational part of architecture. It describes a way out of the 20th century man who finds himself crushed by so much functionalism of modern architecture; “It seeks a way out, but neither external aestheticism understood as ‘formalism’, nor organic regionalism, nor that dogmatic confusionism have thoroughly confronted the problem that man —creator or receiver— of our time aspires to something more than a nice, pleasant and adequate house”7. Modern man, according to Goeritz, asks for a ‘spiritual elevation’ or rather, an ‘emotion’. With this museum, Goeritz wants to give modern man maximum emotion by aspiring to aesthetic integration.

Goeritz affirms that there is a way in which we perceive and inhabit spaces, beyond their functionality. To appreciate a space emotionally, factors such as color, lighting and water are taken into account, characteristics that put the senses of the human being to work, which promote unique sensations and emotions in each person8.

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9. El Eco. Manifiesto de la arquitectura emocional.

10. Ochoa. Arquitectura emocional, 46.

11. Ochoa. Arquitectura emocional, 48.

12. Sara Ahmed. Queer Phenomenology : Orientations, Objects, Others. (Durham: Duke University Press, 2006), 2.

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The plastic integration of the experimental museum was not understood as a program, but in a natural sense; Architectural space should be understood as a large sculptural element without falling into Gaudí’s romanticism, or into German or Italian empty neoclassicism9. They looked for a strange and almost imperceptible asymmetry that is observed in any living being. The architecture itself was an experiment, since there were no exact plans where the architect, sculptor and mason were the same person; that is why it is experimental, there are only a few schematic sketches of the plant and perspectives. This museum is an experiment with the purpose of creating new emotions for humans, without falling into empty and theatrical decorativeness.

No description of the ‘Echo’ is better than Goeritz’s own in The Emotional Architecture Manifesto, where he describes the following: The land of El ECO is small, but based on walls 7 to 11 m high, a long corridor that narrows (also raising the floor and lowering the ceiling) at the end, an attempt has been made to give the impression of greater depth. The wooden floor boards in this hallway follow the same trend, getting narrower and narrower, ending almost at a point. At this end point of the corridor, visible from the main entrance, it is planned to place a sculpture: a SHOUT, which must have its ECHO in a “grisaille” mural of approximately 100 m2 possibly obtained by the very shadow of the sculpture, which must performed on the main wall of the great hall.

No doubt—from a functional point of view—space was lost in the construction of a large patio, but it was necessary to complete the excitement once gained from the entrance. It should also serve for outdoor sculpture exhibitions. It must give the impression of a small closed and mysterious square, dominated by an immense cross that forms the only window-door.

This manifesto must be understood as an avant-garde point of view understood as a break between the established structures of the modern movement, and as a desire for renewal and change. Mexico, despite having lived through its Mexican revolution, had already recovered from it and did not have the ravages of the Second World War, so the principles of the modern movement that put aside spiritual and emotional needs to cover their task of reconstruction10, had no impact in the country.

In the museum, all the walls were gray; the only color element is the yellow tower in the courtyard; a ‘plastic poem’ that signified the hopeful ray of light in the midst of the gloomy confusion of life11. The contrast and tension of the walls, as well as the changes in elevation and depth effects, in my personal opinion produce nervousness and anxiety; but once in the central space, the feeling is the opposite, it is one of tranquility and serenity.

This architecture is then enriched by the senses of each person. We can say that we are affected by the things that come into contact with us; our emotions then involve ways of orienting ourselves to the world. Phenomenology explains that when we have a feeling, it is because of something that caused it, it is not something that comes from nowhere. ‘When we feel fear fear, we feel fear of something’12. We can say that we are affected by the things that come into contact with us; our emotions then involve ways of orienting ourselves to the world.

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“I believe in an emotional architecture.

