Modern Architecture in Latin America: Art, Technology, and Utopia PDF
Preview Modern Architecture in Latin America: Art, Technology, and Utopia
modern architecture in latin america recto runningfoot i Carranza final pages.indb 1 8/1/14 1:21 PM m o d e r n a r c h i t e c t u r e i n l a t i n a m e r i c a art, technology, and utopia Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture ii verso runningfoot Carranza final pages.indb 2 8/1/14 1:21 PM m o d e r n a r c h i t e c t u r e i n l a t i n a m e r i c a luis e. carranza and fernando luiz lara Foreword by Jorge Francisco Liernur university of texas press, austin recto runningfoot iii Carranza final pages.indb 3 8/1/14 1:21 PM The University of Texas Press gratefully acknowledges the support of the Office of the President of the University of Texas at Austin, which provided funds toward the publication of this book. copyright © 2014 by the university of texas press library of congress cataloging-in-publication data All rights reserved Carranza, Luis E., 1968–, author. Printed in Korea Modern architecture in Latin America : art, technology, and utopia / Luis E. Carranza and Fernando Luiz Lara ; foreword by First edition, 2014 Jorge Francisco Liernur. pages cm — (Joe R. and Teresa Lozano Long series in Requests for permission to reproduce material from this work Latin American and Latino art and culture) should be sent to: Includes bibliographical references and index. Permissions isBn 978-0-292-75865-0 (hardback) — University of Texas Press isBn 978-0-292-76297-8 (paper) P.O. Box 7819 1. Architecture—Latin America—History—20th century. I. Lara, Austin, TX 78713-7819 Fernando Luiz, author. II. Liernur, Jorge Francisco, writer of http://utpress.utexas.edu/index.php/rp-form supplementary textual content. III. Title. na702.5.c37 2015 ∞ The paper used in this book meets the minimum 720.98'0904—dc23 2014013883 requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). doi:10.7560/758650 design by teresa w. wingfield iv verso runningfoot Carranza final pages.indb 4 8/1/14 1:21 PM To our children: Alison, Helena, Clemente, and Beatriz, for representing the spirit of the diverse and beautiful American continent. To Denise and Leticia for giving us all that and more. recto runningfoot v Carranza final pages.indb 5 8/1/14 1:21 PM contents foreword by Jorge Francisco Liernur xi acknowledgments xv (notes toward an) introduction 1 1903 Francisco Pereira Passos begins a project to 1925 Modern architecture begins with Gregori “civilize” Rio de Janeiro by applying Baron Warchavchik and Rino Levi publishing Haussmann’s ideas as an answer to the manifestos on the new architecture; tropical (lack of) urbanism. 7 catching up to the 1922 Semana de Arte U BR Moderna. 34 A BR 1904 Víctor Meano, Francisco de Oliveira Passos, and Emile Jéquier build a Latin American 1925-a Estridentópolis en 1975: literary architecture and character with a classical vocabulary. 10 the avant-Garde 38 U AR • BR • CL 1925-b José Villagrán García, instituto de higiene y 1906 Julián García Núñez’s Hospital Español Granja Sanitaria 40 defines a characteristic search for a new language: Secession/Art Nouveau. 14 1928 The Columbus Memorial Lighthouse A AR • BR • mx Competition sparks an investigation into what architecture for Latin America should 1914 Jesús T. Acevedo and Federico Mariscal be like. 42 lecture in Mexico on the character, impor- U C: DO tance, and role of the Spanish colonial legacy. 18 1929-a The Ibero-American Exhibition opens in A 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 A mx 1922 In an attempt to create a building expres- 1929-b Le Corbusier’s first encounters with South sive of the “cosmic race,” José Vasconcelos America: lectures and early projects for inaugurates in Mexico City the headquarters Argentina, Brazil, and Uruguay 51 of the Secretaría de Educación Pública and U AR • BR • UY formalizes the muralist project. 23 A mx 1929-c With the History of the Skyscraper, Francisco Mujica articulates the skyscraper’s Latin 1923 mario Palanti: Palacio Barolo and Palacio American dimension. 55 Salvo 28 T AR • C: CU • mx 1924 Martín Fierro presents Alberto Prebisch 1929 Sergio larraín and Jorge arteaga’s oberpauer and Ernesto Vautier’s Ciudad Azucarera en Building initiates a new direction in chilean Tucumán and formalizes the connections architecture. 59 and interests in architecture among the literary and artistic avant-gardes. 30 A AR • BR • mx vvii verso runningfoot Carranza final pages.indb 6 8/1/14 1:21 PM A ART T TeChnOLOgY U 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 Getúlio Vargas takes power in Brazil and 1937 cine Gran rex and argentine classicist appoints twenty-eight-year-old Lúcio Costa modernism 92 as director of the Escola Nacional de Belas Artes (ENBA). 61 1938 Characteristic of the growing reach of U 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 A AR • CL • mx the center of its modern ambitions. 64 A UY 1938 Joaquín torres-García, Monumento cósmico, montevideo, uruguay 99 1930 Flávio 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 U AR • BR • mx 1933 In his Pláticas sobre arquitectura lecture, 1939 the Brazilian pavilion at new York World’s Juan O’Gorman highlights the existing Fair 105 polemics between functionalism and academic architecture. 73 1941 Pampulha represents an encounter that T mx would change the future of Brazil. 108 T BR 1936 Le Corbusier is back in Rio de Janeiro. 