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.
Damián Bayón reviews an article by J. M. Richards that appeared in the magazine Architectural Review in March 1950 that questioned some aspects of modern architecture. Bayón analyzes its development within the discipline and believes it is the right moment to “clear the air,” considering that half a century has passed since it began. He concludes his review by pointing out some elements common to “the creators of modern architecture,” such as Mumford, [Antoine] Pevsner, [Sigfried] Giedion, [Bruno] Zevi and Richards himself: “[an] intelligent faith that does not seek miracles but rather is trained in its historical criteria, it serenely awaits upon events and makes clear to us . . . what is permanent and what is transitory in the works that appear before our eyes everyday, in the attempts of all, even the most modest ones, we are part of an impulse that has not ceased since the beginning of time.”
Damián Carlos Bayón (1915-95) was an art critic, teacher, and author of numerous books. He held a Ph.D in history and was a disciple of Jorge Romero Brest (1905-89); in 1948 he became one of the founders of the magazine Ver y estimar [Look and Consider], for which Brest served as editor. The following year, Bayón moved to Paris, continuing to collaborate on the magazine until 1955 (the final year of its publication). He then began working with theoretician Pierre Francastel. Next, in the decades that follow, he became professor in the University of Texas at Austin. Ver y estimar had two publication eras: the first encompassed its first 34 issues, published between 1948 and 1953; the second stage, between 1954 and 1955, consisted of 10 issues. This publication was meant to be educational with regard to art criticism, both for its readers and for the students of Romero Brest that collaborated on the magazine. Its articles dealt with artists, exhibitions and problems within both the local and international contexts, as well as with different historical periods. This article permits us to observe the diversity of topics that Ver y estimar dealt with; in this case the dissemination of a recent bibliography on modern architecture. It also permits to understand the “emergence” of artistic manifestations according to Bayón, who praised the analytical perspectives of the architectural historians and critics he mentioned here.