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ADD HERE TOPICAL LINKS RELATED TO MODERN ARCHITECTURE + TEMPORARY USES

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WHAT IS IT FOR? WHAT DO YOU DO WITH IT? WHAT DO YOU LEARN BY LOOKING AT IT?
Click on image to enlarge.

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It coud be a very minimal location plan or an abstract painting of a dancer. In both cases you can understand how people move and spread on this planet

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Well, I am not sure, but we should definitely start by changing the way we see things. We base our knowledge on the empirical world of our senses. They are however limited, and how do we know that they are not lying?

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It could be a figure ground, but it could show the linking of very separate, unlikely spaces into a community, surrounded by those who still refuse to change and work together

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Maybe we pretend too much from human beings... or maybe this is an excuse to not pretend more

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An Enigma

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Split Level: A story of ruptures and their appropriation

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Split Level: A story of ruptures and their appropriation

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Dalia Milián Bernal & Panu Lehtovuori

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1974: Long concrete slabs, tall buildings, cars below, people above. Cranes lift pieces of concrete, diesel engines roar. Separation of spaces. Separation of classes. Separation of traffic types. New worlds that do not look like old. Ruptures in space and time.

2018: Over an elevated platform, a band plays their electric guitars and percussions. Yellow umbrellas. A group of young people. Families and children plough the earth and begin to fill a garden with a diversity of plants. Underneath an elevated platform, a boy and a girl, separated by a staircase, are yelling at their cellphones. Concrete. Urban Art.

In what follows, we wish to tell a story of two modernistic projects, one in Chile and one in Finland. It is a story of abstract space being appropriated and ruptures being turned to sites of self-organised city life. It is also a story that might lead us to value the radicality of some 20th century architectural currents.
Levels
At the beginning of the 20th century, the idea of a city constituted by vertical, monumental buildings interconnected horizontally at different levels, filled the imagination of the architect of the time. Across Europe, architects grasped the sentiment of the era in which city-life began to evolve around machines, and words like "mobile" and "dynamic" became part of professional jargon. Architecture, thus, was to become part of a modern world, providing the new city with the fluidity it demanded.

The modern city would be a fragmented one linked by bridges and aerial walkways. Streets, according to Le Corbusier, "had become [...] a new organ, a construction in itself and of the utmost importance" [1] and would be situated at multi-levels. Moreover, routes that separated pedestrians from vehicles had to be created in order to improve flow within the city and provide more open spaces for leisure [2]. In the 1940s, Le Corbusier introduced these "surrogates for streets" [3] into his project Unité d'habitation in Marseille. The idea would be known as "streets-in-the-air" and would be part of modern architecture hereafter.

Modernistic social housing estates in Europe and the United States have been harshly criticized and the idea of the street-in-the-air has been deemed a mistake. Many would say that these kind of estates are failures, "equated with ugliness, social decay, drug use and family breakdown" [4]. The elevated walkways, furthermore, have been rendered accomplices to crime [5]. The perception that modernistic spatial arrangements cause negative social impacts for the communities that inhabit them has led to the demolition of several housing estates in both sides of the Atlantic.
The death and life of modernism
Charles Jencks claims that modern architecture died in the year 1972 with the demolition of the infamous modernist social housing complex Pruitt-Igoe. If valid at all, the claim can only be made about architecture in the United States and Continental Europe. It neglects the fact that in other parts of the globe modernism continued flourishing.

In Latin America, for example, governments from Mexico to Argentina, through their strong social agendas, produced some of the "most radical experiments for the working classes" [6] beginning as early as the 1940s in a continuous process that lasted well until the mid-1980s. These projects included monumental social housing estates, as well as public sports facilities, libraries, and schools. Lina Bo Bardi's SESC Fábrica de Pompéia in São Paulo (Brazil), a sports and recreation complex which, by the way, included bridges at different levels that connect two high-rise sports towers, was finished in 1985.

Even in Europe, while some modernistic buildings began to be demolished, less central European cities had barely just begun their processes of modernization and city renewal. This is particularly true in Eastern European and Nordic countries.

