Design In California And Mexico 1915 1985

This groundbreaking book looks at the influence California and Mexico have had on each other’s architecture and design in the 20th century. The histories of Mexico and the United States have been intertwined since the 18th century, when both were colonies of European empires. America’s fascination with Mexican culture emerged in the 19th century and continues to this day. In turn, Mexico looked to the U.S. as a model of modernity, its highways and high-rises emblematic of "The American Way of Life." Exploring the design movements that defined both places during the 20th century, this book is arranged into four sections— Spanish Colonial inspiration, Pre-Hispanic Revivals, Folk Art and Craft Traditions, and Modernism. Featured are essays by leading scholars and illustrations of more than 300 works by architects and designers including Richard Neutra, Luis Barragán, Charles and Ray Eames, and Clara Porset. The word translation originally meant "to bring or carry across." The constant migration between California and Mexico has produced cultures of great richness and complexity, while the transfers of people and materials that began with centuries-old trade routes continue to resonate in modern society, creating synergies that are "found in translation."

The first comprehensive examination of California''s mid-century modern design, generously illustrated. In 1951, designer Greta Magnusson Grossman observed that California design was "not a superimposed style, but an answer to present conditions.... It has developed out of our own preferences for living in a modern way." California design influenced the material culture of the entire country, in everything from architecture to fashion. This generously illustrated book, which accompanies a major exhibition at the Los Angeles County Museum of Art, is the first comprehensive examination of California''s mid-century modern design. It begins by tracing the origins of a distinctively California modernism in the 1930s by such European émigrés as Richard Neutra, Rudolph Schindler, and Kem Weber; it finds other specific design influences and innovations in solid-color commercial ceramics, inspirations from Mexico and Asia, new schools for design training, new concepts about leisure, and the conversion of wartime technologies to peacetime use (exemplified by Charles and Ray Eames''s plywood and fiberglass furniture). The heart of California Design is the modern California home, famously characterized by open plans conducive to outdoor living. The layouts of modernist homes by Pierre Koenig, Craig Ellwood, and Raphael Soriano, for example, were intended to blur the distinction between indoors and out. Homes were furnished with products from Heath Ceramics, Van Keppel-Green, and Architectural Pottery as well as other, previously unheralded companies and designers. Many objects were designed to be multifunctional: pool and patio furniture that was equally suitable indoors, lighting that was both task and ambient, bookshelves that served as room dividers, and bathing suits that would turn into ensembles appropriate for indoor entertainment. California Design includes 350 images, most in color, of furniture, ceramics, metalwork, architecture, graphic and industrial design, film, textiles, and fashion, and ten incisive essays that trace the rise of the California design aesthetic. of wartime technologies to peacetime use (exemplified by Charles and Ray Eames''s plywood and fiberglass furniture). The heart of California Design is the modern California home, famously characterized by open plans conducive to outdoor living. The layouts of modernist homes by Pierre Koenig, Craig Ellwood, and Raphael Soriano, for example, were intended to blur the distinction between indoors and out. Homes were furnished with products from Heath Ceramics, Van Keppel-Green, and Architectural Pottery as well as other, previously unheralded companies and designers. Many objects were designed to be multifunctional: pool and patio furniture that was equally suitable indoors, lighting that was both task and ambient, bookshelves that served as room dividers, and bathing suits that would turn into ensembles appropriate for indoor entertainment. California Design includes 350 images, most in color, of furniture, ceramics, metalwork, architecture, graphic and industrial design, film, textiles, and fashion, and ten incisive essays that trace the rise of the California design aesthetic. , and fashion, and ten incisive essays that trace the rise of the California design aesthetic.P>California Design includes 350 images, most in color, of furniture, ceramics, metalwork, architecture, graphic and industrial design, film, textiles, and fashion, and ten incisive essays that trace the rise of the California design aesthetic.of wartime technologies to peacetime use (exemplified by Charles and Ray Eames''s plywood and fiberglass furniture). The heart of California Design is the modern California home, famously characterized by open plans conducive to outdoor living. The layouts of modernist homes by Pierre Koenig, Craig Ellwood, and Raphael Soriano, for example, were intended to blur the distinction between indoors and out. Homes were furnished with products from Heath Ceramics, Van Keppel-Green, and Architectural Pottery as well as other, previously unheralded companies and designers. Many objects were designed to be multifunctional: pool and patio furniture that was equally suitable indoors, lighting that was both task and ambient, bookshelves that served as room dividers, and bathing suits that would turn into ensembles appropriate for indoor entertainment. California Design includes 350 images, most in color, of furniture, ceramics, metalwork, architecture, graphic and industrial design, film, textiles, and fashion, and ten incisive essays that trace the rise of the California design aesthetic. , and fashion, and ten incisive essays that trace the rise of the California design aesthetic.iders, and bathing suits that would turn into ensembles appropriate for indoor entertainment. California Design includes 350 images, most in color, of furniture, ceramics, metalwork, architecture, graphic and industrial design, film, textiles, and fashion, and ten incisive essays that trace the rise of the California design aesthetic. , and fashion, and ten incisive essays that trace the rise of the California design aesthetic.

