17 R Girls' School, Architects Julio Cordero V. & Carlos Villanueva, 1940-1955. In 1936, under the direction of Melitina Ferreira, the land where the Marta Narea School is currently located was acquired, and in 1940, with Marina S. de Schnake, construction began. 18 R 2nd and 4th Fire Departments, Architect Jorge Tarbuskovic, 1967-1973. Located on a triangular block facing the port, the narrow end was left free for parking and quick access for fire trucks. 19 R Maritime Dockworkers Union, Alejandro Crestá Gouyou, 1968-1971. It had a large theater, dressing rooms, and a sauna. It was inspired by a ship, with an engine room for the sauna boilers. Its connection to the principles of Soviet constructivism, centered on the idea of the great social condenser, was no coincidence, as the Russians provided funds for its construction. It was demolished in 2012. 20 R IFMIA, Antofagasta Institute for Mining and Industrial Develop- ment, Architect Jorge Tarbuskovic, 1936-1937. The project arose from a competition held in 1936. The jury consisted of Juan Martínez, Fernando Fonck, and Alberto Risopatrón. It was the first fully modern building in Antofagasta, reflecting the institution's innovation in promoting mining and industrialization. 21 R Workers' Union, 1939–1942, Designed Under the Leadership of Luciano Kulczewski and Aquiles Zentilli / Mandatory Workers' Insur- ance Fund The Peruvian, Bolivian, and Argentinean Collectives are part of a housing strategy promoted by Caja de Seguro Obrero Obligatorio (Mandatory Workers' Insurance Fund) for northern Chile, to provide sanitary hous- ing for affiliated workers. Designed in 1939 by Luciano Kulczewski with Aquiles Zentilli and other architects from Caja, the construction was completed in 1942. The complex consists of three buildings, with the middle one consisting of a basement and five floors of apartments, topped by a terrace with pergolas that reduce the sun's rays, a feature that is repeated in the side pavilions. The interior circulation was resolved by means of gently sloping ramps contained in central corridors with wide openings, while access to the apartments was organized in corridors open to the west, forming a sun-breaking facade that provides shade and ventilation. The basement housed laundry facilities, sewing workshops, nurs- eries, tanks, and storage rooms, while the ends of the central pavilion contained storage rooms, a popular restaurant, and a social club with a library and visiting room. The buildings housed 110 apartments: thirty on each side and fifty in the center. In Antofagasta, they were arranged in an arc on a trapezoidal site, overlooking the port and opening onto the urban expansion created by their construction. 22 R Social Security Service Offices, 1959-1961, BVCH. The proposal sought to adapt to the program, the location, and the climate, incorporating principles of modern architecture such as free floor plans and facades, pilotis, and sunshades. It was completed in 1961 and opened in 1962. Ricardo Braun highlighted its affinity with residential projects in Arica: work areas organized around a shaded courtyard, conceived as a waiting area. The main volume, a 28 × 28-meter square prism, was supported by metal pillars and had cruciform central walls for seismic stability. Un- derneath the prism were complementary services and offices, partially embedded. The top floor housed customer service, work areas, and administration, separated by glass partitions. Ceramic latticework enclosures protected the building from the sun on three facades, creating a double skin.