The two protagonists of our story started to be constructed between 1969 and 1970. One is located in the south of Latin America, in Chile, and the other in the north of Europe, in Finland.
Embracing the future
In the late 1960s, Santiago de Chile (Chile) and Helsinki (Finland) embraced the dream of modernization and both capital cities began to take action towards city renewal. Following a process of "tabula rasa" in the central borough of San Borja at the heart of Santiago the Chile, 300 families were displaced to give way to a new modern estate now called, Remodelación San Borja. At the same time, in Helsinki, whole neighborhoods and wooden city districts were destroyed and reorganized in the name of modernization. Pasila, a self-organized wooden workers' settlement of 3000 people, and the Finnish protagonist of our story, was one of those. Located at the main rail line leading out of the industrial city, Pasila was to become the new center of the growing metropolis.

Following the principles dictated by modern architecture and leaving nothing of the existing communities standing, the renewed districts of San Borja and Pasila were now constituted by high-rise buildings interconnected by elevated walkways, separating pedestrians from car traffic on split levels.

In both cases, however, the complete visions of the architects who conceived them never fully materialized. In San Borja, only half of the projected buildings were constructed and a fraction of the elevated walkways was built, connecting only four of the 21 buildings that comprise the project. In Pasila, only two thirds of the original project, which was planned as an extension of the inner city and modelled after architect Reijo Jallinoja's diploma work (1967), was constructed and only two of the three planned separate levels were built.

As in many places around the world, the elevated walkways, both in Remodelación San Borja and Pasila have been subject to scrutiny. In Pasila, the elevated walkways raised criticism from the start leading the architects who designed them to change their approach in future projects. In Remodelación San Borja, where the dream of renovation was truncated by a military coup ending the benefits provided by the welfare state, the walkways deteriorated and became a source of problems, being ultimately fenced and locked down in the 1990s.

Pasila continues witnessing a building boom as its central area continues to be developed. Yet, in the middle of change, the elevated walkways, which had become "forgotten corners" (Helsinki Urban Art), are now getting attention as sites for urban art. In 2017, led by grassroots initiatives, urban artists from around the world are invited and welcome to fill the grey residual walls that sustain the walkways with color.

In the south, the elevated walkways of Remodelación San Borja were rediscovered in 2013 by young urban activists who began a project called Pasarelas Verdes. The project consists, amongst other things, of temporary interventions called Music+Plants which is a reoccurring event that includes cleaning brigades, urban gardening and live music simultaneously. Through these interventions, Pasila's and San Borja's 'streets-in-the-air' are given the dynamic public life once envisioned for them.
Split level opening possibilities
Interestingly, the elevated walkways, both in Pasila and San Borja, have become contemporary cultural and social spaces that combine local appropriation and international connectivity through art and temporary interventions. In the cases in Chile and Finland, the spatial ruptures of the modernistic urban projects have shown to be powerful in making something new and unexpected to happen. This observation should help us to see values in these spaces also elsewhere.

In the name of progress and new rationality, the early modern architects wanted to radically redefine traditional spatial forms and replace those with a new spatial system. Split level public spaces and transport routes are a key element of this modernistic vision and "the concept of rupture" would become its legacy in urban planning [7]. However, sometimes the societal structures and political shifts rendered the optimistic aims impossible. In other cases, architects and planners may have been naïve or simplistic, adding to the problems. While much of the critique towards these forms is right, we have to keep in mind that often the main problem was not spatial but social, linked to the segregation and structural repression of black people in the United States and to the unemployment and negative spiral of the traditional working class in the de-industrializing European countries.

As architects and critics, we often discuss the era of modernism as ideological hyper-planning, the key aim in the 1960s and 70s was in fact to achieve social transformation through the power of architecture. In San Borja and Pasila the high-aiming ideas led to unfamiliar and novel spaces and spatial configurations - a different reality - that now much later and in a different social situation offers potentials that otherwise would not be there.

It seems that the dialectic of space, its use and the meanings people give to spaces and what they do in those spaces - the nuanced process of creating socially central urban space - may take a different route in the radical and "abstract"modernistic situations. The split levels, the ruptures and splits that divide and separate spaces and uses, that generate obstacles and oddities, seem also to create positive under-definition and "loose space" [8] that is very important in any moment of social appropriation and change. The underused Pasarelas in San Borja and empty concrete walls in Pasila could be seen as cuts through familiarity, thus creating spaces of imagination and opening cracks for seeds of the new.

