representation — World News, Travel and Social Action

Mexico City is a flourishing metropolis with a plethora of historic and modernist architectural sites. Here are a few attractions scattered around the city.

A street at the center of Mexico City. Flickr user Franx’. CC BY-NC 2.0.

A Gothic cathedral sits next to a glassy business building. Brick houses with arabesque detailing overlook the noisy streets full of men in suits and street food vendors. Mexico City is growing every year; its multiplicity of neighborhoods hosts a variety of architectural styles and people from all over the globe. Often regarded as an oasis of modernity in the entirety of Latin America, this urban center has been labeled the “next Paris'' or as a new version of New York. Given its history of colonialism and its willful modernization under Porfirio Diaz, Mexico City’s compilation of architecture is oftentimes representative of its past and present. Here’s a cursory glance at a few of Mexico City’s sites of modernization, and the contradictions at play in these structures.

The Central Library of the National Autonomous University on a gloomy day. Mark Hogan. CC BY-SA 2.0.

1. Central Library of the National Autonomous University

Juan O’Gorman’s Central Library of the National Autonomous University (UNAM) is a spectacle to behold. This behemoth holds the qualities of international modernist architecture: its 14-story frame sits above a glassy ground floor which looks over a neatly gridded yard. Yet, O’Gorman’s building doesn’t possess the stoicism of standard midcentury modern architecture; its distinctively Mexican-themed mural makes the building a historic storybook. Like a visual epic, the “Historical Representation of Culture” mural includes the expansive timeline of pre-conquest Mexico, the Spanish conquest, Mexican modernization and Mexico’s future. One can spot mosaics of the beginnings of Tenochtitlan, and the clash between pre-Hispanic Mexico and vehicles of Spanish colonialism. O’Gorman believed his mosaics of these cultural signifiers would make the library “different from the rest of the buildings within University City” by giving it a distinctly “Mexican character.”

A corner of the exterior of Casa Luis Barragan. Forgemind Archimedia. CC BY 2.0.

2. Casa Luis Barragan

Casa Luis Barragan, which was built in 1948, looks as if it were suspended in time and space: colorful red walls jut into the placid blue sky, although they are immobile in detail and structure. Luis Barragan is a world-renowned architect whose eccentric architectural style can be recognized in his buildings’ solid colors, geometric shapes and sparsity of details. This vibrant house is a foil of O’Gorman’s direct homage to Mexico as a nation; it highlights formalist qualities over political values, which Barragan considered secondary to his architecture. Barragan is an expert at manipulating elements of nature. The play of shadows within the structure itself and the use of greenery turns an otherwise intimidating monument into a livable habitat. Although countless travel journals have attached Mexican modernist themes to Barragan’s home, it resists the supposed markers of “Mexican” aesthetics and remains a private site of great accomplishment.

Thousands visit the Basilica de Guadalupe daily. Alex Marduk. CC BY 2.0.

3. Basilica de Guadalupe

Pedro Ramirez Vazquez’s seminal work, the Basilica de Guadalupe, is a sacred destination for thousands of Catholics around the world. The area it sits on, Tepeyac, was originally a place where Aztecs worshipped Tonantzin, or “the divine mother.” As a result of the suppression of Aztec religions during Spanish occupation, the Basilica de Guadalupe was built for Our Lady of Guadalupe who was said to have appeared before St. Juan Diego. The original colonial basilica was severely damaged in 1921 in a bomb attack, but Vazquez’s new Basilica de Guadalupe renovated the sacred site. This site was just one of Vazquez’s projects dedicated to industrializing Mexico, as shown in its modernist disk shape and the sheer mass of its structure.

Monumento a la Revolucion sitting at the city center. Ismael Villafranco. CC BY 2.0.

4. Monumento a la Revolucion

Located in the Cuauhtemoc borough of Mexico City, Monumento a la Revolucion is a stately memorial which celebrates the Mexican Revolution of 1910. Mirroring many of the United States’ federal buildings in Washington, the monument’s perfectly symmetrical Roman dome is fortified by brick pillars which meet at the four corners of the structure. Carlos Obregon Santacilia continued the project after it had been abandoned by both the state and the French architect they commissioned for the building, Emile Benard. Oliverio Martinez’s smooth sculptural representations of independence, reform, agrarian laws and labor laws protect the mausoleum on its four corners. In this marriage of neoclassical elements and Mexican nationalism, the Mexican government actively constructs its origin story via the conventions of Roman and French architecture.

Close-up shot of Martinez’s sculpture on Monumento a la Revolucion. Flickr user tchelseat. CC BY-NC 2.0.

A view of the facade of La Santisima Church. Wikimedia user Protoplasmakid. CC BY-SA 3.0.

5. La Santisima Church

La Santisima Church is covered in the Spanish churrigueresque style, which is the Baroque style that was dominant in Spain during the 18th century. Its facades are adorned with ornate carvings of the apostles, angels, Jesus and Mary placed in between its many columns. Although it appears relatively normal in a city full of extravagant churches, the distinctive religious iconography on its exterior deems La Santisima Church worthy of close attention.

Museo Soumaya shines brightly on sunny days. Flickr user Dan. CC BY 2.0.

