CONTENTS

foreword by Jorge Francisco Liemur xi

ACKNOWLEDGMENTS XV

(NOTES TOWARD AN) INTRODUCTION I

architecture with 1903 Francisco Pereira Passos begins a project to 1925 Modern begins Gregori "civilize" Rio de Janeiro by applying Baron Warchavchik and Rino Levi publishing

on the new Haussmann's ideas as an answer to the manifestos architecture; to the Semana de Arte tropical (lack of) urbanism. 7 catching up 1922

BR Moderna. 34

BR

1904 Victor Meano, Francisco de Oliveira Passos, Architecture and and Emile Jequier build a Latin American 1925-A Estridentopolis en 1975: Literary Avant-Carde character with a classical vocabulary. 10 the 38

AR BR CL 1925-b Jose Villagran Garci'a, Instituto de Higiene y 1906 Julian Garcia Nunez's Hospital Espanol Granja Sanitaria 40

defines a characteristic search for a new

language: Secession/Art Nouveau. 14 1928 The Columbus Memorial Lighthouse

an into AR . BR • MX Competition sparks investigation what architecture for Latin America should

1914 Jesus T. Acevedo and Federico Mariscal be like. 42

lecture in Mexico on the character, impor¬ C: DO tance, and role of the Spanish colonial legacy. 18 1929-a The Ibero-American Exhibition opens in

MX Seville, revealing the complex and contradic¬ tory relations between Spain and its former 1915 Antonin Nechodoma introduces the Prairie American colonies. 47

style to Puerto Rico. 21 MX

- with South 1922 In an attempt to create a building expres¬ 19 2 9 b Le Corbusier's first encounters sive of the "cosmic race," Jose Vasconcelos America: lectures and early projects for inaugurates in Mexico City the headquarters Argentina, Brazil, and Uruguay 51

of the Secretarfa de Education Publica and AR BR UY

formalizes the muralist project. 23 Francisco MX 1929-c With the History ofthe Skyscraper, Mujica articulates the skyscraper's Latin 1923 Mario Palanti: Palacio Barolo and Palacio American dimension. 55

Salvo 28 E AR . C: CU . MX

1924 Martin Fierro presents Alberto Prebisch 1929 Sergio Larrafn and Jorge Arteaga's Oberpauer and Ernesto Vautier's Ciudad Azucarera en Building initiates a new direction in Chilean

Tucuman and formalizes the connections architecture. 59

and interests in architecture among the literary and artistic avant-gardes. 30

AR . BR . MX ART n TECHNOLOGY UTOPIA

AR ARGENTINA BR BRAZIL C: CU CARIBBEAN: CUBA C: DO CARIBBEAN: DOMINICAN REPUBLIC

C: PR CARIBBEAN: PUERTO RICO CL CHILE CO COLOMBIA MX MEXICO PE PERU UY URUGUAY VE VENEZUELA

1930-a Getulio Vargas takes power in Brazil and 1937 Cine Gran Rex and Argentine Classicist

appoints twenty-eight-year-old Lucio Costa Modernism 92

as director of the Escola Nacional de Belas Artes (ENBA). 61 1938 Characteristic of the growing reach of

BR surrealism into architecture and Latin America, the Chilean architect-trained artist 1930-b Commemorating the centenary of its inde¬ Matta publishes "Sensitive Mathematics— pendence, Uruguay takes the first Soccer Architecture of Time" in Minotaure. 94

World Cup at home, and Montevideo is at AR . CL . MX the center of its modern ambitions. 64 UY 1938 Joaqufn Torres-Garcfa, Monumento cdsmico, Montevideo, Uruguay 99 1930 Flavio de Carvalho, "City of the Naked Man" 69 1939 The European diaspora brings architectural talents to Latin America on an

1931 Juan O'Gorman, Diego Rivera and Frida Kahlo unprecedented scale. 100

Houses and Studios 71 AR • BR » MX

1933 In his Pldticas sobre arquitectura lecture, 1939 The Brazilian pavilion at New York World's Juan O'Gorman highlights the existing Fair 105 polemics between functionalism and encounter that academic architecture. 73 1941 Pampulha represents an the future of Brazil. 108 E3 mx would change 0 BR

1936 Le Corbusier is back in Rio de Casa sobre el Janeiro. 77 1942 Amancio Williams, Arroyo 113 BR

1943- a The Brazil Builds exhibition at the Museum

New York the 1936-a The Kavanagh Building is finished, becoming of Modern Art in highlights of U.S. the tallest skyscraper in Latin America. 83 architectural and political interests relations with Brazil. 115

