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Cities and Landscapes of Latin America

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Le Co rbu sier, New urba n stru cture for Rio de Janeiro, pen ci l on pa per, 1929. Fonda ti on Le Corbusier.

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At an early stage in his career, Le Corbusier [1887-19651 perceived that Africa, Asia, or America could offer
significant opportunities for his architecture. After achieving worldwide recognition, his failure in

1. Cecilia Rodrig uez dos Santos et at..


Le Corbusier e a Brasil [Sao Paulo:
Tessela proj eto, 19871. 41 .

international competitions, like those for the Palace of the Nations in Geneva [1927-281 and the Palace of

2. Le Corbu sier, Precisions sur un etat

the Soviets in Moscow [19311. restricted the possibilities to test his architectural ideas in the field of large-

presen t de ['architecture et de
l'u rbanism e [1 93 0] [Paris: Edi t ions

scale public commissions. In fact, some of those opportunities would not come for him in Europe until the

Vi nce nt , Freal et Ci e., 1960[, 19- 20;


in Engli sh: Precisions on the Present

reconstruction process following World War II. Thus, he made continuous and numerous trips around the

Sta te of Architecture and City


Planning [Cam bridg e: MIT Pre ss ,
199 11. 19- 20.

w orld to disseminate his architectural ideas and-perhaps more importantly-to attain professional
3. Ibid., 19.

opportunities. But beyond those undisputed pragmatic motivations, travel and contact with remote places
4. Ibid. , 245.

offered Le Corbusier a privileged occasion for reflection and for nurturing his sensibility with new materials
and ideas. The formative travels of his youth were in some way prolonged by each new significant voyage
taken in his maturity. Fernand Leger"s advice to the influential historian Paulo Prado to propose Le
Corbusier to design a new Brazilian capital in 1926 speaks clearly to the professional aims of his Latin
American connection ?' The enthusiasm that French poet Blaise Cendrars conveyed to him about the
continent referred more clearly to the theoretical and artistic ones, but both were frequently mixed and
interconnected .' The remote and the exotic represented for him both inspiration and professional
opportunity.
Latin America seems to have been particularly significant for Le Corbusier in terms of architectural
expectations. "Under such light, architecture will be born, " he stated at the end of Precisions sur un etat

present de {'architecture et de {'urbanisme, a book that looked at the continent as a promised land for
architecture. 3 South America was able to stimulate his imagination with the power of its geography, as well
as a place with enough cultural tradition to understand his classical and poetic approach to modernity, and

Le Corbu sier on boa rd the Lutecia


sai l ing to Eu rope , 1929 . Fo ndati on Le
Co r busie r.

enough openness to accept his innovations: It was also a place w here the need for new institutions and
monuments matched the political will or the economic power to bring them about. Time proved those
expectations false, but t he master"s intense activity, including travels, contacts, studies, and projects, lasted
for more than three decades, always in the hope of getting significant commissions.
Why did Le Corbusier attribute such an important role to South America, both for himself and for the
development of modern architecture? One explanation could come from his personal position among
modern architects. He did not feel much at home with either the German group of th e Neue Sachlichkeit or

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'.1

\.

with the Soviet architects. North America-which he was


already planning to visit-represented for him a more
pragmatic position, which privileged "the violence of
business and the preeminence of production ."5 The idea of
"latinity," which he used to describe South American
culture, pointed to something he felt familiar with and
which appeared to be receptive to his message.
On the other hand, the first contact Le Corbusier had with
South America in 1929 happened at a particular moment of
his life. He had reached a stage of maturity in his
professional career, expressed in architectural works such
as the Villas Stein (1927) and Savoye [1928-291. In his
forties, he had already earned a worldwide reputation and

Le Corbusier, Sketc h of favelas,


pencil on paper, Rio de Jan eiro, 1929.
Fondat ion Le Corbusier.

the first volume of his Oeuvre complete was about to be published; on the personal side he was about to
marry Ivonne Gallis. Thus, his first trip to South America is associated with a turning point both in his private
life and his career. In arch itectural terms this would be expressed by the Errazuriz House in Chile, a
commission he received in Buenos Aires in 1929, and the first of a series of projects exhibiting a new
sensibility toward materials and tradition ! This new responsiveness would expand to his drawings and
paintings, wh ich would more frequently register human bodies and exotic types.

