Rivera, Diego . "The new Mexican architecture: a house of Carlos Obregón = La nueva arquitectura mexicana: una casa de Carlos Obregón." Mexican Folkways (Mexico City) 2, no. 6 (1926): 19-29.
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In this review of Mexican architecture, the painter Diego Rivera criticizes the aesthetic taste that gave rise to the abominable architecture of the Porfiriato (the Porfirio Díaz regime, before 1910) and to most of the architectural work of the post-revolutionary period. Rivera berates both, repudiating their emphasis on the mundane, on the “charro (horseman),” and on the neo-colonial. He hates the nineteenth century, especially the end-of-century buildings such as the National Theater, the Post Office, and what is today the Palace of Communications, all of which are in Mexico City. The painter claims that the first important contribution to Mexican architecture was made on the day when the Spanish aesthetic entered the mind of the indigenous laborer, creating a mestizo architecture that could be expressed in a secular or religious style but was beyond the control of metropolitan authorities. The revolution of 1910 is regarded as the first step toward a new architecture, so much so that Rivera held up Carlos Obregón’s work as a model of the architecture that should be used to build a new Mexico. He describes the common area that the architect created with cheap and hygienic materials, where there is no waste, and tubes and measuring devices are used as a form of decoration.
Diego Rivera’s analysis can easily be extrapolated to the field of plastic arts, and lays the groundwork for the mestizo process, which would be an essential element in the establishment of the new post-revolutionary order. The article is illustrated with a view of the architect Obregón’s home, showing the front of the building and an interior view with the cupola of San Miguel. Rivera takes advantage of the situation to insert some of his murals into the Ministry of Public Education.