The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The article shows a certain displacement in Tomás Maldonado’s axis of interest, since it defines architecture as a protagonist, not only of the formal aspect but of the social aspect as well.
The journal Revista de Arquitectura: órgano de la Sociedad Central de Arquitectos y del Centro de Estudiantes de Arquitectura [The Architectural Journal: Organ of the Central Society of Architects and the Architectural Students Center] (Universidad de Buenos Aires) was born in 1915 linked to that faculty’s docents. However, toward the mid-1920s, the Central Society of Architects began to assert its overwhelming control in the field, eventually transforming it into its own publication. Tomás Maldonado is an intellectual, painter, and designer born in 1922 in Buenos Aires. In 1945, he became one of the founders of the painters movement known as Asociación de Arte Concreto — Invención [Concrete Art and Invention Association], and in 1954, he settled in Germany, where he became professor of the Hochschule für Gestaltung [School of Advanced Studies in Form] in Ulm, an institution which he later directed. Maldonado has recognized that he developed this text following discussions generated by the Manifiesto Blanco [White Manifest] (1946). This was an important proclamation by means of which the Italian-Argentinean artist Lucio Fontana had started a dialog with the Manifiesto Invencionista [Inventionist Manifest] (1946), proposing in turn that matter, color, and sound in movement be the integral phenomena of the new art. This document was selected because it attests to the interest of the Concrete vanguardists in Argentina in the development of design and, in the case of its author, the early defense of ideas that he worked with during his teaching post in Ulm.