SOUTH AMERICAN EXPERIENCES


Le Corbusier's journey of 1929 was a major travel experience, lasting a couple of months, which was rather
exceptional for him. It inaugurated three decades of contacts that included seven other trips: five to
Colombia and two to Brazil, all of which were connected with professional commissions. Travel was always
more than a practical opportunity in Le Corbusier's life. It played a formative role in his youth and, to a
certain extent, remained important throughout his life . It was a source of commissions and, at the same
time, of a vital experience that nurtured his sensibility and imagination . What were those experiences from
the 1929 visit that would be prolonged in later voyages and contacts?
5, Abo ut Le Co rbu sie r's travel to the USA
in 1935, see Mardges Bacon, Le
Corbusier in America [Cambridg e: MIT
Press, 20011. "Violence des affaires ..
la production outrance," Precisions,
245.

6. Christiane Crasemann Collins, "Le


Corbusier's House Errazuriz. A
Conflict of fictive Cultures," Harvard
Architecture Review, v. 6 [1987): 38- 53.

One of the main objectives was contacting eventual patrons. They could be enlightened aristocrats and
intellectuals like Victoria Ocampo in Argentina, Paulo Prado in Brazil, or Matias Errazuriz, who was living in
Buenos Aires as Chilean ambassador to Argentina. They could be politicians, like Minister of Educat ion
Gustavo Capanema, who played such an important role in his 1936 Brazilian stay, or the minister Zuleta
Angel, whom he met in the U.S. in 1947 and who would be primarily responsible for the commission of the
Bogota plan .7 But it was also the common people, especially of exotic type, who drew Le Corbusier's

7. Pedro Bannen, "Bogota-Colombia:


Cinco viajes y un plan para una ciudad
latin oamerica na " in Fern an do Perez
Oyarzun, ed., Le Corbusier y

attention when he met them in Brazil and in Paraguay. He portrayed them in some of his sketches and
spoke about them in the travel notes included in Precisions.

Sudamerica: viajes y proyectos


[Santiago de Chile: Ed icio nes Arq,
1991\. 72-85, and Rodrigo Cortes,
"Bogota 1950, plan director de Le
Corb usier, " in Oyarzun, Le Corbusier e
Sudamerica, 86-97.

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Nevertheless, it was his encounters with the geography and the landscape-both man-made and naturalof South America that most deeply affected Le Corbusier's sensibility. The experience of the "natural"which had been a part of his youth and was now amplified by American magnitude-allowed him to

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experience a new version of the "sublime ." Some of the most inspired pages of his travel diary are those

8.

devoted to the natural landscape. The power and scale of the Argentinean pampas and rivers , the red
plateau around Sao Paulo, and the dancing geography around Rio de Janeiro were enthusiastically

Adnan Morshed. "The Cultural


Politics of Aerial Vi sio n: Le Corb usier
in Brazil [19291."' Journal of
Architectural Education, 55, no. 4
[2002): 201 - 10.

described in Precisions, and their sheer power of suggestion emphasized by the vision from above. Th anks
to the experience of flying, which Le Corbusier enjoyed in Latin America perhaps for the first time in his life,
his admiration for the plane-formerly seen as a metaphor for the "well posed problem "-became a real
and poetic experience, revealing the less rational side of his personality. This aerial view, with its sense of
totality, even inspired him to develop the conceptual "law of the meander"' to explain the complexit ies of the
creative process.'
It is precisely the impact of t ~ is Latin American experience that explains the internal tension within the book

Precisions, published in 1931. The unusually long series of lectures given in Buenos Aires gave Le
Corbusier the opportunity to summarize and evaluate his own thinking, wh ich had not been exposed in such
a comprehensive way since Vers une architecture, of 1922. This prophetic message, which Le Corbusier
brought with him as intellectual baggage in the tempered version of his early maturity, was now confronted
by the freshness of his South American experiences. The formative experien ce of his youth, as described in
his Voyage d'Orient, deepened during his South American stay, revealing the complexities of his
understanding of modernity and tradition.

