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20世纪末的墨西哥建筑,可概括为三股势均力敌却风格迥异的潮流:冈萨雷斯·德·莱昂的表现主义体量感,雷高莱塔布景式的多彩景观以及TEN事务所的技术一国际主义诉求。然而当下的情况,则要比20世纪末复杂得多。在21世纪建造完成的作品中,相当一部分体现出某种双重的多样性,即有时代感又极其风格化。由来自不同时代且年龄各异的执业团队,构成了墨西哥当代建筑的全景,这不同于新生代尤为突出的智利建筑,在那里,年轻一代正在将其前辈送入历史。风格上截然不同的学派和潮流,亦能在墨西哥建筑中和睦相处,这又与巴西建筑形成了鲜明的对比,在那里,仍可察觉到对现代主义风格代代相传的忠诚。于是,多样性转而成为价值所在。由阿尔伯特·卡拉奇、毛乌里西奥·洛查、哈维尔·桑切斯、豪尔赫·安布罗西和生产者工作室所代表的一代墨西哥建筑师,致力于操作触手可及的现实,把独特的地方资源作为手段,已将其所追求的理念转化为一套扎实的建筑语言。
Mexican architecture at the end of the 20th century can be summed up in three evenly matched but very different styles: Gonzales de León’s expressionist sense of volume, the colorful landscape of Recoleta’s towering architecture and TEN’s technology-internationalism Appeal. However, the current situation is much more complicated than the end of the 20th century. A considerable part of the work completed in the 21st century embodies some sort of double diversity, that is, the sense of the times is extremely stylized. By a team of practitioners of different ages and ages, the panorama of contemporary Mexican architecture is different from the more prominent Chilean architecture of the new generation, where the younger generation is bringing its predecessors into history. A distinctly different school and trend, as well as a living in Mexican architecture, is in stark contrast to the Brazilian architecture, where the allegiance to modernism from generation to generation can still be perceived. As a result, diversity turns to be the value. A generation of Mexican architects, represented by Albert Karachi, Mauriuio Locha, Javier Sanchez, Jorge Ambrosi and Producer’s Studios, is committed to operating within reach , Using unique local resources as a means to translate the idea pursued into a solid architectural language.