built between 1967 and 1968 with the collaboration of engineers Rivera, Balada, Lederer, and Baeza. Classes began in 1970, and around 1975, a metal structure workshop was added, consolidating the campus as an early benchmark of modern educational architecture in the city. 7 R Northern Windmill, Architects María Schurmann & Mario Reyes, 1962-1963. La Molinera del Norte (Northern Windmill) was one of Antofagasta's most notable industrial projects during the Modern Movement period. Inaugurated on September 1, 1963, it was promoted by businessmen Jorge Razmilic Vlahovic and Nicolás Eterovic S. to install a wheat mill and an industrial food processing complex. The complex was located in the Barrio Estación neighborhood, on a gently sloping site, and consisted of three main parts: the six-story mill, the foundations for twelve silos, and an administrative building with an entrance pavilion. Its architecture adopted a brutalist style, with a strong emphasis on textured concrete and a structural grid that functioned as an exoskeleton, freeing up the interiors. Expressive details such as circular lattices, hermetic heads, and the imprint of the formwork on the facades stood out. 8 R Villa Chuquicamata (SOQUIM) in Antofagasta, CORMU & VIENOR, 1970-1978, Architects José Antonio Gómez, Francisco Lira, Cristian Boza Jorge Luhrs & Francisco Muzard . The SOQUIM sectional plan in Antofagasta was a large-scale housing development, designed as a superblock with three types of buildings: extended houses, mid-rise buildings, and towers. The project renovated an old industrial piece of land north of the city center, led by CORMU and VIENOR, linked to the Chile Exploration Company. VIENOR built the horizontal houses, and CORMU built the buildings and towers. The project, reported by AUCA in 1971, planned 680 homes for camp dwellers, organized in an L-shaped edge of buildings and towers con- taining the horizontal houses. Plans from 1971 and 1973 by Boza, Luhrs, and Muzard showed five towers and nine buildings, with the long sides facing the ocean and the short sides facing north. The first homes were delivered in 1974, the second stage in 1976, and the Codelco towers No. 1 and No. 2 were built between 1977 and 1979, offering apartments and commercial space on the ground floor. The complex consolidated a modern proposal for workers' housing adapted to the topography and urban environment of Antofagasta. 9 R Arzic Goles Mausoleum, Architect Nicolás Arzic Goles, 1946 / Arce Mausoleum, Architect Ulises Vergara, 1951 / Cvitanic Fraitag Mausoleum, Architect Jorge Tarbuskovic Dulcic, 1961 The Antofagasta General Cemetery, like other cemeteries, reflects the society of a city, its aspirations, its architectural expressions, and its architects. Among the mausoleums designed in modern architecture, we can highlight the Arzic Goles Mausoleum, from 1946, designed by architect Nicolás Arzic Goles. This compact work evokes early modernity with echoes of Wrightian architecture, and it represents the connections of Croatian families who arrived in the early 20th century very well, both in northern and southern Chile. In fact, the architect, born in Antofagasta and graduated in 1936, worked in Antofagasta, Arica, and Calama, and from 1939 onward, he developed a prolific professional career in Punta Arenas. The Arce Mausoleum, built in 1951, houses the remains of the renowned historian Isaac Arce. Its design is abstract, consisting of a single suspend- ed volume supported by a volcanic stone wall, which, due to its recessed position, defines a space and creates a floor and space for visitors. The Cvitanic Fraitag Mausoleum, built in 1961, was designed by re- nowned architect Jorge Tarbuskovic Dulcic. Its composition is charac- terized by the intersection of a triangular prism that forms the “A” shaped entrance with a cubic volume that constitutes the main body. Beyond its
modern and austere language, the triangular shape often symbolizes spirituality and contemplation without resorting to explicit religious signs, thus reinforcing its character as a sign of memory and transcendence. 10 R Hotel Turismo of Antofagasta, 1949-1953, Martín Lira Guevara, Consorcio Hotelero, HONSA This project was made possible thanks to the collaboration between HONSA and the local Chamber of Commerce. The six-story building establishes a dialogue between the civic center and the ocean, with a habitable terrace that visually completes the main shopping street. Access is via an elevated walkway, with a wide staircase and canopy leading to the glass-enclosed lobby overlooking the bay. The upper floors house rooms with balconies and living rooms on pilotis, horizontal windows, and brise-soleil, creating a nautical architecture. 11 R Centenary Building, 1966-1968, Bolton Larraín Prieto Lorca Designed by architects Bolton, Larraín, Prieto, and Lorca, with structural calculations by Jorge Skorin, the Centenario building in Antofagasta stood 43 meters tall, built on an underground level excavated from a rock formation. It was conceived as a panoramic tower, with balconies on all four sides offering unique views of the city from the fourth floor. Its structure was designed to resemble the trunk of a tree, with floors extending out like branches, a system that reinforced its stability in the event of earthquakes. Its imposing presence, both technical and symbolic, made it a landmark commemorating Antofagasta's centenary. 12 R Private Employees' Pension Fund Agency (1954-1958), Plaza Colón Building + Theater (1955-1960), Unknown Architect + Ricardo Pulgar San Martín This project included the institutional headquarters, 52 homes, 13 com- mercial premises, and a theater, arranged around interior courtyards. 