Going back to the demolition of Pruitt-Igoe in 1972 and Charles Jencks' claim about the end of modernism, we wish that our parallel stories help to see a different set of options. Modernistic projects do have values that wait to be found and realised. With the technical difficulties of pure concrete constructions and economic logic of even more efficiency, demolition or mutilation of 1960s and 70s modernistic buildings is a big issue globally. We wish that our story hints to a departure from physical destruction towards social construction. A split from the past does not need to be another act of violence towards our built environment, but rather a retro-active shift for allowing split views and multiple imaginations to co-evolve.
Post script
To our knowledge, urban projects that would introduce split level ideas were never built in Estonia. The big exception, however, might be the sunken highway that cuts through Lasnamäe, even though Lasnamäe can hardly be said to be a thought-through split-level system. The Lasnamäe situation has sparked artistic interest already, as the monumental temporary sculpture "Detectors" by Raul Kalvo showed during the LIFT11 festival some years ago (publicspace.org). Similar examples are the Lasnaidee initative that painted the concrete stairway and the Lasnaviljamägi installation near Pallasti bridge. In smaller scale, the "Tuljak" cafeteria overlooking Pirita road in Tallinn (Valve Pormeister 1964-66) and some projects by Toomas Rein, such as Rapla KEK offices (1971-77) and split level housing in Vändra (1969-78) are examples of these ideas in the Estonian architectural scene. Furthermore, the open air movie theatre "Katusekino" on the underused roof of Viru Keskus shopping mall hints to the possibilities of appropriating modernistic (in that case rather postmodernistic) spaces and achieving unexpected and innovative outcomes.

DALIA MILIÁN BERNAL is a Mexican architect, graduated from the TU Darmstadt in Germany and currently conducting her doctoral research in Finland at the Tampere University. She has previously also worked as researcher and lecturer at the Universidad Autónoma de Querétaro. Always being interested on the social production of space, her present research focuses on radical spatial and sociopolitical transformations produced by temporary appropriations of vacant, abandoned and under defined urban spaces in the context of Latin America.

PANU LEHTOVUORI is the Professor of Planning Theory at the Tampere University School of Architecture. Lehtovuori's research interests focus on critical urban theory and contemporary forms of public urban space.
HEADER photo: San Borja, by Bruno Giliberto PUBLISHED in Maja's 2019 winter edition (No 95). Avermaete, T. (2003). Stem and Web: A Different Way of Analysing, Understanding and Conceiving the City in the Work of Candilis-Josic-Woods. In Team 10 - Between Modernity and the Everyday Conference. Delft: TU Delft Carranza, L. E. and Lara, L. F. (2014). Modern Architecture in Latin America: Art, Technology and Utopia. Austin: University of Texas Press. Dobraszczyk, P. (2015, August 14). Sheffield's Park Hill: the tangled reality of an extraordinary brutalist dream. The Guardian, Retrieved from:https://www.theguardian.com/cities/2015/aug/14/park-hill-brutalist-sheffield-estate-controversial-renovation Franck, K.A. & Stevens, Q. (2006). Loose Space: Possibility and Diversity in Urban Life. London: Routledge. Gold, J. R. (1997). The Experience of Modernism: Modern Architects and the Future City 1928-1953. London and New York: E & FN Spon. Gold, J. R. (2007). The Practice of Modernism: Modern Architects and Urban Transformation, 1954-1972. New York: Routledge. Murphy, D. (2016, June). Notopia: The fall of streets in the sky. The Architectural Review, Retrieved from: https://www.architectural-review.com/essays/campaigns/notopia/notopia-the-fall-of-streets-in-the-sky/10006944.article

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Dalia Milián Bernal, Panu Lehtovuori. Split Level - Eesti arhitektuuriajakiri MAJA

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1974: Long concrete slabs, tall buildings, cars below, people above. Cranes lift pieces of concrete, diesel engines roar. Separation of spaces. Separation of classes. Separation of traffic types. New worlds that do not look like old. Ruptures in space and time. 2018: Over an elevated platform, a band plays their electric guitars and percussions.