POETRY AND INFRASTRUCTURE


It is a well-known fact that Le Corbusier did not succeed in his professional expectations to get
commissions in Latin America: the Errazuriz house [1930) was never built; Victoria Ocampo gave the
commiss ion for her own "modern" house to the more conventional yet talented Argentinean architect
Alejandro Bustillo [1889-1982) ; his schemes for the Ministry of Health and Education and the project for a
University City in Rio de Janeiro [1936) were not accepted and were later commissioned to Brazilian
architects; his plans for Buenos Aires [1938) and Bogota [1947-521. although developed, were never
implemented. 9 As for his project for the French Embassy in Brasilia, it was interrupted by his death .1O It is
almost ironic that the only commission finally built was the Curutchet House in La Plata (1949-551. whose
owner [a provincial physician interested in the design of surgery in struments) he never met n
In lack of built works, the lessons of this Latin -American experience are best understood and studied
through the series of sketches of 1929 published one year later in Precisions and later in his Garnets. They

9.

Ca rlos Eduardo Com as, " Prototipo e


mon um ento, un mi nisteri o, 0
ministerio " in Projeto 102 : 136- 149.
See also Roge ri o Castro Oliveira,
"D os Proye ctos po r una Ci udad
Unive rsita ria : las modern idades
electivas de Le Co rb us ier y Luc io
Costa" in Oya rzun , Le Corbusier e
Sudamerica, 128-41.

10. Jorge Fra ncisco Liernur and Pablo


Psc hpiurca, "Precisi on es sobre los
proyectos de le Corbusier en la
Arg enti na , 1929- 1949" in Summa 243:
40-55; Wren Stra bucchi and Ju an
Jose Uga rte , "La Embajada de
Francia en Bra sil ia: una
interpretacion del proyecto" in
Oayrzun, Le Co rbusier e Sudamerica ,
160-69.

illustrate Le Corbusier's complex way of observing, analyzing, and reconstructing reality in the form of an
11 . Alfo nso Corona Martinez, "Algunas

architectural or urban proposal ' 2They range from the aeria l vista made during his flight from Buenos Aires

outskirts of Sao Paulo. However, it is to the studies of urban projects for Buenos Aires, Montevideo, Sao

obse rvaciones so bre la casa


Curu tche t en La Plata, y el rol de las
casas partic ulares en la obra de Le
Corbusie r" in Oayrzu n, Le Corbusier
e Sudamerica, 148-55.

Paulo, and Rio de Janeiro [following the route of his 1929 trip) that he gave the most attention in the Oeuvre

12. Le Co rbu sier, Ca rnets {Sketchbooks}

to Asuncion del Paraguay, to the (ave/as in Rio de Janeiro, to a fazenda [plantation) and the landscape of the

comp/ete.'3

[Pari s: Hersc her, Dessa in et Tolra,


1981-8 21; see in particular, vo l. 1,
191 4- 1948, Carnet B-4.

The basic components of these schemes are virtually the same: the diagram of one or two grand avenues
13. Le Co rb usie r an d Pierre Jeann eret.

leading to, or directly associated with, the construction of big, linearly built inh abitable volumes. Halfway
between building and urban plan-thus quite distant from the traditional Beau x-Arts "master plan"-those

Oeuvr e co mple te de 1929 1934


[Zurich: Les Ed iti ons d'archi tecture,
19641.

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sketches showing a combination of gigantic blocks and suspended freeways were


seen by Le Corbusier as a way of domesticating the Latin American territory and
imposing architectural order on its cities.
For Buenos Aires, he conceived a large platform built out over the Rio de la Plata
and facing the city center. Five cruciform skyscrapers, 650 feet tall, reflected the
dark surface of the river and created a super-scaled urban facade visible to
travelers arriving by transatlantic lin ers or by air at the new airport to be built close
to the towers over the river. Providing a vertical landmark against the horizontal
extension of the pampas under the Argentinean sky, the towers were thought to
house a business center and be the starting point of a freeway leading to the interior
of the country. This powerful image would remain as the origin of the Buenos Aires
Plan, developed ten years later in collaboration with the young Argent inean
architects Jorge Ferrari Hardoy [1914-19771 and Juan Kurchan .
In the proposals for Montevideo, Sao Paulo, and Rio, a new conceptual connection
was forged between the building and the automobile: the suspended freeway
["seascraper" or "landscrape r"l, on the roof of a linear building and adapting to the
changing topography, traced a new and vigorous sign over the city and the territory.
Taking advantage of the sloping terrain, the traditional main street of Montevideo
was extended at a constant height over the harbor, generating a pier-like building
that descends 250 feet below the roadway. The study for Sao Paulo derived from the
enormous diameter of the city and the complex circulation system that made it
difficult to enter. Le Corbusier's proposal assumed the Roman town plan diagram:
a carda and a decumanus created an artific ial topography of territorial scale. Here,
Le Corbusier. Perspectives showi ng t he
freeways/bridg e/bui lding in Montevideo
Itop) and Sao Pau lo Ibottoml. in k on
pape r. Fond ation Le Corbusi er.

