1959, probably
unbuilt.
India Ink with accents in watercolour
and coloured pencils on vellum, 24x36”
with missing parts
The representation of coded factual information, even if carefully In contrast, architectural drawings display, on tracing paper, a
laid out, is what stops architectural drawings from being dream. While most drawings expect to come to fruition with
considered art work; however, major art galleries today have ribbon-cutting ceremonies and applause; others remain as
recently added historical architectural drawings to their collections, thoughts, as unconsummated ideas. The latter are more common
even if they were not meant to be exhibited in museums but in in developing societies where long-awaited projects remain unbuilt,
boardrooms and on construction sites as guidance tools for postponed, waiting, until the country inishes dealing with un-
builders throughout the construction process. For many, they are budgetted, unplanned but not unexpected emergencies that come
mere documents that after building occupancy should end up in after, or might precede, more crises. If projects do materialise
storage or in city hall archives. in lesser-developed countries, they are often awaited with so
much anxiety and hope that they become iconic symbols, a heavy
But, is not the aim of an architectural drawing to make feasible responsibility for the practitioner. In many regions and especially
an idea? Might this be the reason why artists have lirted with in Latin America, architecture is still practiced in the intimacy of
architecture and vice versa? After centuries of trial and error, a sunny atelier with lengthy coffee breaks, academic debate and
the arrival of Masolino allowed linear perspective to shape the tertulia. Perhaps, because architecture and the arts have struggled
44 45
Renaissance. The architecture of Raphael’s School of Athens to settle an identity, every design exercise is read as a manifesto,
used Bramante’s early designs of St. Peter’s Basilica in Rome as and its success or acceptance only will come after conversation and
the illusionary meeting point for philosophers. Giovanni Battista exchange.
Piranesi made a name with his hyper-realistic antic Rome veduti and
Bernardo Belloto, nephew of Giovanni Antonio Canal – better known The leading architectural forces in the region, Brazil, and later
as Canaletto, two centuries after his death surprisingly helped, Chile, were able to reconcile their modernity with tradition in
with his accurate cityscape renderings, to rebuild Warsaw after the the process of building up a national identity, embracing new
destruction of World War II. From antiquity to baroque times, any technologies but also adapting them to their own terms and needs.
review of a difference between architecture and art would have been Recently Peru has joined the club of booming economies with
considered irrelevant as all ine arts were completely interwoven. current living standards repeating the those of Peruvian success
Alvarez Calderon, beach house, 1959, in the mid-twentieth century. In those days Peruvian professionals
Santa Maria del Mar, unbuit.
In their capacity to visually communicate how to build, architectural Main floor; construction set, scale1:50.
looking for a new architecture that would satisfy both local
drawings have the power to present impossible but verisimilar Ozalid copy of pencil on vellum original idiosyncrasies and the needs of modern society were certainly
photography
mapping
worlds that we believe could exist and be built, even if they escape Fernandini beach house, 1959 inluenced by the Brazilian experience. However, their project
Santa Maria del Mar, built.
the limits of reality. Piranesi, M C Escher, Antonio Sant’ Elia Entrance elevation; construction set,
stalled amid economic and social collapse, with decades lost to
and Hugh Ferriss showed us futuristic, fantastic, ethereal, dark scale1:50. Ozalid copy of original in political violence and economic turmoil. Today, under a new wave
pencil on vellum, original set used on site,
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and sometimes impossible imaginary explorations of abstract 24x36” of regional development, young design professionals respond
photography
architectures. With the advent of the twenty-irst century, as quickly and individually, but afraid of seeming naïve in the face
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On Site review 31
Santa Maria del Mar.
On Site review 31
before; the computer iles of today travel the world back and forth
Typical balcony parapet & handrail detail.
with exactitude and the soulless precision of anonymity. Ozalid copy of original pencil on vellum,
part of a 24x36” sheet
Carmen Apartment building, Ancon Atlas Insurance Headquarters, ca. 1953-
(north of Lima), built. 55, Lima downtown, built.
India ink on Canson card stock, 24 x36” India Ink with accents in watercolour on
Canson card stock, 24x36”
Atacocha mixed use building, ca. 1954,
downtown Lima, unbuilt. Canziani country house,1964, outside
Photocopy of original india ink drawing Lima, unbuilt.
on glossy cardstock, 24 x36” Watercolour on tracing paper, 12x18”
Tauro Building & Cinema, 1956-58, Alter House, 1956, Lima, demolished.
downtown Lima, derelict. Photocopy of original India Ink on
Black and white photograph of the vellum, 24x36”
rendering, 1959
Las Sirenas apartment building ,
Las Sirenas apartment building , 1959, Santa Maria del Mar, partially
1959, Santa Maria del Mar, partially demolished.
demolished. Studio black and white photograph of
Studio black and white photograph of india ink drawing on gloss cardstock,
india ink drawing over gloss cardstock, 8x12”
8 x12”
mapping
was living a moment of fast change, the promise of a utopia and
long-awaited development.
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photography
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m apping
On Site review 31
On Site review 31