It is very important for the human beings that architecture can be moved by its beauty. If there are different equally valid technical solutions for a problem, the one that offers the user a message of beauty and emotion, that is architecture” -Luis Barragán

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The experimental museum ‘El Eco’ then opened up new possibilities for Mexican architecture of the 20th century. We can say that these principles are based on creating an emotion, that although they can be guided, it is not about creating any in particular, since we respond differently due to our past experiences.

Luis Barragán worked together with Mathias Goeritz, and shared with him this ideology of emotional architecture, used and complemented it to explain his own architecture. Barragán had three stages in his architecture13; the first was the vernacular, the second the rationalist very attached to the ideals of Le Courbusier whom he met in person, and finally the one that made him succeed: emotional architecture.

The architecture of Luis Barragán in his last stage adopted the lines of functionalism, but he mixed them with elements that he considered reflected Mexican popular architecture, in order to create a personal version of modern architecture14. For Barragán, architecture should satisfy the spirit, with an architectural vocabulary such as water, walls, vegetation, patios and color15. In addition, he takes construction materials from vernacular architecture, such as plastering on the wall to cause a rough texture; clay tile floors; Ceilings with wooden beams; intense colors such as chrome yellow, Mexican pink, indigo blue, oxide red, bougainvillea lilac and uses decorative elements such as pulque pots, talavera pottery and glass spheres16. Key elements such as gardens and water represent our return to nature, to the essence of being. The light reflected on the colored walls paints the space and breaks the monotony of the spaces.

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Luis Barragán’s architecture speaks for itself, his principles are understood the moment the space is experienced. Barragán bases his principles on Goeritz’s emotional architecture, but it is a new interpretation of it, where he also solves problems of national identity and challenges the industrialization of the 20th century. The creative axis is based on recovering the subjectivity of the subject that projects and lives the new space; a space that is configured not from an instrumental functionality, but through the participation of those who pass through it, those who inhabit it; what is at stake are the dialogical sensations that it emanates and that is potentiated in the emotionality of the poeple. The bet is to return to place the human, and the ethics of our values, at the center of the creative process, a phenomenon of a complex nature, therefore, holistic, symbolic in itself17.

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13. Homero Rodríguez. “Identidad en la Arquitectura Mexicana contemporánea” [Identity in contemporary Mexican architecture], CienciAcierta, published July 2014, http://www.cienciacierta.uadec.mx/2014/06/06/identidad-en-la-arquitectura-mexicana-contemporanea/

14. Yolanda Bojórquez, Modernización y Nacionalismo de la Arquitectura Mexicana en cinco voces: 1925-1980. [Modernization and Nationalism of Mexican Architecture in five voices: 1925-1980], (Guadalajara, ITESO, 2011), 19.

15. Rodríguez, “Identidad en la Arquitectura Mexicana contemporánea.”

16. Rafael López Rangel. Luis Barragán y la identidad arquitectónica Latinoamericana. (Annals d’arquitectura, 1991), 2.

17. García Ayala et al., “Arquitectura emocional, patrimonio del siglo XX: retos para su conservación” [Emotional architecture, 20th century heritage: challenges for its preservation], (EDA, Esempi di architettura, 2019), 8.

18. García Ayala et al., “Arquitectura emocional,” 10.

19. Analía Llorente, “Qué es la neuroarquitectura y cómo puede ayudarnos a combatir el estrés y ser más creativos” [What is neuroarchitecture and how can it help us combat stress and be more creative?], BBC News Mundo, published May 29, 2021. https://www.bbc.com/mundo/noticias-56741621#:~:text=Los%20estudios%20de%20neuroarquitectura%20est%C3%A1n,forma%20de%20ense%C3%B1ar%20y%20aprender%3F

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new vanguards The emotional architecture of Luis Barragán marked the middle of the century, but it is still at the forefront among new architects today. There are architects from the second half of the 20th century and the beginning of the 21st century who reinvented this conceptualization of emotional architecture, such is the case of Ricardo Legorreta. Legorreta takes the elements of color, the presence of water, and the use of natural light, and adds new variants such as the monumentality of the spaces. However, in his works the use of color placed more from his personal taste is noticeable18, but he achieves a good dynamism and change of sensation in the same space through the use of light.