the linear buildings were explicit references to the Roman aq ueducts, as in Segovia.
In Rio de Janeiro, the building/viaduct transformed into dancing and sinuous strips reflecting the exuberant
geography of the city. Three hundred and thirty feet high, carried on 1oo-foot-high pilotis, they crossed the
city from part to part and connected it over the bay to the city of Niteroi. The scheme-and its multiple
variations realized in the following trip of 1936-keenly addressed one of the city's problems: how most
fluidly to connect its different sectors, separated by a chain of ridges and bays . As in Montevideo and Sao
Paulo , the artificial horizontality of the suspended highway was to establish both an urban and geographical
facade; the roof became an imposing mirador, which makes the experience of driving a car as exhilarating
as that of flying-something Le Corbusier had experienced in those days. '

AMANCIO WILLIAMS AND OTHER DISCIPLES


Among those who made up th e international crew who regarded the atelier of Rue de Sevres as a kind of
alternative graduate school of architecture, Latin Americans were perhaps the largest group . From Roberto
Matta [1911-20021. a young Chilean architect who arrived at the atelier in the early 1930s and later became
14. See Yannis Tsiom is, Le Corbusier: Rio
de Janeiro 1929, 1936 (Pari s: Centro
de Arqui tetura e Urb anismo do Rio de
Janeiro , 1998).

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well-known as a painter, to Guillermo Jullian de la Fuente, another Ch ilean who was part of the latest group
in the 196os, Le Corbusier's atelier attracted some of the most gifted Latin American architects of those three

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decades. These included also Roberto Davila (1899-1971] from Chile; Teodoro Gonzalez de Leon and Pedro de
la Mora from Mexico; Jorge Ferrari Hardoy, Juan Kurchan from Argentina; Justino Sierralta from Uruguay;
German Samper from Colombia; Augusto Tobito Acevedo from Venezuela; Roberto Waceham from Peru; and
Roberto de Carvalho from Brazil. Some of them, Like the Colombian Rogelio Salmona, eventually rebelled
against the master. Others, like the Chilean Emilio Duhart Harostegui, let his influence appear in their later
work, as happened in his project for the United Nations Headquarters in Santiago (1960-66]. Almost all of
those disciples went back to their respective countries and played a significant architectural and cultural role.
A literal formal influence may not always be recognizable in their work, but given the role that most of them
assumed in their respective countries, the concealed or evident presence of Le Corbusier lay behind a
significant part of Latin American modern masterpieces.
Yet , not all of those who received, and often interpreted in original and personal ways, the master's ideas were
part of the atelier of the Rue de Sevres. Distant disciples like Brazilian Lucio Costa, Oscar Niemeyer, and
Affonso Eduardo Reidy owed to Le Corbusier the inspiration of their early work, yet they developed their
respective works with great autonomy, giving birth to one of the most influential Latin American architectural
movements of the twentieth century. It is perhaps in the work of Affonso Eduardo Reidy (1909-1964] that some
of those seminal ideas of the late 1920s are most obvious. His linear housing schemes for Pedregulho
(1947-52] and Sao Vicente (1952], along with others like Conjunto Residencial das Catacumbas (1951],
elaborated on sinuous linear schemes tightly connected with geography; they included elevated streets and
promenades, and sometimes bridged over important arteries . His proposal for Aterro e Parque do Flamengo
(1953-62] in collaboration with Roberto Burle Marx recalls the fluent mobility that Le Corbusier dreamt of for

Ama ncio William s , Project for an airport


on the Rio de la Plata , ink on pa per,
Buenos Aires, 1944- 45. Archivo
Ama ncio William s.

Le Co rbu s ier, Sa o Pau lo Ig ene ri al view wit h eleva ted freewayl, ink and penci l on paper, 1929. Fonda tion Le Corbu s ier.

