Abstract
From the onset of contemporary architecture, the controversial presence of visual arts manifested itself as one of the approaches in its development. In the mid-twentieth century the use of the term “plastic integration” started to be widespread, exposing the confrontation between diverse stances and positions. Three of the pioneers in the forefront of this field were Carlos Obregón Santacilia, with his building for the Secretaría de Salubridad (1929), Mario Pani, with the Hotel Reforma (1936), and Enrique Yáñez, with the Sindicato Mexicano de Electricistas (1936-1940). The movement, headed by the leading architects of the time in collaboration with important artists, searched for an intersection between the visual arts and architecture.
Keywords
Modern Movement,
Modern architecture,
Art and architecture,
Modern art,
Plastic integration,
Carlos Obregón Santacilia,
Mario Pani,
Enrique Yáñez,
Mexican modern architecture.
Issue 42
Year 2010
Pages 14-23
DOI: https://dx.doi.org/10.52200/42.A.NBPEB885