1936-b Francisco Salamone: Fascism and Monumental BR Architecture in the Pampa 84

1943 - b Town Planning Associates (TPA) is com¬ Brazilian town 1936-c Julio Vilamajo, School of Engineering 86 missioned to design a new around an airplane factory, Cidade dos Mo- This will be the of TPA's 1937 Wladimiro Acosta's Vivimda y ciudad high¬ tores. beginning with Latin America that will in¬ lights the relationship between ecology, new involvement but forms of leisure, the house, and the city. 88 clude not only plans for Chimbote, Peru, also master for Medellm and H AR plans Bogota, Colombia, and Havana, Cuba. 118

BR < C: CU CO PE The debates of modern 1944 Henry Klumb moves to Puerto Rico and for- 1952 plastic integration, malizes investigations of modern architec¬ architecture, and the development of new forms come to the forefront in two ma¬ ture in the tropics. 123 city in C: PR jor universities: the UNAM Mexico City and the Universidad Central in Caracas, The first 1945 Antoni Bonet, Punta Ballena, Uruguay 129 Venezuela. exemplifies figurative, legible, and socially conscious art; the sec¬ 1946 Affonso Reidy's Popular Housing ond, abstraction. 162

Blocks 131 MX VE

1947-a Luis Barragan and Max Cetto, the emigre 1952 Eladio Dieste, Iglesia de Cristo Obrero, Atl3n- German architect, begin working on the tida, Uruguay 170 design of the first houses in Mexico City's Jardines del Pedregal subdivision. 134 1953-a Affonso Reidy: halfway between the

MX Carioca school and the Paulista

school 172 1947-b Seeking to symbolize postwar efficiency S BR and organization, Latin American cities em¬

brace the North American "architecture of 19 5 3 - B El Eco Experimental Museum in Mexico

bureaucracy." 140 City opens its doors, advocating for an

Q AR • CO . MX . VE "emotional architecture." 176

. MX

1947-a Oscar Niemeyer sketches the UN building in

New York but takes no credit. 144 1953-C Max Bill's critique of the Sao Paulo Biennial has a significant impact in Brazil: Oscar 1947-b Mario Pani—Multifamiliares 147 Niemeyer writes a "mea culpa," Sergio Ber- nardes invests in designing a technological 1947-C Agrupacion Espacio 149 Utopia, and Joao Filgueiras Lima devotes his life to prefabrication. 180 1949 La ciudad frente a! rio is released, showing the H BR transformations of Le Corbusier's plan for Bue¬

nos Aires. 151 1953-a Felix Candela, Church of Our Lady of the Mi¬ raculous Medal, Mexico City 184 1950 Public housing reaches a monumental scale:

Mario Pani, Carlos Raul Villanueva, Affonso 19 5 3 - b Mario Roberto Alvarez, Teatro General San

Reidy, Oscar Niemeyer. 153 Martin, Buenos Aires 186

BR • MX • VE

1954 Le Corbusier, Curutchet House, La Plata, 1951-a Carlos Raul Villanueva, Villanueva Argentina 188 Residence 158 1955 Eladio Dieste—Tectonics driving the acci¬

1951-b PROA magazine publishes Arquitectura en Co¬ dental architect 190 lombia, articulating an identity that survived the 0 UY

second half of the century. 159

1955-a Fruto Vivas, Club Tachira 193 1951-c Lina Bo Bardi inaugurates her Casa de Vidro. 160 1955-b The Helicoidein Caracas: The Ultimate Parking

and Shopping Center 195

1955-c Cio Ponti, Villa Planchart 197

CONTENTS Brasilia: A 1956 modernist Utopia? 199 1965-b The (re)invention of Curitiba: from the plan BR of Jorge Wilheim to the implementation by Jaime Lerner 237

1957-A Mies van der Bacardf Rohe, Buildings for BR Havana, Cuba, and Mexico City 206 1965 Juan Borchers, Cooperativa El^ctrica de Chilian, 1957-B Lina Bo S3o Paulo Bardi, Museum of Art 208 Chile 240

1959 The appeal of Corbusian monumentality 1966 United Nations as client and advocate: Emilio and beton brut: Clorindo Testa's Government Duhart's CEPAL Building in Santiago 242

Building in La Pampa and, with SEPRA, the CL Bank of London and South America in Bue¬ nos Aires 210 1967 Helio Oiticica builds Tropicalia, challeng¬ £3 ar ing the traditional boundaries between art, popular culture, construction, and

