PROJECTS
MODERN MOVEMENT
Urban Planning In 1963-1964 Juan Parrochia, architect and urban planner, at the request of the Junta de Adelanto team, developed a Sectional for lower Chacal- luta, where he also designed the architecture and zoning of Club Hípico (Equestrian Club). In 1968, architect and urban planner Emilio Duhart, commissioned by CORMU and aware of the explosive population growth (18,947 inhabitants in 1952 to 80,667 in 1970) and urban expansion over many years, executed a project to turn Arica into a modern metropolis. This considered a structure and level of motorization that included large traffic circles -one of them with an underpass-, six-lane avenues, ring roads, industrial roads, port expansion, and an international airport.
Regulatory Plan, 1969 Architect: Emilio Duhart Year: 1968-1969 Client: Corporación de Mejoramiento Urbano
The city's emblematic buildings were designed and built during the twenty-three years in which the free port and the Junta de Adelanto de Arica, created by the government of Carlos Ibáñez del Campo, operated. Arica 1953-1976: How its Modern Cityscape was Born
Remodelling Plaza Colón, Vicuña Mackenna Park, & Aduana Park, In 1970 Architect: Emilio Duhart Associate Architect: Alberto Montealegre Collaborating Architects: Ximena de la Barra, Miriam Beach Year: 1969-1970
By: Esteban José Balcarce Villanueva
Central Arica Sectional Plan, 1971 Architect: Emilio Duhart
Between 1953 and 1976, the city of Arica was the axis of a political, legal, and strategic project that, through a series of laws and decrees, transformed its geopolitical situation. The economic plan designed by the administration of Carlos Ibáñez del Campo sought to provide a strong stimulus for work and production, consolidating the state as the promoter and manager of economic progress. The objective was, according to historian Paulo Andrade, to consoli- date the “inward-looking” model, that is, to replace imports, reduce eco- nomic dependence on foreign countries, and create a national industry to, among other things, satisfy the demand of the domestic market and create a process of mobility and immigration that would improve living standards and reduce the high unemployment rates using this model. Among the laws and ordinances involved in this process, one of the most important was Supreme Decree Number 303, enacted on July 25, 1953, which granted the city the status of a Free Port and exempted it from customs duties and taxes. It also had a decentralized agency, created by law, which was intended to finance projects aimed at promoting social and economic development. This entity was created under the name of Junta de Adelanto de Arica. In 1958, it was an outstanding example and lasted until 1976, when the Law was repealed. “Arica was presented as an important moment in modern Chilean architecture during that process of economic and urban development. Its geographical conditions, desert landscape, and lack of rainfall, were unique opportunities for the birth of a particular landscape, which beyond its volume or quantity, was important for its great architectural quality, or its density, at a critical moment in architecture” (*). The laws and special decrees that promoted the development of Arica were one of the most visible expressions of the political effort to turn it into an exemplary city, and it explains why the traces of outstanding architects and planners have made it possible to place an intermediate city, far from the center of power and bordering the city, at the forefront of urban and architectural innovation in the country.
Associate Architect: Alberto Montealegre Collaborating Architects: Ximena de la Barra Year: 1970-1971
Regulatory Plan Of Arica, 1971 Architect: Patricio Arrancaba Collaborating Architects: Anselmo Trepiana, Pedro Salas, Sergio Roman, Nelson Berthelon Year: 1970-1971
Bus Terminal Architect: Pablo de Carolis y Raúl Pellegrin Year: 1975-1976 Builder: Econorte Location: Avenue Diego Portales N° 948 Predominant materials: Reinforced concrete and steel
The project coincides with the free plan principles and the idea of the architectural envelope, proposing a stereometric steel structure, with a truncated pyramidal shape and an opening at its apex. The material used was a copper and steel alloy for greater durability. It was supported by an exposed reinforced concrete perimeter wall. Two portals created level pedestrian accesses and “to the south, a series of concrete canopies were designed to cover the entrance and exit of passengers,” recalled architect De Carolis in an interview in 2024. Another remarkable access was in the form of a periscope towards the public space. The interior program was resolved with offices on its perimeter and an illuminated plaza in the center, which included retail and subterranean restrooms.
Carlos Dittborn World Stadium Architects: Carlos Bresciani, Héctor Valdés, Fernando Castillo Velasco & Carlos Huidobro Year: 1957-1962 Location: 18 de septiembre N° 2000 Street Floors: 1 & 2 Predominant materials: Hormigón armado
Note (*) Balcarce, V. Esteban (2008); Process of modernization from the urban space in Arica- Chile during the period of the Free Port and the Junta de Adelanto (1953-1976). Research Seminar PUC Santiago. Supervising Professor: Fernando Pérez O.
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