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Temporary uses of vacant and abandoned urban spaces in Latin America: An exploration

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Temporary uses of vacant and abandoned urban spaces in Latin America: An exploration

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Dalia Milián Bernal

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What also we don’t see? The surrounding area. If those represent buildings, I would say it’s seen with a human-centric view. Where is the context? Where is the rest of the world that surround them? This planet waa not made only for humans, that is what we usually avoid to see

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Modern Architecture in Latin America: Art, Technology and Utopia 

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Modern Architecture in Latin America: Art, Technology and Utopia 

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Luis E. Carranza & Fernando Luiz Lara

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Modern Architecture in Latin America: Art, Technology, and Utopia is an introductory text on the issues, polemics, and works that represent the complex processes of political, economic, and cultural modernization in the twentieth century. The number and types of projects varied greatly from country to country, but, as a whole, the region produced a significant body of architecture that has never before been presented in a single volume in any language. Modern Architecture in Latin America is the first comprehensive history of this important production.

Designed as a survey and focused on key examples/paradigms arranged chronologically from 1903 to 2003, this volume covers a myriad of countries; historical, social, and political conditions; and projects/developments that range from small houses to urban plans to architectural movements. The book is structured so that it can be read in a variety of ways-as a historically developed narrative of modern architecture in Latin America, as a country-specific chronology, or as a treatment of traditions centered on issues of art, technology, or utopia. This structure allows readers to see the development of multiple and parallel branches/historical strands of architecture and, at times, their interconnections across countries. The authors provide a critical evaluation of the movements presented in relationship to their overall goals and architectural transformations.

Runner-up, 2015 University Co-op Robert W. Hamilton Book Award

Foreword by Jorge Francisco Liernur

Acknowledgments

(Notes toward an) Introduction

1903. Francisco Pereira Passos begins a project to "civilize" Rio de Janeiro by applying Baron Haussmann's ideas as an answer to the tropical (lack of) urbanism.

1904. Víctor Meano, Francisco de Oliveira Passos, and Emile Jéquier build a Latin American character with a classical vocabulary.

1906. Julián García Núñez's Hospital Español defines a characteristic search for a new language: Secession/Art Nouveau.

1914. Jesús T. Acevedo and Federico Mariscal lecture in Mexico on the character, importance, and role of the Spanish colonial legacy.

1915. Antonin Nechodoma introduces the Prairie style to Puerto Rico.

1922. In an attempt to create a building expressive of the "cosmic race," José Vasconcelos inaugurates in Mexico City the headquarters of the Secretaría de Educación Pública and formalizes the muralist project.

1923. Mario Palanti: Palacio Barolo and Palacio Salvo

1924. Martín Fierro presents Alberto Prebisch and Ernesto Vautier's Ciudad Azucarera en Tucumán and formalizes the connections and interests in architecture among the literary and artistic avant-gardes.

1925. Modern architecture begins with Gregori Warchavchik and Rino Levi publishing manifestos on the new architecture; catching up to the 1922 Semana de Arte Moderna.

1925-A. Estridentópolis en 1975: Literary Architecture and the Avant-Garde

1925-B. José Villagrán García, Instituto de Higiene y Granja Sanitaria

1928. The Columbus Memorial Lighthouse Competition sparks an investigation into what architecture for Latin America should be like.

1929-A. The Ibero-American Exhibition opens in Seville, revealing the complex and contradictory relations between Spain and its former American colonies.

1929-B. Le Corbusier's first encounters with South America: lectures and early projects for Argentina, Brazil, and Uruguay

1929-C. With the History of the Skyscraper, Francisco Mujica articulates the skyscraper's Latin American dimension.

1929. Sergio Larraín and Jorge Arteaga's Oberpauer Building initiates a new direction in Chilean architecture.

1930-A. Getúlio Vargas takes power in Brazil and appoints twenty-eight-year-old Lúcio Costa as director of the Escola Nacional de Belas Artes (ENBA).

1930-B. Commemorating the centenary of its independence, Uruguay takes the first Soccer World Cup at home, and Montevideo is at the center of its modern ambitions.

1930. Flávio de Carvalho, "City of the Naked Man"

1931. Juan O'Gorman, Diego Rivera and Frida Kahlo Houses and Studios

1933. In his Pláticas sobre arquitectura lecture, Juan O'Gorman highlights the existing polemics between functionalism and academic architecture.

1936. Le Corbusier is back in Rio de Janeiro.

1936-A. The Kavanagh Building is finished, becoming the tallest skyscraper in Latin America.

1936-B. Francisco Salamone: Fascism and Monumental Architecture in the Pampa

1936-C. Julio Vilamajó, School of Engineering

1937. Wladimiro Acosta's Vivienda y ciudad highlights the relationship between ecology, new forms of leisure, the house, and the city.

