Chilean architecture—along with that of São Paolo and Mexico City—sets a benchmark for the intersection of modernism with vernacular influences in Latin America. Culture, landscape, and the geology of this earthquake-prone region have all served as important filters for the practice of post-1950s design in Chile. This volume introduces the modern architecture of Chile to readers in the United States. Looking primarily at domestic architecture as a lens for studying the larger movement, Fernando Pérez Oyarzun considers the relationship between theory and practice in Chile. As he shows in his chapter, during the early 1950s the School of Valparaíso offered the possibility of developing experimental projects accompanied by theoretical statements. There, visual artists considered poetry the starting point of modern architecture and contributed their radically modern views to the design process of the project. Next, Rodrigo Pérez de Arce examines the material context of architecture in Chile: the availability of materials and technologies, the frequency of violent earthquakes and related seismic activity, and the nation’s craft-based, labor-intensive building practices. He applies these considerations to a series of case studies to demonstrate how they interact with cultural, historical, economic, and even political influences. In the book's final chapter, Horacio Torrent reviews the interplay between the architectonic culture and modern shapes that came into sharp focus in the 1950s in Chile. In another series of case studies, he highlights the formation of a system of concepts, thought processes, instruments, and values that have given Chilean architecture a certain singularity during the last fifty years.

Chilean architecture--along with that of Sao Paolo and Mexico City--sets a benchmark for the intersection of modernism with vernacular influences in Latin America. Culture, landscape, and the geology of this earthquake-prone region have all served as important filters for the practice of post-1950s design in Chile. This volume introduces the modern architecture of Chile to readers in the United States. Looking primarily at domestic architecture as a lens for studying the larger movement, Fernando Perez Oyarzun considers the relationship between theory and practice in Chile. As he shows in his chapter, during the early 1950s the School of Valparaiso offered the possibility of developing experimental projects accompanied by theoretical statements. There, visual artists considered poetry the starting point of modern architecture and contributed their radically modern views to the design process of the project. Next, Rodrigo Perez de Arce examines the material context of architecture in Chile: the availability of materials and technologies, the frequency of violent earthquakes and related seismic activity, and the nation's craft-based, labor-intensive building practices. He applies these considerations to a series of case studies to demonstrate how they interact with cultural, historical, economic, and even political influences. In the book's final chapter, Horacio Torrent reviews the interplay between the architectonic culture and modern shapes that came into sharp focus in the 1950s in Chile. In another series of case studies, he highlights the formation of a system of concepts, thought processes, instruments, and values that have given Chilean architecture a certain singularity during the last fifty years.

Designed as a survey and focused on key examples and movements arranged chronologically from 1903 to 2003, this is the first comprehensive history of modern architecture in Latin America in any language. Runner-up, University Co-op Robert W. Hamilton Book Award, 2015 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.

This edited volume, Modern Architecture and the Sacred, presents a timely reappraisal of the manifold engagements that modern architecture has had with 'the sacred'. It comprises fourteen individual chapters arranged in three thematic sections – Beginnings and Transformations of the Modern Sacred; Buildings for Modern Worship; and Semi-Sacred Settings in the Cultural Topography of Modernity. The first interprets the intellectual and artistic roots of modern ideas of the sacred in the post-Enlightenment period and tracks the transformation of these in architecture over time. The second studies the ways in which organized religion responded to the challenges of the new modern self-understanding, and then the third investigates the ways that abstract modern notions of the sacred have been embodied in the ersatz sacred contexts of theatres, galleries, memorials and museums. While centring on Western architecture during the decisive period of the first half of the 20th century – a time that takes in the early musings on spirituality by some of the avant-garde in defiance of Sachlichkeit and the machine aesthetic – the volume also considers the many-varied appropriations of sacrality that architects have made up to the present day, and also in social and cultural contexts beyond the West.

- Following 2010, Chilean architects began looking into less individualistic visions by engaging with the public or taking up non-profit projects focused on positive social and sustainable developments - Chilean architecture from the 90s, and how the country tackles persistent domestic unrest are discussed in an introductory essay - 18 local projects are featured in this issue To many, it was the utopian holiday homes that brought Chilean architecture into the international scene, such as those previously featured in a+u 06:07. However, following 2010, we began to see a different group of architects looking into less individualistic visions. Architects now engage with the public or take up non-profit projects focused on social and sustainable issues that had come to a halt during the time of oppression. In an introductory essay, Diego Grass, architect and tutor at Pontifical Catholic University of Chile, shared his insights into Chilean architecture from the 1990s, describing how having gone through the years of persistent domestic unrest, the country seeks to forge a new cultural identity that would bring a divided Chile together. 18 projects are selected to broaden our perspectives towards architecture in Chile, and how Chilean architects respond to their landscape and urban territory contexts. Text in English and Japanese.

This book introduces important reflections on understanding the meaning of cultural-religious heritage in an international context and their relationship with issues of sustainability at the local community level. Through a holistic approach, the book charts new courses in analyzing different cultural policies and methods for preserving and enhancing cultural heritage. Stemming from an intercultural seminar promoted by the International Scientific Committee Places of Religion and Ritual (ICOMOS PRERICO) under the theme of “Reuse and regenerations of cultural-religious heritage in the world: Comparison among cultures,” the book examines the scientific diplomacy and cultural strategies promoted by countries in dialogue with the UN 2030 Agenda, as well as Agenda 21 for Culture. The book seeks to reinforce the value of local cultural policies for supporting and enhancing cultural-religious heritage through specific programs and collaborations in dialogue with government policies. This collection is relevant to scholars working in areas relating to cultural heritage, religious heritage, architectural restoration, protection of the local inheritances, law, and management of the cultural sites.

Modernism in the Green traces a trans-Atlantic modernist fascination with the creation, use, and representation of the modern green. From the verdant public commons in the heart of cities to the lookout points on mountains in national parks, planned green spaces serve as felicitous stages for the performance of modernism. In its focus on designed and public green zones,Modernism in the Green offers a new perspective on modernism’s overlapping investments in the arts, politics, urbanism, race, class, gender, and the nature-culture divide. This collection of essays is the first to explore the prominent and diverse ways greens materialize in modern literature and culture, along with the manner in which modernists represented them. This volume presents the idea of "the green" as a point of exploration, as our contributors analyze social-organic spaces ranging from public parks to roadways and refuse piles. Like the term "green," one that evokes both more-than-human natural zones and crafted public meeting places, these chapters uncover the social and spatial intersection of nature and culture in the very architecture of parks, gardens, buildings, highways, and dumps. This book argues that such greens facilitate modernists’ exploration of how nature can manifest in an era of increasing urbanization and mechanization and what identities and communities the green now enables or prevents.