Page 134 - Libro Max Cetto

The Story of a Book. Modern Architecture in Mexico Cristina López Uribe and Salvador Lizárraga Sánchez

21
with French as the third language, “considering Myers’ book.” The publisher coun-
tered with Spanish-German-English. Unlike Girsberger, Hatje did not fear competition
with Myers’ book as there would be three years (as had originally been planned) between
22
the publications. There was talk of a print run of 3,000 copies. Cetto would be responsible
for writing a 20-page introductory text in German and translating it into Spanish, the
explanatory texts for the buildings in these same languages and obtaining the images (in-
cluding payments to photographers, which, according to the German publisher, are usually
covered by the architects themselves), all for a payment of DM 5,000. Finally, the editors
mentioned that they had “very good relations with foreign publishers who are probably
also interested in a book on Mexican architecture. We are thinking of Architectural Press
in London or Edizioni di Comunita in Milan, with whom we jointly publish several other
books.” Cetto replied more than three months later: 23

On my recent visit to Boston, I had the opportunity to discuss our plans with Gropius
and Giedion, who have extensive experience in the international field of architecture
books. Both urged me to write this book and are sure that their publisher will publish
it successfully. By the way, Giedion out of all people, whose low rate per copy has given
me a clear example, has resolutely confirmed my view that the rates you propose do
not correspond to the work that can be expected from me. So, if you want to draw up
a definitive contract, I have to ask you to review your proposal as much as possible,
because otherwise, unfortunately I will not be able to write the book for you. 24

Rapidly, in May 1956, the publisher acceded to Cetto’s request, although clarifying:
“On your meeting with Dr. Giedion I can say that, in fact, although the book was sold in the
United States for $10 and in Germany for DM 24 (only thanks to the generous support of
25
the US government), I only gave DM 1.50 to Dr. Giedion as payment per copy.” However,
they agreed to pay him DM 8,000 and have a print run of 4,000 or possibly 6,000 copies.
Cetto wrote on May 16 to say that he agreed to those amounts and requested that they
submit the contract. 26
On October 12, they sent him the contract signed by Gerd Hatje and gave him the
details of the two editions that would be released simultaneously, with the same plates be-
ing used:

Regarding the edition in English, we have repeatedly had the experience that American
publishers prefer books to be produced in Germany and then imported into the United
States. In this way, in terms of production costs, they come out slightly cheaper than
if they were produced in America. This is the only solution that satisfies us, because in
this way we have control over printing and we also simplify overall production, since
you can use the same print plates. 27

During the negotiations, Cetto specified in a letter dated September 26 that the title of
the book should not be “Moderne Mexikanische Architektur” because Myers’ book Mexico’s
Modern Architecture was too popular. Instead, he suggested “Heutiges (or Neues) Bauen in
Mexiko” (“Today’s –or New– Construction in Mexico”) and, for the Spanish and English
editions, “Contemporary Architecture in Mexico” and “Arquitectura Contemporánea en

21 Letter from Cetto to Hatje, January 10, 1956 (AMCC).

22 Letter from Kaspar to Cetto, January 18, 1956 (AMCC). This was a mistake, in fact, in 1956 four years had passed since
Myers’ book.
23 Letter from Kaspar to Cetto, January 18, 1956 (AMCC).
24 Letter from Cetto to Hatje, April 25, 1956 (AMCC).
25 Letter from Kaspar to Cetto, May 9, 1956 (AMCC).
26 They sent the contract four months later, on September 14, 1956, after which it would undergo a second negotiation
process (AMCC).
27 Letter from Kaspar to Cetto, October 12, 1956 (AMCC).

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