Mexican Pavilion at Expo Shanghai 2010
National Competition. Second Prize. 2009.
*Project made by Alejandro Guerrero as a team with Margarita Peredo, Salvador Macías, Iván Orozco, Alejandro Arias and Christian Delgado.
The Project as a Nature-City Metaphor.
“…for the old, the world was a mountain… in Mesoamerica, the geometric representation and symbolic of the cosmic mountain was the pyramid.”1
At least two subjects have guided our investigation. The first one has to do with the way in that different foreign and national artists have captured our culture through their work. Very important individuals like Sergei Eisenstein, Josef Albers and Mathias Goeritz, have worried to rescue characteristics of our culture and to express them in their works like a way to connect the past with the present that they lived.The same has being done by innumerable Mexican artists like Juan Rulfo, Diego Rivera and Luis Barragán, who conscious of a “mexicanity”, have not resigned to explore transformations, that in all the cases produced a new vision of our traditions and enriched it that way.
The second subject is related with the recovery of three of the traditional forms of Mexican architecture and two of his essential characteristics: the pyramid as an archetypical form of the Mexican architecture and its universal character; the Aztec main road as the public element that allows the relationship of the architecture with its own landscape; the porticated patio as the unbeatable resource for the land domestication through the construction of a shelter; solidity and gravity that characterizes its volumes; its stereotomic condition, and finally its dedication to the natural phenomena like the sun light and the relationship that it establishes with his own landscape.
If the fundamental task of the architecture as a building is to shelter the body and as a set of buildings is to locate us in the territory, then the relationship of the cities with their landscape is the most important subject of the architecture; because it describes the vision of the cultures; because it communicates its relation with the world.
Paz Octavio, The Labyrinth of Loneliness, Fondo de Cultura Económica editor, México, first edition 1950, third edition 1999, page 293.