In only a few years, Italian-Argentine architect and engineer Francisco Salamone developed more than 60 buildings throughout the small towns of Buenos Aires Province as a part of the conservative government's push to develop the province's municipal buildings.
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Mar del Plata is Argentina's second-largest tourist hub, just behind the capital, Buenos Aires, and sees its population swell by nearly 300% in the summer months. To accommodate this influx of visitors, a large portion of the city's real estate is dedicated to hotels and short-term rentals and this had led to a colorful and varied architectural landscape.
To illustrate, as well as celebrate, this diverse and ever-changing architectural tradition, audiovisual media producer Obralinda initiated the Arqmardelplata project, a visual compilation of Mar del Plata's architecture that allows viewers to discover the wide range of styles found throughout the city—from the historic, to the sacred, to the residential, to the everyday, and to the anonymous.
When we study Amancio Williams' work, it almost always centers on his emblematic Bridge House, built for his father in Mar del Plata between 1943 and 1946, or his technical role in Le Corbusier's Casa Curutchet. Of course, to study Williams is to confront several questions: Did he not design any other residential projects? What modernist ideas and concepts can we glimpse into his work? How did his work impact the development of Argentine architecture?
While Buenos Aires' architecture is known for its heterogenous and constantly-changing nature, within the city's low density residential sectors, it's possible to detect forms and patterns that have remained constant under the city's many transformations. One of these is the HP, or Horizontal Property, a legal concept that allows for multiple constructions on one lot, resulting in a handful of low-rise structures congregated together in a high-density layout.
Not all works of architecture are a success. In fact, there is a term reserved especially for architectural creations that have proven simultaneously extravagant and wasteful: "White Elephants."
Foster + Partners have begun construction on Avenida Cordoba 120, a new 35-story office tower in Buenos Aires. Sited between the traditional city center and the main entrance to the Puerto Madero harbor area, the project is designed to become a landmark building along the city's skyline. Balancing structure and nature, the tower is made to create a new standard for office design in Argentina and the larger region.
Since March 20, the Argentine government has taken drastic measures to protect the public and curb the spread of COVID-19, including mandatory social isolation. Under these measures, residents and anyone visiting the country must remain indoors and abstain from visiting public spaces until the March 31.
Perhaps nowhere are the effects of the quarantine more notable than on the streets. All cultural, recreational, athletic, and religious events have been cancelled. Public areas like plazas and parks are ghost towns. With the streets closed, balconies have become the new platforms for everything from social interactions and celebrations to protests.
Relatively unknown outside his home country, Clorindo Testa (December 10, 1923 – April 11, 2013) was one of Argentina’s most important 20th-century architects. Consistently defying categorization, Testa had a hand in two of Buenos Aires’ most iconic buildings, the Bank of London and South America, and the National Library, as well as many others throughout his long career. Characteristically enigmatic, Testa would only ever acknowledge Le Corbusier as an influence, saying, “I never paid attention to other architects.” As a former colleague Juan Fontana described, Testa spoke the language of brutalism with an Argentine accent.
