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Mauricio
Rodriguez Anza has a strong urge to explore the revaluation of
form in Mexican architecture. His revision of modem Mexican
architecture suggests a dialogue between exterior and interior
spaces.
The
leitmotif of his recent work consists of examining
three-dimensional drawing by way of tectonic drawings which have
gradually evolved into specific languages with a corresponding
physical equivalent It has led him to erect installations that
begin by dealing with a three-dimensional space in order to
develop a new vocabulary for large formats.
The
architectural deconstruction presented by Mauricio Rodriguez Anza
in Summons consists of separating the architectural drawings of
the physical aspect of facades (structural articulation that is
beginning to be used as a way to decode architecture from
deep-rooted traditions of icons that propose main entrances, front
with regard to rear, etc., and is becoming increasingly more
referential). He wants to remove the masks that have attempted to
hide the essence of modern architecture, that is, its structure.
In
Summons the forms system is suggested and used in different ways
via a structural module that explores the prospects of
structurally-related composition formats, so that a building can
function better. The different readings Rodriguez Anza proposes
(trusses, panels and graphic supports) reflect the important
potential of their components. The piece also proposes
identifiable elements for use in integral buildings or
communities.
If
Rodriguez Anza's earlier work championed a progressive
architecture based on the idea of redefining and rejuvenating
buildings to get the most advantage out of them, in Summons he
also tries to relate a system of architectural symbols to the
unpredictable vicissitudes—contractions and expansions—of the
modem economy. As yet, he says, no one has invented an
architecture that reacts in a parallel fashion. The relativity
between architecture and finance warrants a building that can
adapt to the vitality of whoever is using or reusing it.
So
the structural modules that make up the Summons architectural
installation will be subject to contemporary financial
speculations. But, in the words of Gabriel Esquivel, architect and
professor at the
University
of
Columbus
in
Ohio
,
"they will allow for the existence of crossed programs. These
programs will not be characterized or ranked by the use of
different drawings, colors or materials. This new
dematerialization of Mexican architecture as well as its tectonic
limit is the sole programmatic and materiality code, in revising
the basic principles of modernity; they are an attempt to open new
paths in Mexican architecture. In my opinion that is an admirable
idea."
Museo
XTeresa. October 1998.
Other
sites on Mauricio Rodriguez Anza:
THE
USES OF MEANING
RHETORIC AND ELOQUENCE
THRESHOLDS
(NEW YORK EXHIBIT)
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