Galeria Kurimanzutto, Alberto Kalach, 2008 Luis Barragán House and Studio, Luis Barragán, 1948Īrchivo Diseño y Arquitectura, Arturo Chavez Paz + Fernando Romero, 1952 Palacio Nacional, Vicente Mendiola & Manuel Ortiz Monasterio Torres Satelite, Luis Barragán & Mathias Goeritz, 1957 casa Egerstrom, Luis Barragán, 1967Įdificio Bacardi, Mies Van der Rohe, 1961 Museo Rufino Tamayo, Teodoro González de León y Abraham Zabludovsky, 1972 Museo Nacional de Antropologia, Pedro Ramirez Vazquez, 1964 Memorial a las Víctimas de la Violencia, Gaeta Springall Arquitectos, 2013 MUAC Museo Universitario Arte Contemporaneo, Teodoro González de León, 2008 Masterplan UNAM, Mario Pani & Enrique del Moral, 1948 Pabellón de Rayos Cosmicos, Felix Canderla, 1951 La Capilla de Santa Monica, Félix Candela, 1960Ĭapilla Las Capuchinas Sacramentarias, Luis Barragán, 1953Ĭasa Arturo Quintana, Augusto Álvarez García, 1965Įstadio Desportivo de Ciudad Universitaria, Augusto Perez Palacios, Jorge Bravo, Raul Salinas, 1952īiblioteca central universitario, Juan O’Gorman and Diego Rivera, 1950 Officinas Falcon, Rojkind Arquitectos y Gabriela Etchegaray, 2012 Mercado de la Merced, Enrique del Moral, 1956Ĭasa y estudio Diego Rivera & Frieda Kahlo, Juan O’Gorman, 1932 Templo de San Antonio de las Huertas, Enrique de la Mora y Félix Candela, 1956 Heroico Colegio Militar, Agustín Hernández y Manuel González Rul, 1976Įscuela Normal de Maestros, Mario Pani, 1945 La Tallera – Museum Siqueiros Cuernavaca, Frida Escobedo, 2012 Insignia de la plaza de los Abanicos, Guillermo Rosell, Manuel Larrosa y Félix Candela, 1958 Taller de Arquitectura, 2012Ĭapilla de San Felipe de Jesús, Félix Candela, 1959 Torre Tlatelolco, Pedro Ramírez Vázquez, 1966īiblioteca José Vasconcelos, Alberto Kalach, 2004īiblioteca La Ciudadela – a.o. Residential complex Nonoalco Tlatelolco, Mario Pani y Luis Ramos Cunningham, 1964 Plaza de las tres Culturas, Mario Pani, 1962 Programme subject to change MEXICO- CITY (11 days) In enclosed spaces, the coordinates of volumes and walls are so composed that the gaze of the visitor and user is drawn upwards: el aire es azul! Mexico City The Mexican poetic imagination creates gardens, houses and fonteins of breathtaking beauty: metaphysical landscapes for mediation and serenity. The interplay of mass and emptiness, an inheritance from the Aztec architecture, remains consistently present in the modern and contemporary architecture: masa y vacío. Above all, they integrated the phenomenal muralism, the supreme expression of post-revolutionary art. Not out of selfishness, but out of a deep sense of their own value, the Mexican modernist architects reinterpreted the dogmas of the USA and Europe.
Color y pasión.īut underneath, the Mexican architecture is so much more than the photogenic colour use. And not least the mystical deep pink of Luis Barragán. The sun-drenched ochre of Ricardo Legoretta. The cutting red of Diego Rivera or Juan O’Gorman. Without doubt, the overflowing colour palette is breathtaking and carries the cultural experience of this journey. The Mexican architecture is known to us as colourful and rich. This is what Mexicans are like, and this is also their history. Romantic, passive, sensual, tragic and cruel.
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