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the Rio de Janeiro coast . Likewi se, a recent project for Montevideo 's harbor by Paulo Mendes da Rocha (1998)
makes evident to what extent th is poetic approach to large-scale, geographic schemes persists among
Brazilian architects. Superseding the form of the bay, Mendes da Rocha turns it into a water plaza, conce ived
as the port's core. A theater located on an island gives a festive and poetic touch to the scheme. 15
In the case of Argentinean Amancio Williams [1913-19891. Le Corbusier's ideas were probably received through
books and periodicals. Having studied eng in eering and trained as a pilot, Williams embodies the figure of the
modern arch itect even more thoroughly than Le Corbusier himself. Although Williams did not always recognize
the explicit influ ence of the master upon him, he admired Le Corbusier and cu ltivated a long re lationsh ip with
him. Two of his works exh ibit this particular stimulus. The scheme for the Buenos Aires Airport [1944-45)
Pa ulo Mendes da Rocha, Urban propo sal
for the Bay of Montevid eo, Uruguay,
1998. From Paulo Archia s Men des da
Roc ha et aI. , Mendes da Rocha
IBarcelo na: GG , 19961.

developed with elegance and origin ality Le Corbusier's own version of 1929. Later in his career, Williams's
utopian project "The City Which Humanity Needs " [1974-89) reinterpreted the theme of the long curvilinear
building. He transplanted Le Corbusier's concept for Rio de Janeiro into the flat Argentinean landscape: a huge

15. George Bonduki Nab il, Carm en


Portin ho et aI., Affonso Edua rdo Reidy
ISao Paulo : Edito rial Blau , Instituto
Li na Bo e P. M. Bardi, 2000 1; Paulo
Archi as Mend es da Rocha et aI. ,
Mendes da Rocha IBa rcelona: GG,
19961. On th e role of Burle Marx, see
Jac qu es Lee nha rdt's essay in thi s
boo k.

ribbon-like building, a fifteen-story mega-structure that could infinitely unfold over the Pampa '6
Anothe r-and less mentioned-side of Le Corbusier's gravitation toward Latin American architectural culture
is his theoretical and poetic presence. Except in works by a few like Lucio Costa, the real complexity of Le
Corbusier's ideas was not always assimilated in Latin America. 17 The great majority of his followers reduced
him to a simplified version of his iconography or to a vague defense of architectural innovation. The Valparaiso

16. Amando Williams IBu en os Aires:


Archivo Amancio William s, 19901.
"Ra~oes da Nova Archi tectura"
119341 Luci o Costa did a lu cid
in terpretatio n of th e hi stori c si tuati on
of moder n arch itecture an d the role
playe d by Le Co rbusie r. See Lu cio
Costa , Razanes de La nueva
arquitectura y atras ensayas ILima :
Embajada del Brazil, 19861.

17. In

School and the Borchers Studio, both in Chile, were other exceptions to this attitude. They saw Le Corbusier
as a particular option within the realm of modernity, an option that enabled to connect architecture with art
and poetry and was not merely the express ion of technical progress.
The Valparaiso School emerged in the early 1950s under the leadership of architect Alberto Cruz Covarrubias
and poet Godofredo lommi [1917-2001). More than an iconography or the expression of technical progress, they
took from Le Corbusier his vision of arch itecture connected with art and culture, and his method of registering
reality through drawing and sketches. Except for an early tendency to use white cubic shapes, the more complex
and organic forms of the Valparaiso School-as they can be seen in the Open City-do not resemble Corbusian
forms. ' Nevertheless, their proposed dialogue between poetry and architecture, their connection with painters
and sculptors, and above all their way of departing from observations of the urban reality- which seeks to
capture what they call "the structure of acts"-point to Le Corbusier as their source of inspiration.
During his student years, Juan Borchers [1910-1975) made a very systemat ic investigation of Le Corbusier's
work, which would be reflected in his early architectural projects. Later on, a great part of his amazing
theoretical production would eme rg e from a crit ical reference to the master's ideas. This is well demonstrated
by the attention that he paid to the Modulor and to the alternative proport ional system that he developed in his

Al fo nso Edu ard o Reid y, Perspect ive of


the Co nj unto Res idenci al das
Catacom bas, Lagoa Rodrig o da Freitas,
Rio de Jane iro, Brazil.

book Meta Arquitectura. 19 In the case of the Copelec Building in Chillan [1960-641. Chile, he brought the forms
and methods of the late Le Corbusier to a new state of complexity.20

T H E LEGACY OF SOUTH AMERICA


The development of Le Corbusier's thoughts cannot but be compared with Picasso's: clearly id ent ifiable
stages appear in success ion, but traces remain from earlier stages that do not disappear completely. Le
Corbusier's South American studies represent the emergence of a new sensibility toward urban thought. as
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Am anci o Williams, The City that


Humanity Needs, ink and watercolor on
pape r, Buenos Aires, Arge ntin a,
1974-89. Arch ivo Amanc io Wi lliams.

