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.
Upon the installation of twelve stained glass windows designed by Marc Chagall in the synagogue at the University Medical Center of Jerusalem in February 1962, Ida Rodríguez [Prampolini] reflected on the resurgence of stained glass—for decorative purposes, especially in religious buildings—by architects, artists, and artisans. This resurgence implied a change in the artistic attitudes, a shift that subordinated individualism in order to participate in collective activities that served a social and “useful” function. Luminous glass, similar to living material, led to a resurgence of ancient techniques, as well as the development of innovative methods. These techniques were used in the construction of modern temples as well as in restorations, such as the cathedrals of Mexico City and Cuernavaca. The needs of the temple were put before those of the artist. Stained glass allowed light to pass through in a way that created an atmosphere of profound silence and spiritual elevation.
Mexico was not cut off from the resurgence of stained glass. Mathias Goeritz (1915–1990), along with architect Ricardo de Robina, designed the stained glass windows for the Catedral Metropolitana. In collaboration with Dr. González Ávalos, the owner of the Carretones Glass factory (in La Merced), Goeritz used the medieval method for manufacturing stained glass windows of neutral colors and geometric patterns with the intention of creating a golden hue within the cathedral. Although this text describes the techniques used to create stained glass, its true importance is that it defended the stained glass windows created by Goeritz for the Catedral Metropolitana. Since their installation, the windows have been the object of multiple criticisms and controversies. The ecclesiastic hierarchy has maintained an attitude of indifference and has allowed the few remaining windows to decay. Most of the windows have now been lost.
Sección de Arte, Arquitectura México, no. 14. Magazine editor: architect Mario Pani; head of the Sección de Arte: Mathias Goeritz.