1961 - a Fidel Castro, in conversation with Ernesto architecture. 246

"Che" decides to convert a Guevara, golf BR . VE

course into art schools in Cuba. 214 C: CU 1967 Jesus Tenreiro-Degwitz—Venezuelan

Postmodernism 250 1961-b Joao Batista Vilanova Artigas and Paulo Mendes da Rocha articulate the Paulista 1968 The Olympic Games provide Mexico City school: free ground plan, generous social with opportunities for new forms of national spaces, and opaque envelopes. 218 representation through architecture; deadly 11 BR student protests highlight the contested use of public space. 252 1961 Joao Batista Vilanova Artigas, School of Architec¬ MX

ture and Planning, University of Sao Paulo 221 1 969-a Inventing new educational paradigms, 1962 Nelson Bayardo, Columbarium, Alberto Cruz Covarrubias and Godofredo

Montevideo 223 Iommi (poetically) found the Ciudad Abierta in Chile. 257 1963 In Bogota, Rogelio Salmona takes old bricks to CL

a new dimension in Torres del Parque. 225 1969-b PREVI: Two opposing governments in Peru 1964-a The military dictatorship ends Delfim Amorim bring in the best architects in the world to 262 and Acacio Gil Borsoi's investigations into an address squatter settlements.

architecture for the Brazilian northeast. 227 PE

1964-b Pedro Ramirez Vazquez, Museo Nacional de 1969 Francisco Bullrich publishes on Latin American Antropologfa, Mexico City 229 architecture. 265

1964-c Marti'n Correa and Gabriel Guarda, Las Condes 1971 Formalizing the legacy of the Madi (Mo- de Arte de and Benedictine Monastery Chapel 231 vimiento Invencion) Utopian urban projects, Gyula Kosice proposes a

19 6 5 - a Parque do Flamengo: Roberto Burle Marx re¬ hydrospatial city. 267 defines the Brazilian landscape by rediscov¬ AR- BR- MX ering the country's own local species. 233 1971 National Theater, Guatemala 272 BR

ix CONTENTS 1988 Brazilian Museum of Sculpture 315 1974 Teaching under duress: La Escuelita, dictator¬ ship, and postmodernism in Argentina 274 1990 Chilean postmodernism is challenged by Jose AR Cruz and German del Sol. 318

CL 1975 Filgueiras Lima, Capela do Centra Administrative da Bahia 278 1991 Angelo Bucci and Alvaro Puntoni win the for the Brazilian pavilion at 1976 Mexican postmodernism: Teodoro Gonzalez competition Seville marking the end of the de Leon's Colegio de Mexico expresses Expo 1992, and the of modern architecture's new historicizing postmodern reign beginning neomodernism. sensibilities. 281 322 br MX E!

1993 Pablo Beitia, Xul Solar Museum Klub 1977-A £olo Maia, Capela de Santana ao Pe do (Pan Morro 287 Foundation) 326

- tamen: Architecture for the 1977-b Bruno Stagno House, Costa Rica 289 19 94 a Quae sera Favelas 329

1979 Pampulha magazine is launched in Minas BR Gerais, marking the beginning of Brazilian 1994-b As a model for internationalization, NAFTA postmodernism. 291 of the new character BR becomes emblematic of late-twentieth-century Mexican

1980 The Pritzker Architecture Prize is awarded to architecture. 333 Luis Barragan, and photography is at the cen¬ MX ter of the myth. 295 Charcoal Burner's Hut MX 1997 Smiljan Radic, 338

1983 Niemeyer returns to Rio de Janeiro to design 2000 Colombian Renaissance: In Bogota and the Sambodromo and the CIEPs: architecture Medellin, mayors and architects work

to create better cities. gets closer to popular needs. 300 together 339 CO tLJ, BR

Mexico 1983-a Ramon Gutierrez publishes Arquitectura y 2000 Alberto Kalach, GGG House, City 343

urbonhmo en Iberoamerica. 305 2001 Solano Bem'tez's Tomb for His Father,

1983-b Severiano Porto, Balbina Environmental Paraguay 346 Protection Center, Brazil 306 2002 Rafael Iglesia, Pavilions at Parque

1985-a In the midst of a "not-so-lost" decade ... Independencia 348 308

AR BR CL MX PROVOCATIONS FOR A CONCLUSION!

1985-b Lina Bo Bardi and the SESC Pompeia in¬ ISLAN DS NO MORE 351 augurate an interest in adapting existing structures. 311 NOTES 361

BR BIBLIOGRAPHY 37I ILLUSTRATION CREDITS 385

INDEX 39I

CONTENTS