1937. Cine Gran Rex and Argentine Classicist Modernism

1938. Characteristic of the growing reach of surrealism into architecture and Latin America, the Chilean architect-trained artist Matta publishes "Sensitive Mathematics-Architecture of Time" in Minotaure.

1938. Joaquín Torres-García, Monumento cósmico, Montevideo, Uruguay

1939. The European diaspora brings architectural talents to Latin America on an unprecedented scale.

1939. The Brazilian pavilion at New York World's Fair

1941. Pampulha represents an encounter that would change the future of Brazil.

1942. Amancio Williams, Casa sobre el Arroyo

1943-A. The Brazil Builds exhibition at the Museum of Modern Art in New York highlights the architectural and political interests of U.S. relations with Brazil.

1943-B. Town Planning Associates (TPA) is commissioned to design a new Brazilian town around an airplane factory, Cidade dos Motores. This will be the beginning of TPA's involvement with Latin America that will include not only plans for Chimbote, Peru, but also master plans for Medellín and Bogotá, Colombia, and Havana, Cuba.

1944. Henry Klumb moves to Puerto Rico and formalizes investigations of modern architecture in the tropics.

1945. Antoni Bonet, Punta Ballena, Uruguay

1946. Affonso Reidy's Popular Housing Blocks

1947-A. Luis Barragán and Max Cetto, the émigré German architect, begin working on the design of the first houses in Mexico City's Jardines del Pedregal subdivision.

1947-B. Seeking to symbolize postwar efficiency and organization, Latin American cities embrace the North American "architecture of bureaucracy."

1947-A. Oscar Niemeyer sketches the UN building in New York but takes no credit.

1947-B. Mario Pani-Multifamiliares

1947-C. Agrupación Espacio

1949. La ciudad frente al río is released, showing the transformations of Le Corbusier's plan for Buenos Aires.

1950. Public housing reaches a monumental scale: Mario Pani, Carlos Raúl Villanueva, Affonso Reidy, Oscar Niemeyer.

1951-A. Carlos Raúl Villanueva, Villanueva Residence

1951-B. PROA magazine publishes Arquitectura en Colombia, articulating an identity that survived the second half of the century.

1951-C. Lina Bo Bardi inaugurates her Casa de Vidro.

1952. The debates of plastic integration, modern architecture, and the development of new city forms come to the forefront in two major universities: the UNAM in Mexico City and the Universidad Central in Caracas, Venezuela. The first exemplifies figurative, legible, and socially conscious art; the second, abstraction.

1952. Eladio Dieste, Iglesia de Cristo Obrero, Atlántida, Uruguay

1953-A. Affonso Reidy: halfway between the Carioca school and the Paulista school

1953-B. El Eco Experimental Museum in Mexico City opens its doors, advocating for an "emotional architecture."

1953-C. Max Bill's critique of the São Paulo Biennial has a significant impact in Brazil: Oscar Niemeyer writes a "mea culpa," Sérgio Bernardes invests in designing a technological utopia, and João Filgueiras Lima devotes his life to prefabrication.

1953-A. Félix Candela, Church of Our Lady of the Miraculous Medal, Mexico City

1953-B. Mario Roberto Álvarez, Teatro General San Martín, Buenos Aires

1954. Le Corbusier, Curutchet House, La Plata, Argentina

1955. Eladio Dieste-Tectonics driving the accidental architect

1955-A. Fruto Vivas, Club Táchira

1955-B. The Helicoide in Caracas: The Ultimate Parking and Shopping Center

1955-C. Gio Ponti, Villa Planchart

1956. Brasília: A modernist utopia?

1957-A. Mies van der Rohe, Bacardí Buildings for Havana, Cuba, and Mexico City

1957-B. Lina Bo Bardi, São Paulo Museum of Art

1959. The appeal of Corbusian monumentality and béton brut: Clorindo Testa's Government Building in La Pampa and, with SEPRA, the Bank of London and South America in Buenos Aires

1961-A. Fidel Castro, in conversation with Ernesto "Che" Guevara, decides to convert a golf course into art schools in Cuba.

1961-B. João Batista Vilanova Artigas and Paulo Mendes da Rocha articulate the Paulista school: free ground plan, generous social spaces, and opaque envelopes.

