SESSION X: A Tropical Modern World

Although it originated in what could be considered the traditional “Western

World”, Modernism as a movement has seeped its iconic style into cultures across

the globe. In Latin America, Modernists had to adapt not only to the tropical

climate, but to the indigenous and colonial ancestry as well, all things that Europe lacked, for the most part. Artists let their imagination run wild, experimenting with

new materials and ideas to accommodate these peculiarities; the result was an

architectural movement that continually inspires contemporary designers and has

garnered much appraisal from renown institutions like the Museum of Modern Art

(MoMA). Many architectural staples, such as Oscar Niemeyer’s Casa Das Canoas,

are either still in use or preserved with cultural heritage status.

In 2015, MoMA showcased its Latin Amercia in Construction: 1955-1980 exhibit; the exhibit had both a macro and micro scale. It featured original drawings and sketches as well as architectural models of university campuses and residential buildings from the likes of Luis Barragán and Lina Bo Bardi. These examples demonstrated a key difference between European, American, and Latin American Modernism. Modernist buildings in Latin America were often tied to societal needs such as government buildings or social spaces.

Their style was retrofitted to better adjust to the demands of these spaces, which is why politics played such an integral role in their conception. Among those who pointed out the exhibitions flaws was Luis E. Carranza. Carranza, a professor of Art and Architectural History at Roger Williams University, criticized the showcase for its lack of political context as well as its inability to attribute the right cultural influences on the works presented, often falling into geographical generalizations. Criticism or not,

MoMA’s exhibit brought Latin American Modernism into the forefront in a world

dominated by its European counterpart.

Pinning down the exact characteristics of Latin American Modernism is tricky, arduous, and must be done with precision, lest you find yourself under Luis Cazzanza’s critical gaze. As an example, let us look at the Caribbean Casa Klumb.

It was design in 1949 by Henry Klumb, an apprentice of Frank Lloyd Wright, who took a Puerto Rican hacienda known as Cody Ranch and gave it a Modernist twist. Klumb spiced the urban town setting of the University of Puerto Rico’s Río

Piedras Campus with green spaces, often resembling the rural countryside. He used

wood for the general structure and galvanized zinc for the roof, invoking the

hacienda’s architectural roots. Although it had an open floor plan, he achieved privacy by

seeding vegetation across the space. From a cultural perspective, it remains faithful

to the traditions of the Puerto Rican people, offering a conscious design that itself

criticizes the sprawling cityscape.

Casa Klumb is one of many examples of Latin American Modernism. The

innovation brought to the architectural world by this region ranges from Barragán’s

interactions between color and light, to Lina Bo Bardi’s floating, solid and

transparent structures. Through these examples it is evident that Latin America has

transcended the modern movement and breathed life onto their own. The meshing

of experimental works, cultural traditions, and innovation have truly created a

pocket worthy of recognition.

References:

• Carranza, Luis E. Review of "Latin America in Construction: Architecture 1955–1980" by Barry Bergdoll, Carlos Eduardo Comas, Jorge Francisco Liernur, and Patricio del Real. https://www.researchgate.net/publication/289571356_Luis_E_Carranza_Review_of_Latin_America_in_Construction_Architecture_1955-1980_by_Barry_Bergdoll_Carlos_Eduardo_Comas_Jorge_Francisco_Liernur_and_Patricio_del_Real/citation/download

• Fúster, N., Crichfield, H. C., & Farage, E. V. (2006). Klumb: Una arquitectura de impronta social = an architecture of social concern. San Juan, P.R.: La Editorial, Universidad de Puerto Rico, from https://static1.squarespace.com/static/5ceedf215691d500017d3c51/t/5d07b692881cfd0001040e83/1560786609060/La+Casa+Klumb+++-++Reciclaje+y+Modernizacion+del+Tipo++%28N_Fuster_H_Crichfield%29.pdf

• Moore, R. (2020, July 21). 'Latin America was a place where Modernist dreams came true'. Retrieved October 25, 2020, from https://www.architectural-review.com/essays/exhibitions/latin-america-was-a-place-where-modernist-dreams-came-true

• T. (2015, March 29). Latin America in Construction: Architecture 1955–1980. MoMA, Floor 6, Exhibition Galleries, New York City.