What makes Legorreta’s work special are the principles that he repeats from the emotional architecture of Luis Barragán; however, the new additions correspond more to a personal taste and not as a response to any problem of his time. Based on Legorreta’s architecture, we can say that he lacks support in his new additions; Although Barragán’s architecture works, we must emphasize that it is based on Goeritz’s experimental theory, which in turn bases it on an experimental space. Barragán, unlike Legorreta, was successful in adding to Goeritz’s experimental theory, the solutions to the identity crisis in Mexican architecture, as well as the balance of its external influences with a local architecture.

A new emotional architecture would then require, in addition to responding to current problems, theoretical support to add to the already experienced characteristics of emotional architecture. Perhaps at the time there was no scientific evidence on the brain’s response to space to test this experimental architecture, but today there is a difference between making an intuitive decision about architecture and having solid evidence based on knowledge19.

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In addition, emotional architecture solved the problems of those times in a practical way, transforming problems into architectural elements: Barragán interpreted the lack of Mexican identity in architecture with materials, textures and objects that evoke Mexican culture; he interpreted the lack of dynamism of modern architecture, with natural light that changes the atmosphere of the same space by reflecting on colored walls. In sum, he transformed radical functionalism and lack of identity into a new architecture; an emotional architecture.

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a new emotional architecture

A new emotional architecture is possible, rescuing the elements that have worked until now and basing them on theory and science; neuroarchitecture then appears as a challenging possibility that investigates the cognitive processes of the human being to understand how it reacts to shapes, colors, heights, that is, some principles of emotional architecture, and how they affect the human being. Neuroarchitecture then connects neuroscience, studying behavioral responses to the built environment. These studies will help to understand for certain what factors stimulate our sensations, and thus understand the relationships between sensory experiences and architectural perception.

Furthermore, the problems the world is facing today require new architectural responses.

Although there are currently problems related to the environment, human stress, international design, etc., these problems can be transformed into architectural responses in a practical way, as Barragán did. This new emotional architecture understands the historical and cultural biography of the emotional architecture that we know today, to propose new architectural responses translated into materials, connections and principles, based on neuroscience in order to create a response to the context and problems of today.

Today, we live in a broken world. A new emotional architecture can help save us. Three current problems will be taken as an example and finally how we can translate this problem into architectural elements that add to the principles of current emotional architecture.

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20. Llorente, “Qué es la neuroarquitectura” 21. Llorente, “Qué es la neuroarquitectura”

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Image: Carmen Llinares, BBC,2020

Many of the global problems affect us personally. Although the purpose of all this is to create a new emotional architecture, it seems to me that the first principle should be focused on our mental and emotional health. Stress and anxiety are more common problems of the 21st century than we would like to accept, and currently the architecture that is being developed does not care about our mental health. We are emotional beings, an architecture that cares about this is urgent.

Currently we have all experienced spaces that relax us and others that stress us. It does not take a genius to guess the factors that motivate these emotions, since this evidence is often very obvious, but there are recent studies that give answers to these reactions.

Neuroarchitecture tries to understand how space affects our brain and, consequently, our emotional state and behavior20. This study begins to identify the emotions that spaces cause with a process of scientific evidence. There are studies that show how the combination of color, light and shape are capable of enhancing the cognitive processes of people to evoke attention and concentration21. Virtual reality helps measure these reactions by changing the color of spaces digitally.

These studies provide general guidelines, since it is not a general recipe that applies to all people. These results are the following21: - The presence of nature relaxes the emotional state.

- Observing vegetation through a window and the presence of plants indoors usually lowers anxiety and stress levels.

- High ceilings would encourage creative and artistic activities.

- Low ceilings would favor concentration, routine work and a feeling of security when sleeping - Rectangular spaces are understood as buildings that are less overwhelming than square ones, which do cause a greater feeling of being enclosed.