77 1942 amancio Williams, casa sobre el arroyo 113 A BR 1943-a The Brazil Builds exhibition at the Museum 1936-a the Kavanagh Building is finished, becoming of Modern Art in New York highlights the the tallest skyscraper in latin america. 83 architectural and political interests of U.S. relations with Brazil. 115 1936-b Francisco Salamone: Fascism and monumental A BR architecture in the Pampa 84 1943-b Town Planning Associates (TPA) is com- 1936-c Julio Vilamajó, School of engineering 86 missioned to design a new Brazilian town around an airplane factory, Cidade dos Mo- 1937 Wladimiro Acosta’s Vivienda y ciudad high- tores. This will be the beginning of TPA’s lights the relationship between ecology, new involvement with Latin America that will in- forms of leisure, the house, and the city. 88 clude not only plans for Chimbote, Peru, but T AR also master plans for Medellín and Bogotá, Colombia, and Havana, Cuba. 118 U BR • C: CU • CO • Pe recto runningfoot vviiii Carranza final pages.indb 7 8/1/14 1:21 PM 1944 Henry Klumb moves to Puerto Rico and for- 1952 The debates of plastic integration, modern malizes investigations of modern architec- architecture, and the development of new ture in the tropics. 123 city forms come to the forefront in two ma- T C: PR jor universities: the UNAM in Mexico City and the Universidad Central in Caracas, 1945 antoni Bonet, Punta Ballena, uruguay 129 Venezuela. The first exemplifies figurative, legible, and socially conscious art; the sec- 1946 affonso reidy’s Popular housing ond, abstraction. 162 Blocks 131 U mx • Ve 1947-a Luis Barragán and Max Cetto, the émigré 1952 eladio dieste, iglesia de cristo obrero, atlán- 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 A mx Carioca school and the Paulista school 172 1947-b Seeking to symbolize postwar efficiency T BR and organization, Latin American cities em- brace the North American “architecture of 1953-b El Eco Experimental Museum in Mexico bureaucracy.” 140 City opens its doors, advocating for an T AR • CO • mx • Ve “emotional architecture.” 176 A 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 São Paulo Biennial has a significant impact in Brazil: Oscar 1947-b mario Pani—Multifamiliares 147 Niemeyer writes a “mea culpa,” Sérgio Ber- nardes invests in designing a technological 1947-c agrupación espacio 149 utopia, and João Filgueiras Lima devotes his life to prefabrication. 180 1949 La ciudad frente al río is released, showing the T BR transformations of le corbusier’s plan for Bue- nos aires. 151 1953-a Félix candela, church of our lady of the mi- raculous medal, mexico city 184 1950 Public housing reaches a monumental scale: Mario Pani, Carlos Raúl Villanueva, Affonso 1953-b mario roberto Álvarez, teatro General San Reidy, Oscar Niemeyer. 153 martín, Buenos aires 186 U BR • mx • Ve 1954 le corbusier, curutchet house, la Plata, 1951-a carlos raúl 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 T UY second half of the century. 159 1955-a Fruto Vivas, club táchira 193 1951-c lina Bo Bardi inaugurates her casa de Vidro. 160 1955-b the helicoide in caracas: the ultimate Parking and Shopping center 195 1955-c Gio Ponti, Villa Planchart 197 vviiiiii verso runncoinngtfeonotst Carranza final pages.indb 8 8/1/14 1:21 PM 1956 Brasília: A modernist utopia? 199 1965-b The (re)invention of Curitiba: from the plan U BR of Jorge Wilheim to the implementation by Jaime Lerner 237 1957-a mies van der rohe, Bacardí Buildings for U BR havana, cuba, and mexico city 206 1965 Juan Borchers, cooperativa eléctrica de chillán, 1957-b lina Bo Bardi, São Paulo museum of art 208 chile 240 1959 The appeal of Corbusian monumentality 1966 United Nations as client and advocate: Emilio and béton brut: Clorindo Testa’s Government Duhart’s CEPAL Building in Santiago 242 Building in La Pampa and, with SEPRA, the T CL Bank of London and South America in Bue- nos Aires 210 1967 Hélio Oiticica builds Tropicália, challeng- T AR ing the traditional boundaries between art, popular culture, construction, and 1961-a Fidel Castro, in conversation with Ernesto architecture. 246 “Che” Guevara, decides to convert a golf A BR • Ve course into art schools in Cuba. 214 U C: CU 1967 Jesús tenreiro-degwitz—Venezuelan Postmodernism 250 1961-b João 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 T BR student protests highlight the contested use of public space. 252 1961 João Batista Vilanova artigas, School of architec- A mx ture and Planning, university of São Paulo 221 1969-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 Bogotá, rogelio Salmona takes old bricks to U 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 and acácio Gil Borsoi’s investigations into an address squatter settlements. 262 architecture for the Brazilian northeast. 227 U Pe 1964-b Pedro ramírez Vázquez, museo nacional de 1969 Francisco Bullrich publishes on latin american antropología, mexico city 229 architecture. 265 1964-c martín correa and Gabriel Guarda, las condes 1971 Formalizing the legacy of the Madí (Mo- Benedictine monastery chapel 231 vimiento de Arte de Invención) and utopian urban projects, Gyula Kosice proposes a 1965-a Parque do Flamengo: Roberto Burle Marx re- hydrospatial city. 267 defines the Brazilian landscape by rediscov- U AR • BR • mx ering the country’s own local species. 233 A BR 1971 national theater, Guatemala 272 rceocnttoe nrutsnningfoot iixx Carranza final pages.indb 9 8/1/14 1:21 PM
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