Luis Barragán was an Influential Figure in Architecture from Mexico

In the 1930’s during when Mexico’s economy was recovering modern architecture seem was more for public buildings. The first example of this type of architecture was the institute of hygiene in Popotla Mexico in 1925. This building was designed by Jose Villagran Garcia. The studio inside was designed by Juan O'Gorman for Diego Rivera and Frida Kahlo. Juan O’Gorman designed was inspired by Le Corbusier studio in Paris. One of the projects that was very ambitious of modern architecture was the construction of the University of Mexico in Mexico City in the 1950’s. This project was built under the direction of Enrique del Moral, Pani, and Carlos Lazo. This building was perfect for practicing and planning out of modern architecture in Mexico.

Geoffrey Wright, an El Paso architect, describes Henry Trost’s grand design of El Paso High School incorrectly as a “renaissance revival” in a 1991 article in the Austin American-Statesman. Although he was mistaken in this observation, he made another observation that was correct, which is that the eastern façade of El Paso High School’s six humongous columns, on top of it’s bases and adorned with acanthus leaves, is most definitely a design of the Classical Revival style. He also went on to state, “[T]he style adopted the best parts of Greek and Italian architecture centuries later.”

Without a doubt, Frank Lloyd Wright was one of the greatest architects in American history and the greatest architect of the 20th century. Nature was his muse and his architectural structures embodied organic qualities. He took full advantage of the technological advances of the 20th century but redirecting the concept of space and employing new techniques; Wright was known for his modern and innovative designs. He believed that, “architecture was not just about buildings, it was about nourishing the lives of those sheltered within them”. Wright is not only one of the most well known architects in America but he is also thought of as one of the most influential architects in the world.

Mexican artists, more than most other artists in the Americas, exemplify the political and social obligations of artists. According to Soltes (2011), several Mexican artists of the early twentieth century were inspired by the revolutions and political unrest occurring in Mexico, which was reflected in their work. Diego Rivera (1886-1957) considered one of Mexico’s Renaissance artists, influenced by European avant-garde style, painted Zapatista Landscape (1915). This work was done as Rivera’s tribute to the Mexican revolutionary “Emiliano Zapata who had played a key role in the 1910 Mexican Revolution that had overthrown the then President Porfirio Diaz” (Soltes, L43, 4:42). Soltes (2011) describes this work: “very clearly we see a rifle; we see it's a sarape, together with a very stylized backdrop of water, mountains and sky, punctuated by a work that seems largely to emulate the synthetic cubist style of Picasso and Braque that we've earlier discussed. One has the allusion indeed, that we are looking at a collage of geometric forms made of diverse materials imposed against that background of vague sea and sky”(L43, 4:13).

Throughout his time as a muralist, Rivera's style had changed. From Mexico's pragmatic, pre-Colombian work – to digest and abstract innovation [modernism] learned over in Europe. Rivera's distinctive style was his aced masterpiece and in addition, an expansive worry for quality/texture, and his vivid, and vibrant differentiating colors. In any case, regardless of his style, Rivera dependably figured out how to join either his political perspectives and viewpoints or his Mexican foundation in his work, regardless of whether his political perspectives were quite controversial – to the point of which it sparks uproar(s) or riot and grating condemnation around the globe. Rivera's significance was incredible, and not simply to America, but rather to numerous other world nations as well.

Diego Rivera was a Mexican painter whose work was very influential to both Mexican and American cultures in the early twentieth century. Rivera was very passionate about his work and hoped to change the world one day with his creations. His work was rather expressive, showing his historical Mexican roots while also going along with the many revolutions and displaying radical views in his paintings. Rivera’s work is important to the history of art and to the societies of Mexico and America.

The official Bravo site on the internet has samples of his work from the 1920s to the 1990s, as he lived to be 100 years old (“Manuel Alvarez Bravo” para. 8). In that span of time, Bravo kept the subjects of his pictures the same. He photographed Native people, their living conditions, relics, and landscapes. Viewers will not see society people among the photo array on his official website.

“Architecture should not be seen as representing a magical transition from the worldly to the heavenly, as had been implied by the Baroque Style, but rather as a medium that told nothing less than the story of the “origins” of mankind.” (Ching 610)

It appears that from the very beginning, Frank Lloyd Wright was destined by fate or determination to be one of the most celebrated architects of the twentieth century. Not only did Wright possess genius skills in the spatial cognition, his approach to architecture through geometric manipulation demonstrates one aspect of his creativeness. Forever a great businessman, Wright seemed to know how to please his clients and still produce some of the most innovative and ridiculed buildings of

Alvin Boyarsky was born in 1928 in Canada and graduate with a degree in architecture from McGill University. After working in several offices through London and Montreal; Boyarsky took a second degree as an Urban Planner from Cornel University. His experience and achievements in the field allowed him to create a unique insight into architecture defining it as not only being a profession, but a wide field that

It is the spring of 1982;the venue,the auditorium of the School of Architectre,University of Texas at Arlington.Bernhard Hoesli is speaking to a capacity crowd;his first lecture in Texas since his departure from Austin in the summer of 1957. I have arrived late, having driven the 350miles from San Antonio to the Dallas-Fort Worth area.Though there is a substantial contingent of young architecture students for whom the lecture is only one of a series,glancing around I reacquaint myself with the older faces;the balding,graying heads in the hall----Duane Landry and Jane Lorenz Landry,Bill Odum,Bill Booziotes,Rik Mcbride,and many,many others---all former students of his,and

Throughout history, many inventors and free thinkers have helped the world to evolve and become what it is today. Howard Roark’s independent thinking hinders his career but modernizes architectural design. Roark creates his own style instead of sticking to classical design like other architects. He builds buildings and homes that no one ever has thought of and known to be possible. Roark may be paving the way for future architects but many free thinkers in history have changed our society and the world we know today.

As writer, interior designer, educator, and American architect Frank Lloyd Wright once said, “The mother art is architecture. Without an architecture of our own we have no soul of our own civilization” (BrainyQuote). The purpose of this paper will deal with the description of...

One of the most influential and well-known architectural engineers in America during the twentieth century has got to be Frank Lloyd Wright. He’s created and designed many creative and functional buildings for most of his career which spanned to about seventy years. His futuristic and modern designs were unique and creative, yet they were still functional for one to live in them. His eccentric thinking has brought about and greatly influenced the image of twentieth century architecture. His works have paved the way to the designs and structures of the civil engineers and architects that we have today in the twenty-first century.

In the field of architecture, one can find different ways of understanding and studying it. The following essay discusses the fields of knowledge of three subjects: History, Theory, and Criticism in Architecture. This paper explains each one in order to establish the differences between them, and then discuss why in the last years, the limits between them have been blurred. To understand more about the three topics in question, a parallelism between Literature and Architecture was established, in order to explain them with ease.