6. Museo Soumaya

No piece of architecture screams “contemporary” like the Museo Soumaya. Museo Soumaya, which houses thousands of sculptures and paintings from pre-Hispanic Mesoamerica up to European impressionist works, is a piece of art itself. The Plaza Carso building in particular is an intriguing malformed shape dressed in millions of aluminum hexagons. Taking inspiration from Frank Lloyd Wright’s Guggenheim in New York, Fernando Romero designed the Plaza Carso as an enigma: the concept behind the work is intentionally vague, and the usefulness of its parabolic shape questionable.

Front view of Museo Anahuacalli. Javier Castañón. CC BY-NC-ND 2.0.

7. Museo Anahuacalli

Although Diego Rivera is widely known for his painted murals, his exploration of three-dimensional design is just as noteworthy. Rivera’s Museo Anahuacalli was made of his own accord; Rivera wanted a space for his collection of over 50,000 relics of pre-Hispanic Mesoamerica. The style of the building is an amalgam of various Mesoamerican styles, taking inspiration from Teotihuacan and the temples of the Mayans and Aztecs. The exterior of the museum has the symmetry of neoclassical architecture, while its interior is heavily influenced by the Aztec pyramid.

Many scholars speculate that the development of uniquely “Mexican” architecture, seen through Mexico City’s plethora of sites, stems from a desire for national representation. Mexico City’s postcolonial realities are found in its very infrastructure: one cannot ignore the presence of Catholicism, the reminders of a pre-Hispanic Mesoamerica, and the complications of deliberate industrialization. Juan O’Gorman’s library attempts to artfully marry the past, present and future. Casa Barragan is the work of a maverick who resists the narrative of a national architecture. The grandiose Basilica de Guadalupe is holy ground for millions of Catholics, yet it strays from the Gothic style of typical European cathedrals.

The sheer amount of voices and styles in this sprawling metropolis is telling of its complicated relationship with modernization. There is no shortage of historic, formal, religious and artistic values in each of Mexico City’s buildings.

Brazil, the last South American country to abolish slavery in the late 1800s, struggles to uplift their nation’s Black lives. Through pay gaps, urban designs, government representation and policing, Brazil’s society threatens the Black community.

A protester on the streets in Brazil. Michelle Guimarães.

Over the course of 300 years, approximately four million Africans were taken to Brazil as slaves. Today, Brazil’s racial demographics are 47.7 percent white, 43.1 percent multiracial and 7.6 percent Black. The average income for white Brazilians is almost double that of the average income for Black or multiracial Brazilians, according to the Brazilian Institute of Geography and Statistics. Also, 78.5 percent of people in Brazil who are receiving the lowest rate of income (equivalent to $5.50 U.S. dollars per day) are Black or multiracial people.

This May, Black Lives Matter protests filled the streets of Rio de Janeiro, Sao Paulo and Brasília after 28 people died during a police raid. Human rights activists said that the officers killed people who wanted to surrender and posed no threat. The raid took place in Rio de Janeiro, where heavily armed officers with helicopters and vehicles went into Jacarezinho, a poor neighborhood. Thousands of residents were subject to nine hours of terror.

Organizers said that 7,000 people took to the streets in Sao Paulo. Protesters painted the Brazilian flag with red paint and held up a school uniform stained with blood. In Rio de Janeiro, protestors chanted, “Don’t kill me, kill racism.”

As Brazilian author and activist Djamila Ribeiro said, “The Brazilian state didn't create any kind of public policy to integrate Black people in society," and that "although we didn't have a legal apartheid like the U.S. or South Africa, society is very segregated—institutionally and structurally."

In 2019, the police killed 6,357 people in Brazil, which is one of the highest rates of police killings in the world—and almost 80 percent of the victims were Black.

During COVID-19, Black Brazilians were more likely than other racial groups to report COVID-19 symptoms, and more likely to die in the hospital. Experts attributed this disparity to high rates of informal employment among Black people, preventing them from the ability to work from home, and a higher prevalence of pre-existing conditions. Specifically, in 2019, Black Brazilians already accounted for the majority of unemployed workers (64.2%); therefore, they already lacked economic support even before the pandemic.

An artist’s photoshoot with Brazil flag covering their bodies. Eriscolors.

Only a quarter of federal deputies in the lower chamber of Brazil’s Congress and a third of managerial roles in companies were Black people, according to the IBGE statistics from 2019.

Brazil’s President, Jair Bolsonaro, said during his campaign in 2018 that descendants of people who were enslaved were “good for nothing, not even to procreate,” while using the slogan “my color is Brazil.”

Keisha-Khan Y. Perry, a professor at the University of Texas, conducted an ethnographic study looking at how Black women in Gamboa de Baixo—a city culturally and historically tied to Black Brazilians—are leading the community towards social activism against racist politics. Specifically, these racist policies include political urban revitalization programs that push out Black and poor people. Perry said that these policies are a political tactic continually utilized in Brazilian cities.

However, recently in May, Milton Barbosa, one of the founders of the most notable Black civil rights organization in Brazil, Unified Black Movement, said, “There’s been an increase in awareness nationally… We still have to fight, but there have been important changes.”