The graphic identifying writing models with socio-visual hegemony in the identification of architecture in Tampico (1914-1930)

Abstract

This research explores the capacity of the identifying graphic writing models, inscriptions or identifying symbols built, as one of the main instruments and means that architects had to penetrate the complex cultural mosaic in Mexico, arranged to identify building facades. from 1914 to 1930; as a visual expression of foreign cultural manifestations that became their own and identity in Tampico society. These objects of materialized communication are referents of modern Tampico thought and acted as spokesmen for the political and social ideas of the ruling class (bourgeoisie) interested in the new progressive modernizing current that arrived in the country at the beginning of the 20th century. The writing models were sponsored by certain local power groups that were linked to the cultural, economic, and political passing, and functioned as discursive and graphically representative visual devices; that were, mainly, of foreign origins, diffusers of new codes of inclusion and social exclusion in order to be models of civility. The objective of this research is to review the state of the art of socio-visual hegemony in writing models and its relationship with that culture. In consideration of John B. Thompson (2002) the media potentially transform the culture and daily life of the societies on which they act. The initial method was aimed at identifying the corpus of these (49) objects, their textual and argumentative study with a descriptive and interpretive exploration from the design point of view. For this, authors such as R. Williams (1997), S. Hall (1984) and Verón (2005), were considered, while the methodological perspective to think about the articulation between socio-visual hegemony and graphic representation was the deep hermeneutics proposed by Thompson with analysis sociohistorical discursive. This research with a qualitative-interpretive approach considers that the writing models supported imaginaries of progress, and this non-thematic graphic record allowed to link the cultural and visual dimension with the structural political dimension; to later identify the dialogue between these two dimensions. What was demonstrable through the empirical historiographic analysis carried out in writing models and the clear understanding of the concept of socio-visual hegemony.