13 R Antofagasta Municipality and Theater, 1963, Architects Vicente Bruna, Germán Wijnant, Alberto Sartori, Sergio Seguel, & Iván Godoy. It was a national competition for preliminary designs. It covered 12,000 m² and included a municipal theater with a capacity for 1,500 people, a chamber theater for 500 spectators, the town hall, a municipal library, and an art gallery. 14 R Canaempu Building, Architect Martín Lira, 1949-1956 Located on Prat and Washington Streets for the Public Employees and Journalists Fund. The building features a mural by Thomas Roessner, “Puerto de la Chimba 1880”. 15 R Rivas Roces Building, 1950–1952, Unknown Architect. Located on Prat and Latorre. It had four floors, with the bottom two housing stores such as La Española and Almacén Rivas, while the top two were offices and apartments. 16 R Regional Administration and Public Services, 1956-1963. Edwin Weil Wholke This project replaced the previous eclectic building destroyed by a fire in 1955. It opened after beginning operations in 1963 and is located on a 38.3 × 50-meter plot of land. It has six floors and covers 6,800 m². The design organizes the building in a “T” shape, with a front sec- tion suspended on pilotis on the first two floors, freeing up the ground floor and creating a shaded public hall. The upper floors incorporate sunshades that mitigate the sun’s rays in the coastal desert climate. The rear section combines a tower and base, housing the treasury and offices on open floors, with underground services and parking. The roof includes a glass pavilion on a folded plate. The rationalist architecture adapts to the corner and the sunlight, integrating the building into the urban space. Freeing up the first level and the balco- nies designed as wings creates active contact between the institution and the city's foot traffic.
The project combined rational geometry with offsets and off-centers, resulting in a functional, human-scale building that was sensitive to the terrain's slope. 23 R Tourism Pavilion, architect Jorge Tarbuskovic, 1939-1949. It was built opposite the port entrance in Antofagasta as a space to pro- vide information and services to passengers traveling on major shipping lines. Nicolás González Paredes, a renowned painter, was responsible for the work. 24 R Hotel Turismo (project), Costabal & Garafulic, 1937. It was the first proposal for a modern hotel in Antofagasta, located between Parque Brasil and the ocean, with a six-story building and a terrace. The project was not carried out due to expropriation difficulties and municipal opposition. 25 R Dr. Gonzalo Castro Toro's house, Architect Alfonso Campusano Nunes, 1948. An example of “ship architecture,” the project took the desert climate into account by incorporating a curved gallery that protected public areas from the sun’s rays. It was adapted to the slope of the land: the main facade has one level, while the service areas at the back have two floors. 26 R Holy Spirit University Hall, Architect María Schurmann, 1967. It is located on a plot of land with access from two streets. From the main facade on Eduardo Lefort Street, the building can be seen at the bottom of a sloping plot, with views of the ocean and the Regional Hospital, while the rear is accessed via a private passageway from 21 de Mayo Street. The highly complex floor plan organizes a three-level front volume, parallel to the street and at the top of the front garden. This body, which is more public and administrative in nature, combines a closed base, an entrance with large glass panels and sunshades, and bedrooms on the third level. The main entrance, with a curved ramp and stairs, is presented as a gesture of monumentality. Surrounding it is another section, a slender boomerang-shaped volume with two floors at the rear and four in the section perpendicular to the central building, which protrudes laterally at the front, suggesting a T-shaped layout. This volume tapers towards the west, reinforcing the direction of the landscape and adding dynamic composition. The basement houses service areas, the second level meeting rooms, and the upper-level rooms with balconies facing the ocean. Its two-level rear, more discreet and private, faces the interior passageway. In its enveloping gesture, it defines interior courtyards, and in its connection to the central body, a water cup rises. 27 R Coronel Emilio Sotomayor (Villa Florida) Housing Development, Architects Guillermo Geisse Grove & Francisco Hurtado, 1963-1964 This project represents an example of an intermediate complex that links the formal city with the informal desert environment. It consists of 188 homes: 116 in four collective buildings crossed by a transverse passage- way and 72 single-family homes organized in pedestrian passageways. This layout creates a transition of scales, integrating the complex with the city and enhancing the pedestrian experience. The density varies: the houses occupy 172 inhabitants per hectare, the buildings 521 inhabitants per hectare, and the overall average is 294 inhabitants per hectare. The topography of the land allows the buildings, which are perpendicular to the slope, to have varying heights—from four to six stories—creating a heterogeneous density. The buildings contain and mediate between the houses, while the latter, arranged as a mat-building, complete the irregular terrain. The final configuration constructs a continuous mantle and a network of pedestrian passages, articulating collective spaces
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