Design History Beyond the Canon subverts hierarchies of taste which have dominated traditional narratives of design history. The book explores a diverse selection of objects, spaces and media, ranging from high design to mass-produced and mass-marketed objects, as well as counter-cultural and sub-cultural material. The authors' research highlights the often marginalised role of gender and racial identity in the production and consumption of design, the politics which underpins design practice and the role of designed objects as pathways of nostalgia and cultural memory. While focused primarily on North American examples from the early 20th century onwards, this collection also features essays examining European and Soviet design history, as well as the influence of Asia and Africa on Western design practice. The book is organised in three thematic sections: Consumers, Intermediaries and Designers. The first section analyses a range of designed objects and spaces through the experiences and perspectives of users. The second section considers intermediaries from both technology and cultural industries, as well as the hidden labour within the design process itself. The final section focuses on designers from multiple design disciplines including high fashion, industrial design, interior design, graphic design and design history pedagogy. The essays in all three sections utilise different research methods and a wide range of theoretical approaches, including feminist theory, critical race theory, spatial theory, material culture studies, science and technology studies and art history. Design History Beyond the Canon brings together the most recent research which stretches beyond the traditional canon and looks to interdisciplinary methodologies to better understand the practice and consumption of design.

This publication brings together six artists and designers working in Mexico at midcentury who expanded the horizons of modernism.

Mexican architect Luis Barragan (1902-88) was one of the twentieth centurys most creative designers and one of its best-known architects. Self-taught, he achieved international renown for his remarkable personal artistic vision. Using vegetation, water, primary geometric forms, and vivid colors, Barragan created a poetic and painterly yet elegantly simple architectural style that transformed the Mexican building tradition into an abstract architectural language. This revised edition of our best-selling monograph the first comprehensive compilation of Barragans work (102 buildings and 12 additional projects) contains new photographs and an updated bibliography. Its intelligent analyses and superb illustrations demonstrate the complexity and scope of this genius, as both an architect and a landscape designer. Barragan The Complete Works collects over 300 illustrations including Barragans drawings; photographs of his work; re-drawn plans, elevations, and scale models of important projects; texts by Alvaro Siza, Antonio Toca, and J. M. Buendia, as well as an essay by Barragan himself; and an unabridged transcription of his Pritzker Prize acceptance speech. this book is the essential compendium on the work of this great master architect.

This volume examines the unprecedented growth of several cities in Latin America from 1830 to 1930, observing how sociopolitical changes and upheavals created the conditions for the birth of the metropolis. In the century between 1830 and 1930, following independence from Spain and Portugal, major cities in Latin America experienced large-scale growth, with the development of a new urban bourgeois elite interested in projects of modernization and rapid industrialization. At the same time, the lower classes were eradicated from old city districts and deported to the outskirts. The Metropolis in Latin America, 1830–1930 surveys this expansion, focusing on six capital cities—Havana, Mexico City, Rio de Janeiro, Buenos Aires, Santiago de Chile, and Lima—as it examines sociopolitical histories, town planning, art and architecture, photography, and film in relation to the metropolis. Drawing from the Getty Research Institute’s vast collection of books, prints, and photographs from this period, largely unpublished until now, this volume reveals the cities’ changes through urban panoramas, plans depicting new neighborhoods, and photographs of novel transportation systems, public amenities, civic spaces, and more. It illustrates the transformation of colonial cities into the monumental modern metropolises that, by the end of the 1920s, provided fertile ground for the emergence of today’s Latin American megalopolis.

This book is a joint project of the Architecture Foundation TapatíaBancomer Cultural Foundation and Editorial RM. This monograph presents the masterpiece of the architect: his home, considered one of the ten most important houses of the twentieth century. Built in 1947 and continually renovated Barragán the extent of being his masterpiece, is the greatest example of modern architecture in Mexico. Since 2004 is part of the WorldHeritatge Site of UNESCO. This work presents an extensivevisual tour of both the house and the studio and the garden that hosts impressive. The book includes three essays written byconnoisseurs of the work.