- The marked angles of the buildings favor the appearance of stress or anxiety as opposed to curves or smooth contours that give us a feeling of security and comfort.

With this, we can verify that the elements of the emotional architecture of Goeritz and Barragán do guide our emotions towards certain paths, so it is possible to reduce stress and anxiety through these new principles. The new emotional architecture then proposes spaces that motivate good mental health.

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22. Ahmed, Queer Phenomenology, 27.

23. Llorente, “Qué es la neuroarquitectura”

Another problem that particularly affects architecture today is international design.

We can see a white house in a magazine, which could be anywhere in the world; international architecture is ending the identity and context of buildings. Also, new ‘milestones’ are created for a magazine, not for the experience. We must activate our senses for an architecture that we can live, touch, listen to; not just for photos.

This problem can be solved from a new materialism, which evokes an identity to the context where it develops. Although Barragán managed to evoke a Mexican architecture through vernacular materials and techniques, the new materialism in the new emotional architecture would try to find a new approach to materials; materials that impress us and we them.

Have we ever wondered why we feel more comfortable in one place than another; assuming that this space has the same physical characteristics and the only thing that changes are the materials, we can say that the materials we choose have a history that impresses us; marble, for example, evokes luxury and culture due to its historical use; perhaps we relate this marble to the statue of ‘David’ in Florence, an ‘untouchable’ statue; so if we see a marble wall it may not invite us to touch it. On the other hand, if the same wall is covered with wood, perhaps it evokes a forest in nature, and then perhaps invites us to touch it, and thus changes our impression of the space. We are oriented towards certain materials more than others; we take certain directions towards the materials; ‘Perception involves orientations’22; We then assume impressions and sensations in our bodies on the materials and once we see it in another context, our body repeats this effect. This is how we orient our body in some materials more than others.

Therefore, the new emotional architecture invites us to choose materials based on opportunities to acquire new experiences and impressions of the materials, not based on fashion, luxury and fleeting aspirations. Thus, we can guide meaningful emotions and not random emotions.

The new emotional architecture should therefore contemplate a new materialism that evokes living architecture, that does not repel the user due to the choice of its materials, and that does not forget to encourage the identity of the context in which it is developed.

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Finally, today technology is presented as a ‘facilitator’ of our lives since the industrial revolution. Today we are already living the consequences both in the ecological aspect and in our emotions. Currently there are “intelligent” buildings that surpass us and even only satisfy our whims and “facilitate” our daily chores. Although we could take advantage of this technology to connect neuroarchitecture studies with intelligent buildings, we could promote changes in the environment to encourage other emotions.

A house located in the north pole where it is cold, is much better equipped than a house in Mexico where the weather is better, because people there do not need to be locked up all day. The covid pandemic has shown that houses in Mexico and other countries are not sufficiently equipped with optimal spaces to cope with our emotions23, we have come across the confinement that has uncovered these shortcomings. We have always assumed that we have to take care of our bodies, we could do the same with our houses; we can use new technologies to improve the place where we live, in order to favor our emotions: rooms with lights that completely change the reading of the same space to evoke different environments and, therefore, emotions.

New direct connections with green spaces will help both the emotional and ecological issues, and doing so with endemic species would evoke a sense of identity and belonging. The connection of the Barragán gardens in his projects was due to a European influence; the connection of green areas with the new emotional architecture is a necessity that promotes mental health.

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conclusion

The new emotional architecture is relevant today because it scientifically verifies what has already been experienced by the emotional architecture of Goeritz and Barragán, in this way, the use of these architectural elements can be guided to implement emotional health, in addition to creating emotions. On the other hand, it implements new principles that meet the current needs not only of architecture, but of our people. In the same way, it uses technological resources for the benefit of our emotions and therefore, our mental health.

This new emotional architecture does not intend to create a recipe for the design of spaces; it simply takes the principles of emotional architecture and adapts it to today’s problems, laying down general guidelines that can motivate emotional health, in addition to provoking variable emotions in people, and continue to see this field as truly part of the arts.