Alberto Cruz Covarrubias, Sketch and


observation notes for Valparaiso. All
rig hts reserved .

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18. The Sc hoo l of Valparaiso fin ds its


ori gin in th e re- foun ding of the Sc hool
of Arc hitect ure of the Unive rsidad
Cat6lica de Valparaiso by the young
architects Cruz. lommi. and others. In
1970. they started to plan and build
the Ciudad abierta [Ope n Cityi. an
utopian project to serve as an
experimental construc tion camp for
the new school. See Rodri go Perez de
Arce and Fernando Perez Oyarzun.

the Errazuriz House does in the realm of architecture. The sketches for Buenos Aires, Montevideo, Sao
Paulo, and Rio de Janeiro marked the way in which Le Corbusier, enthused by his Latin American
experience, proceeded to gradually abandon his former urban repertoire [st ill apparent in the Buenos Aires
sketch] to explore a new formal language-a language less associated with the establishment of a rational
catalogue of a "city for three million inhabitants" and closer to a phenomenological approach to geography
and landscape.

Valparaiso School: Open City Group


[Montreal: McGill-Queen's University
Press, 2003).

Le Corbusier developed these schemes in the following years, as in his projects for the University City and
the Ministry of Health and Education [1936] in Rio de Janeiro, or in the development plans for Buenos Aires

19. Juan Borchers. Meta Arquitectura


[Santiago de Chile: Mathesis
Ediciones. 1975) ; and Juan Borchers.
Instituci6n Arquitect6nica [Sa nt iago
de Chile: Ed. And res Bello. 1968).

[1938, with Ferrari and Kurchan] and Bogota [1947-521. But it is perhaps in his 1930 Plan Obus for Algiers
that the elements of the South American urban sketches achieved a more accomplished state of maturity:
the mega-buildings, the viaducts , the freeways elevated on top of towers, and the prismatic skyscrapers

20. The Cope lec Building. an electrical


coope rative in th e south of Chile. was
the result of the collaboration
between Borchers. th e Chilean Isidro
Suarez, and the Span ish Jesun
Bermejo.

21. It is ce rt ainly not a coincidence that


the first version of the Algiers project
was pub lishe d in the pages
immediately following his Lat in
American sketches. in the second
volume of the Oeuvre Complete.

138-43.

terminating the system by the coast, all are there . But more important than the use of a new repertoire is
a new urban attitude toward the existing city: the new scheme is superimposed on top of the existing urban
fabric, therefore not asking for new land or complete tabula rasa as in the Plan Voisin for Paris. Beyond the
possible economic opportunity of inventing a non-existing site, the proposal for Algiers can be interpreted
as a kind of urban "collage" in which old and new attempt a kind of dialogue .21
Many South American traces can thus be recognized in Le Corbusier's life and work. They speak to his
presence on the continent and about the complex relationships he maintained with it for three decades. But
they also speak of the connections between modern architecture and peripheral cultures. The influence of
the " rusticity " of the Errazuriz House and the typological rein vention at the Curutchet House are well
known . Likewise, it is not by chance that some of the most important pieces of modern architecture and city
design, at least in terms of scale, happened to be built in peripheral and even remote places: Chandigarh
[where he developed the concept of urban block elaborated for Bogota), Dacca, and even Brasilia are good
examples, as were the projects for Algiers that were never built.
It is not only that those countries provided, for historical and practical reasons, the opportunities that
Europe was not able to offer. It was modern architecture itself that, aspiring to universality, had, from its
beginnings, a permanent impulse for global dissemination . The idea of influence is not able to explain, by
itself, the comple xities of this phenomenon: some significant chapters of modern architectural history took
place in those peripheral locations. Be ing that Latin America is one of them, the knowledge of that chapter
of history is fundamental to understanding the cultural range and scope of modern architecture .

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Le Corbu sier, Sketch for t he Adm inistrati on City on t he Rio de la Plata , Bu enos Aires , penci l on blac k paper, 1929. Fond ati on Le Co rbu sier.

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