Introduces for the first time, a range of theories and methods from critical theory/cultural studies to analyse and evaluate Mexican twentieth-century architecture. These theories and methods have been used successfully to re-assess modernist architecture elsewhere, but have never before been applied to Mexican architecture. Compiles the lives and works of 13 key Mexican Modernist architects across four generations: José Villagrán García, Luis Barragán and Juan O’Gorman from the first generation; Pedro Ramírez Vázquez, Agustín Hernández and Abraham Zabludovsky from the second; Carlos Mijares, Ricardo Legorreta and Juan José Díaz Infante from the third; and finally, Enrique Norten, Clara de Buen, Alberto Kalach and Javier Sordo Madaleno from the fourth generation, for the first time together in one book, illustrated with beautiful photographs of their most important work. Beautifully illustrated in full colour with over 170 plans, sections, elevations and photographs.

Monterrey means mountain king, a name befitting its location surrounded by the Sierra Madre in north-eastern Mexico. It was founded in 1596 near the natural springs of Santa Lucia, a luscious oasis in an otherwise arid landscape. Its colonial beginnings are still visible in the architecture of the Barrio Antiguo district in the city centre. In the late 19th century, industrial development transformed the modest town into a flourishing, modern city. Its foundries and breweries reflect its industry, while its skyscrapers, universities, churches, and monuments designed by celebrated Mexican modernist architects like Mario Pani, Enrique de la Mora, Pedro Ramirez Vazquez, and Luis Barragan reflect its modernity. Today, Monterrey is an important cultural, educational, medical, and business metropolis with buildings by Ricardo Legorreta, Nicholas Grimshaw, and Tadao Ando. Its fast growing residential, corporate, and commercial developments feature designs by Norman Foster, Cesar Pelli, Zaha Hadid , and Alejandro Aravena. This book presents the role of architecture in the continuous transformation of this city.

Mexico underwent tremendous growth and transition during the twentieth century, transforming it from a rural country into an urban nation that formed part of a much wider global process of modernisation/westernisation. During this time, Mexican Modernist architecture came into its own, becoming recognised both nationally and internationally as a paradigmatic example of this new design approach. However, relatively little is still known about how Mexican Modernism was able to become a mature and confident movement so quickly, one with such strongly held convictions that they are still very much alive and well today, and which are still shaping and influencing Mexicos architectural forms, lifestyles, values and ideals. This book examines those elements that contributed to its making during the twentieth century. In so doing, it considers Mexican Modernism to be a direct product of its socio-cultural settings and so uses a cultural studies approach to identify the key drivers, or 'power structures', which were involved. Five power structures are investigated which relate to academic, economic/political, social, gender, and post-colonial status. Such power structures are analysed by looking in close detail at 13 of the most famous Mexican architects, documenting their ideas through their own verbal testimonies and their most interesting buildings. Those architects include: Jose Villagran Garcia, Luis Barragan and Juan O'Gorman from the first generation; Pedro Ramirez Vazquez, Agustin Hernandez and Abraham Zabludovsky from the second; Carlos Mijares, Ricardo Legorreta and Juan Jose Diaz Infante from the third; and finally, Enrique Norten, Clara de Buen, Alberto Kalach and Javier Sordo Madaleno from the fourth generation. This book's uniqueness lies in revealing the inter-relationships of the power structures that have controlled and constrained what Mexican architecture could achieve, offering a dissection of what happened within the profession. The book also criticizes the persistence of these same power structures today, and it voices the urgent need for a new kind of architecture for the future. It is essential reading for anyone studying Mexican architecture.