Today’s problems have shown that architecture is not dealing with its own meaning; architecture is by and for humans, it makes no sense for us to continue creating empty, magazine-like, technological architecture, if it does not meet the most vital needs of human beings: their emotional health. The new emotional architecture invites us to create healthy spaces that motivate mental health, through the principles of emotional architecture, repeating the elements that work and adding these new ones to give a more human, -more emotional, sense to architecture of the 21st century.

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bibliography - “El Porfiriato” [The Porfiriato], Secretaría de la Defensa Nacional, published July 2015,

ht-

tps://www.gob.mx/sedena/documentos/el-porfiriato

- “Revolución Mexicana: en qué consistió y quiénes fueron los principales líderes” [Mexican Revolution: what it consisted of and who were the main leaders], BBC News Mundo, published November 2018, https://www.bbc.com/mundo/noticias-america-latina-46245076 - “Revolución Mexicana: en qué consistió y quiénes fueron los principales líderes” [Mexican Revolution: what it consisted of and who were the main leaders] BBC News Mundo, November 2018, https://www.bbc.com/mundo/noticias-america-latina-46245076 - Prieto, Alain. “La nueva arquitectura que surgió con la Revolución” [The new architecture that emerged with the Revolution], Expansión, published November 2013, https://obras.expansion.mx/arquitectura/2013/11/20/la-nueva-arquitectura-que-surgio-con-la-revolucion

- De Alba, María Teresa. “Cabaret Voltaire”. https://dialnet.unirioja.es/descarga/articulo/3985116.pdf - Ambaz, E. The Architecture of Luis Barragán. (Nueva York: The Museum of Modern Art. 1976).

- El Eco, UNAM. “Manifiesto de la arquitectura emocional, 1953”. [Manifesto of emotional architecture, 1953], Published July 2015. https://eleco.unam.mx/manifiesto-de-la-arquitectura-emocional-1953/#:~:text=El%20nuevo%20Museo%20Experimental%20El,principal%20funci%C3%B3n%20es%20la%20emoci%C3%B3n.

- Ochoa, Andrea. “Arquitectura emocional: entre el funcionalismo y la identidad mexicana” [Emotional architecture: between functionalism and Mexican identity]. ADmagazine. Published December 2021. https://www. admagazine.com/arquitectura/que-es-la-arquitectura-emocional-movimiento-mexicano-20201110-7677-articulos

- Ahmed, Sara. Queer Phenomenology : Orientations, Objects, Others. (Durham: Duke University Press, 2006).

- Rodríguez, Homero. “Identidad en la Arquitectura Mexicana contemporánea” [Identity in contemporary Mexican architecture], CienciAcierta, published July 2014, http://www.cienciacierta.uadec.mx/2014/06/06/identidad-en-la-arquitectura-mexicana-contemporanea/

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- Bojórquez, Yolanda. Modernización y Nacionalismo de la Arquitectura Mexicana en cinco voces: 1925-1980.

[Modernization and Nationalism of Mexican Architecture in five voices: 1925-1980], (Guadalajara, ITESO, 2011).

- López Rangel, Rafael. Luis Barragán y la identidad arquitectónica Latinoamericana. (Annals d’arquitectura, 1991).

- García Ayala et al., “Arquitectura emocional, patrimonio del siglo XX: retos para su conservación” [Emotional architecture, 20th century heritage: challenges for its preservation], (EDA, Esempi di architettura, 2019).

- Analía Llorente, “Qué es la neuroarquitectura y cómo puede ayudarnos a combatir el estrés y ser más creativos” [What is neuroarchitecture and how can it help us combat stress and be more creative?], BBC News Mundo, published May 29, 2021. https://www.bbc.com/mundo/noticias-56741621#:~:text=Los%20estudios%20de%20neuroarquitectura%20est%C3%A1n,forma%20de%20ense%C3%B1ar%20y%20aprender%3F

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