1961. João Batista Vilanova Artigas, School of Architecture and Planning, University of São Paulo

1962. Nelson Bayardo, Columbarium, Montevideo

1963. In Bogotá, Rogelio Salmona takes old bricks to a new dimension in Torres del Parque.

1964-A. The military dictatorship ends Delfim Amorim and Acácio Gil Borsoi's investigations into an architecture for the Brazilian northeast.

1964-B. Pedro Ramírez Vázquez, Museo Nacional de Antropología, Mexico City

1964-C. Martín Correa and Gabriel Guarda, Las Condes Benedictine Monastery Chapel

1965-A. Parque do Flamengo: Roberto Burle Marx redefines the Brazilian landscape by rediscovering the country's own local species.

1965-B. The (re)invention of Curitiba: from the plan of Jorge Wilheim to the implementation by Jaime Lerner

1965. Juan Borchers, Cooperativa Eléctrica de Chillán, Chile

1966. United Nations as client and advocate: Emilio Duhart's CEPAL Building in Santiago

1967. Hélio Oiticica builds Tropicália, challenging the traditional boundaries between art, popular culture, construction, and architecture.

1967. Jesús Tenreiro-Degwitz-Venezuelan Postmodernism

1968. The Olympic Games provide Mexico City with opportunities for new forms of national representation through architecture; deadly student protests highlight the contested use of public space.

1969-A. Inventing new educational paradigms, Alberto Cruz Covarrubias and Godofredo Iommi (poetically) found the Ciudad Abierta in Chile.

1969-B. PREVI: Two opposing governments in Peru bring in the best architects in the world to address squatter settlements.

1969. Francisco Bullrich publishes on Latin American architecture.

1971. Formalizing the legacy of the Madí (Movimiento de Arte de Invención) and utopian urban projects, Gyula Kosice proposes a hydrospatial city.

1971. National Theater, Guatemala

1974. Teaching under duress: La Escuelita, dictatorship, and postmodernism in Argentina

1975. Filgueiras Lima, Capela do Centro Administrativo da Bahia

1976. Mexican postmodernism: Teodoro González de León's Colegio de México expresses modern architecture's new historicizing sensibilities.

1977-A. Éolo Maia, Capela de Santana ao Pé do Morro

1977-B. Bruno Stagno House, Costa Rica

1979. Pampulha magazine is launched in Minas Gerais, marking the beginning of Brazilian postmodernism.

1980. The Pritzker Architecture Prize is awarded to Luis Barragán, and photography is at the center of the myth.

1983. Niemeyer returns to Rio de Janeiro to design the Sambódromo and the CIEPs: architecture gets closer to popular needs.

1983-A. Ramón Gutiérrez publishes Arquitectura y urbanismo en Iberoamérica.

1983-B. Severiano Porto, Balbina Environmental Protection Center, Brazil

1985-A. In the midst of a "not-so-lost" decade ...

1985-B. Lina Bo Bardi and the SESC Pompéia inaugurate an interest in adapting existing structures.

1988. Brazilian Museum of Sculpture

1990. Chilean postmodernism is challenged by José Cruz and Germán del Sol.

1991. Angelo Bucci and Alvaro Puntoni win the competition for the Brazilian pavilion at Seville Expo 1992, marking the end of the postmodern reign and the beginning of neomodernism.

1993. Pablo Beitia, Xul Solar Museum (Pan Klub Foundation)

1994-A. Quae sera tamen: Architecture for the Favelas

1994-B. As a model for internationalization, NAFTA becomes emblematic of the new character of late-twentieth-century Mexican architecture.

1997. Smiljan Radic, Charcoal Burner's Hut

2000. Colombian Renaissance: In Bogotá and Medellín, mayors and architects work together to create better cities.

2000. Alberto Kalach, GGG House, Mexico City

2001. Solano Benítez's Tomb for His Father, Paraguay

2002. Rafael Iglesia, Pavilions at Parque Independencia

Provocations for a Conclusion: Islands No More

Notes

Bibliography

Illustration Credits

Index

LUIS E. CARRANZA is Professor of Architecture at Roger Williams University in Bristol, Rhode Island. He is the author of Architecture as Revolution: Episodes in the History of Modern Mexico, and he has published and lectured nationally and internationally on Latin American modern architecture, focusing primarily on Mexico.FERNANDO LUIZ LARA is Associate Professor of Architecture at the University of Texas at Austin, where he serves as Chair of the Brazil Center at the Teresa Lozano Long Institute of Latin American Studies. He is the author of The Rise of Popular Modernist Architecture in Brazil.

