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The name Luis Barragan evokes images of Latin American modernism-brightly colored plain surfaces set off against lush foliage. His 1,250-acre Gardens of El Pedregal, begun in 1945 on the lava fields of south of Mexico City, were dotted with houses and plazas, fountains and ponds, cacti and pepper trees. Barragan considered El Pedregal his most important project, and critics have described the houses and gardens there as a turning point in Mexican architecture.This book examines El Pedregal's program and form, its representation in architect-commissioned photographs and advertising, and its place within contemporary discourses on cultural identity, design and place, and suburbanization.Like our highly acclaimed Revolution of Form, Luis Barragan's Gardens of El Pedregal offers an in-depth analysis of this now mostly destroyed project through original documents, drawings, color and black-and-white photography, and critical examinations of the design process.
He considered El Pedregal his most important project, and critics have described the houses and gardens there as a turning point in Mexican modern architecture.".
This landmark collection of illustrated essays explores the vastly underappreciated history of America's other cities -- the great metropolises found south of our borders in Central and South America. Buenos Aires, So Paulo, Mexico City, Caracas, Havana, Santiago, Rio, Tijuana, and Quito are just some of the subjects of this diverse collection. How have desires to create modern societies shaped these cities, leading to both architectural masterworks (by the likes of Luis Barragn, Juan O'Gorman, Lcio Costa, Roberto Burle Marx, Carlos Ral Villanueva, and Lina Bo Bardi) and the most shocking favelas? How have they grappled with concepts of national identity, their colonial history, and the continued demands of a globalized economy? Lavishly illustrated, Cruelty and Utopia features the work of such leading scholars as Carlos Fuentes, Edward Burian, Lauro Cavalcanti, Fernando Oayrzn, Roberto Segre, and Eduardo Subirats, along with artwork ranging from colonial paintings to stills from Chantal Akerman's film From the Other Side. Also included is a revised translation of Spanish King Philip II's influential planning treatise of 1573, the "Laws of the Indies," which did so much to define the form of the Latin American city.
In this rapidly globalizing world, any investigation of architecture inevitably leads to considerations of regionalism. But despite its omnipresence in contemporary practice and theory, architectural regionalism remains a fluid concept, its historical development and current influence largely undocumented. This comprehensive reader brings together over 40 key essays illustrating the full range of ideas embodied by the term. Authored by important critics, historians, and architects such as Kenneth Frampton, Lewis Mumford, Sigfried Giedion, and Alan Colquhoun, Architectural Regionalism represents the history of regionalist thinking in architecture from the early twentieth century to today.
Shaping Terrain shows how the physical landscape and local ecology have influenced human settlement and built form in Latin America since pre-Columbian times. Most urban centers and capitals of Latin American countries are situated on or near dramatically varied terrain, and this book explores the interplay between built works and their geographies in various cities including Bogotá, Caracas, Mendoza, Mexico D. F., Rio de Janeiro, Santiago de Chile, and Valparaíso. The multi-national contributors to Shaping Terrain have a broad range of professional experience as urbanists, historians, and architects, and many are globally renowned for their design work. They examine how humans negotiate with the existing environment and how the built form expresses that relationship. The result is a wide-ranging representation of the unique legacy of Latin America’s urban heritage, which is a repository of possibilities for future cities.
"Resurrecting Tenochtitlan considers the ways in which artists, city planners, architects, and intellectuals in Mexico shaped the evolution of Mexico City's civic identity in the first half of the twentieth century. Long forgotten and assumed to have been completely destroyed during the Spanish conquest, layers of the remnants of Tenochtitlan were discovered in the middle of a drainage project augmented under the longtime president Porfirio Díaz. As the cityscape changed in the wake of the ends of the Porfiriato and the Mexican Revolution, the city's layers of history were uncovered to find the remnants of the Aztec capitol of Tenochtitlan, which stirred imaginings of a new and modern Mexican capital and nation that still drew from its ancient history. Tying the modern city to the ancient one was also a way in which intellectuals articulated a mestizo cultural identity. This discovery led to the renewed interest in 16th-century maps by artists, architects, and city planners to understand the ways in which the Aztec capital intersected with the beginnings of Spanish settlement over it. The manuscript examines how artists such as Juan O'Gorman and Diego Rivera drew from the recent work of archaeologists to render panoramic depictions of both the modern Mexican and the Aztec capital to visualize it for public audiences. And while not strictly chronological in its organization, it looks at how attitudes toward modern Mexico City's ties to Tenochtitlan shaped national identity and shifted over time. The authors' timeframe ends with the inauguration of Diego Rivera's long-planned Anahuacalli Museum, which was created with the support of the National Museum of Anthropology to display pre-Columbian artifacts. Its completion, after Rivera's death, was met with the first waves of the youth cultures in Mexico whose disinterest in and suspicion toward state-sponsored national projects signaled the beginning of the collapse of these ideas"--
Invisible Gardens is a composite history of the individuals and firms that defined the field of landscape architecture in America from 1925 to 1975, a period that spawned a significant body of work combining social ideas of enduring value with landscapes and gardens that forged a modern aesthetic. The major protagonists include Thomas Church, Roberto Burle Marx, Isamu Noguchi, Luis Barragan, Daniel Urban Kiley, Stanley White, Hideo Sasaki, Ian McHarg, Lawrence Halprin, and Garrett Eckbo. They were the pioneers of a new profession in America, the first to offer alternatives to the historic landscape and the park tradition, as well as to the suburban sprawl and other unplanned developments of twentieth-century cities and institutions. The work is described against the backdrop of the Great Depression, the Second World War, the postwar recovery, American corporate expansion, and the environmental revolution. The authors look at unbuilt schemes as well as actual gardens, ranging from tiny backyards and play spaces to urban plazas and corporate villas. Some of the projects discussed already occupy a canonical position in modern landscape architecture; others deserve a similar place but are less well known. The result is a record of landscape architecture's cultural contribution - as distinctly different in history, intent, and procedure from its sister fields of architecture and planning - during the years when it was acquiring professional status and struggling to define a modernist aesthetic out of the startling changes in postwar America.
Gardens take many forms, and have a variety of functions. They can serve as spaces of peace and tranquilty, a way to cultivate wildlife, or as places to develop agricultural resources. Globally, gardens have inspired, comforted, and sustained people from all walks of life, and since the Garden of Eden many iconic gardens have inspired great artists, poets, musicians, and writers. In this short history, Gordon Campbell embraces gardens in all their splendour, from parks, and fruit and vegetable gardens to ornamental gardens, and takes the reader on a globe-trotting historical journey through iconic and cultural signposts of gardens from different regions and traditions. Ranging from the gardens of ancient Persia to modern day allotments, he concludes by looking to the future of the garden in the age of global warming, and the adaptive spirit of human innovation.