selected 40 city blocks based on a typological classification and their degree of completeness. The following plans were shown at a scale of 1:500: first-floor plan, typical floor plan for the 3rd through 9th floors, the top floors, the axo- nometric projection, elevations, and sections. Karl Brunner had specified a height of approximately 32 meters, using the classical Renaissance typology of base, shaft, and capital. The axonometric projection showed the project from both the outside and the inside. Karl Brunner’s idea of naming the center of Santiago “City” further emphasized its expansion toward the southern part of the city, all the way to Alonzo de Ovalle Street. He saw the massive real estate investment that was taking place and believed that the most important thing was to expand the city south- ward. He had discovered that the downtown area served as the hub for the city’s administrative, political, and business sectors, and even back then he sensed the winds of change, shrewdly recognizing the signs of modernization. Prominent projects such as Emilio Jequier’s Stock Exchange, Alberto Cruz Montt’s Club de la Unión, the San Francisco block, and others would serve as signs of modernization. According to Rosas, Brunner did not reinvent the wheel, but rather envisioned projects based on a modern ideal of transforming the city block—which at the time was inefficient as a square macro-block—and which investors had already recognized. One of the key differences that allowed Rosas to establish part of his hypothesis was the contrast between Brunner’s and Le Corbusier’s visions and approaches to urban planning. While one wanted to tear everything down, Brunner worked with what already existed. Another key factor was that Brunner considered himself second-tier compared to Le Corbusier; however, he saw himself as more pragmatic than Le Corbusier when it came to how to intervene in a city and its urban fabric. The process of drawing the plans at the three scales had the following four objectives to illustrate:
a)The theoretical proposal. b)The center's historical planning. c)The creation of visual material that illustrates transformation and substitution. d) To demonstrate the continuity of the founding matrix from 400 years ago. This planimetric development succeeded in disproving Europe’s sim- plistic view of us, as well as the notion that these transformations were merely the result of economic forces. Over the centuries, architectural drawings have documented the transformation of the city block and its complex parcel divisions, with elaborate high-rise buildings from the 20th century demonstrating the outcome of a typological process that began in the 16th century—shifting from a rural context to a dense, urban environment rich in architectural programs. The idea of a regular, orthogonal city as a simple design mechanism. The regularity, rational- ity, and simplicity of the grid shaped the practice of architecture in our country, the continuity of the grid, and the typological evolution of its architecture. Alongside the cadastral survey and mapping of the changes occur- ring within city blocks, this thesis addresses the theoretical debate that is taking hold in various academic and professional circles regarding approaches to understanding the relationship between urban planning and architecture in the 1980s, framing it as an international discussion. These topics are given great importance in morphological schools, such as the Catalan school led by Manuel de Solà-Morales i Rubió. The Italian morphological (or typomorphological) school of urban planning, spear- headed by architects such as Saverio Muratori and Gianfranco Caniggia, proposed understanding the city through its historical evolution and the relationship between architectural typology and the urban fabric.
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