"[A] major achievement, both in its scope and in its depth. It is sure to entice newcomers and keep the experts inspired."
Hispanic American Historical Review

"This is the most comprehensive theory and practice (and even built-environment policy) survey of twentieth-century Latin American architecture ever attempted. I believe it will be a very important contribution to the field. . . . The book contains an erudite and discriminating collection of writings and projects."
Rafael Longoria, ACSA Distinguished Professor of Architecture, University of Houston, and coeditor of AULA: Architecture and Urbanism in Las Américas

"It is no small task to write a history of modern architecture of the vast region known as Latin America and the Caribbean. . . . This project required collecting and organizing the information currently scattered in a series of books and journals, with some areas well represented (Mexico and Brazil in the lead) and others barely documented (Central America and Bolivia, for example). Not only is this book commendable, it is also timely, given the growing interest in the region on the part of scholars, professionals, and educators."
Patricia Morgado, Associate Professor of Architecture, North Carolina State University

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Modern Architecture in Latin America Art, Technology, and Utopia By Luis E. Carranza and Fernando Luiz Lara; foreword by Jorge Francisco Liernur

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Modern Architecture in Latin America: Art, Technology, and Utopia is an introductory text on the issues, polemics, and works that represent the complex processes of political, economic, and cultural modernization in the twentieth century.

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It is like we belong to the city, but we don't. We are pieces of a puzzle with no clue image.  We live borrowed lives. Yes, we are powerful to some extend, but we only realise it for the sake of being proud, not for doing actual good...

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I would have said by shiftinh the perspective, ut actually..isn't the key in letting go? We should leave any kind of intentions and ways of absorbing/understanding/analysing and let our senses 'see' what is not already 'seen' ...

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La Utopia del Sueño Moderno - Mishell Altamirano

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Historia de la construcción del Conjunto Urbano Nonoalco Tlatelolco

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Log into Facebook to start sharing and connecting with your friends, family, and people you know.

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Is it really necessary to learn to see what we don’t see? Or is that another way to impose something? Maybe it’s a natural process, it should not be driven

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The face of the human built

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Is it a site plan? Of what?

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Maybe we should focus more on our inside

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I'm afraid that if they would see what we see, they wouldn’t give us a chance to do what we do with the things we see. I think we can learn to see the things we don’t see from the ones who see what we don’t.

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A student-led platform for architectural discourse, socials and various events to tantalize your minds! Strath Union is a trading name of the University of Strathclyde Students' Association, a charity registered in Scotland No: SC005914. Registered company in Scotland No: SC568857.

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We are a creative architecture publication with a desire for bold and current critical reflection. Issue.03 ' Identity ' is open for submissions now.

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Where block of spaces are separated into residential on the south, city area in the middle and industrial area on the top and how it should develop thought time?

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It's similar to how a city grows.

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Something is starting to grow in between buildings, connecting them. Buildings are somehow nicely undulating by a hill perhaps.

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An abstract site plan

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Man activities

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Using all the senses rather than just sight can help 'see' the unseen

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How important is it to study how a community functions before building anything in urban context? An if it's so important then why can't urban planners realize and implement that?

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What mediums do you use to explore the, as you say, unseen? Is photography a key technique or do you explore other means?

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What mediums do you use to explore the, as you say, unseen? Is photography a key technique or do you explore other means?

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Sorry... got a 1 year old between dinner and bed so not putting camera on! AC

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How can we revive a place if the identity is lost? Are the ways you showed, the only way to do so ? and what role does the government/authorities play in such cases?

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is a community interest company that creates space for work, events and learning.

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Then the question comes to mind. What is architecture? the Modernist block or the spontaneous yet caothic re-appropriation? Or maybe something in the middle of the two

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What is your personal suggestion for our designing intention when working on a project? I am sure we can't speak of one option, but what would be an appropriate and reliable enough mean of analysing the society/community to respond to the social context in a logical and beneficial for the area way?

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What is your personal suggestion for our designing intention when working on a project? I am sure we can't speak of one option, but what would be an appropriate and reliable enough mean of analysing the society/community to respond to the social context in a logical and beneficial for the area way?

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Should we stop thinking about change if its that's brutal in some parts of the world?

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something on the Hiedanranta sauna