Learning from Latin America: Public Space, Housing and Landscape

During the mid-20th century, Latin American architecture experienced a period of innovation and growth. Architects like Oskar Niemeyer in Brazil, Luis Berragon in Mexico, and Ricardo Porro in Cuba were creating unique and groundbreaking designs. Brazil's modernism was bold and futuristic, while Mexico's was introspective and focused on creating contemplative spaces. Cuba's architecture underwent a transformation after the revolution, with the National Art Schools Project showcasing organic structures rooted in Cuban culture. This period of Latin American architecture was characterized by a sense of joy, playfulness, and a desire to create functional and beautiful spaces that reflected the spirit and way of life of each country. These architectural marvels were more than just buildings; they were experiences that shaped societies. The architectural revolution in Latin America during this time was a testament to the creativity, idealism, and cultural force of the region. All right, get ready to go beyond those beautiful colonial facades, because today we're diving deep into a period of Latin American architecture that might just blow your mind, the mid-20th century. It's a period that I think often gets overlooked, but it's just a treasure trove of innovation. You'd think sleek modernism sort of bumping up against these ancient traditions and radical responses to unique climates and social challenges you wouldn't believe. Yeah, we're talking architectural solutions that weren't just about looks, but about shaping societies. I get this. And get this, our guide is Barry Bergdahl's Learning from Latin America, Public Space, Housing, and Landscape. Great book. And plus, we've got visuals, so you can really see these architectural marvels. What I think is so fascinating is that while Europe was painstakingly rebuilding after World War II, Latin America was in this incredible period of growth and transformation. It was almost like a coming-of-age moment, and their architecture was really shouting that energy from the rooftops. It's like they were saying, hey, the future's here, and it's happening in Latin America. But what's interesting is they weren't just copying Europe's modernism. They were doing something totally different. Absolutely. They were taking those ideas, but filtering them through their own unique lens. The vibrant colors, the textures, the light, it's all there in the architecture. So let's talk names. Okay. Who are the rock stars of this architectural revolution? Well, you can't talk about Brazilian modernism without mentioning Oskar Niemeyer. Right. His use of concrete, particularly those sinuous curves. Oh, I love it. It's almost like he's sculpting with the material. Yeah. And then there's Luis Bergan in Mexico. Oh, yes. I've seen pictures of his work, and it's like stepping into a dream. The way he uses color, light, and water is just otherworldly. It's amazing. It really is. And in Cuba, you have Ricardo Porro, who was really blending modernism with the Cuban landscape in a way that's just breathtaking and deeply rooted in the place. These architects weren't just designing buildings. They were creating experiences. All right. I am officially intrigued. Let's start with Brazil. What was happening there that made it such a hotbed for architectural innovation? Well, picture this. It's the late 1950s, and Brazil is brimming with ambition. Okay. They decide to build a brand new capital city from scratch. Oh, wow. Right in the heart of the country. Yeah. And that city is Brasilia. Whoa. Talk about a bold move. They weren't messing around. Not at all. Yeah. And leading the charge was President Joselino Kubitschek, a man with a vision for a modern Brazil. Right. And then there was Niemeyer to design the government buildings. And let me tell you. Yeah. These weren't your typical government offices. I bet. What did Niemeyer come up with? Think futuristic, almost alien-looking structures. Okay. All sleek curves and daring cantilevers. You know, he used concrete in a way that nobody had ever seen before, creating these massive expressive forms that seemed to just defy gravity. Okay. I'm seeing those images now. Yeah. And wow. Brasilia looks like something straight out of a sci-fi movie. It does. It must have been a shock to the world. It was a statement. Yeah. It was Brazil announcing its arrival on the world stage, not just as an economic power, but as a cultural force to be reckoned with. Oh, I love that. And it wasn't just about Brasilia. This architectural energy was rippling throughout the country. So what else was going on beyond the new capital? Well, there's the Museum of Modern Art in Rio de Janeiro, also designed by Niemeyer. Okay. It's this incredible structure perched on a cliff overlooking Guanabara Bay. Wow. With a rooftop garden that offers these breathtaking views of the city. Oh, that sounds beautiful. And then there's the Pampula Complex in Belo Horizonte, another Niemeyer masterpiece. Wow. This guy got around. He did. Yeah. It's a series of buildings around an artificial lake, including a church, a casino, and a yacht club. Wow. And then there's these organic flowing forms that seem to blend seamlessly with the landscape. It sounds like they were really pushing the boundaries of what was possible with architecture. They were. Yeah. And they were doing it with a sense of joy and playfulness. I love that. That's so characteristic of Brazilian culture. You see this in the vibrant colors, the bold forms, and the way they incorporated nature into their designs. Yeah. It's modernism, but with a distinctly Brazilian twist. I love that they took those European modernist ideas, but made them their own. Exactly. And it wasn't just about aesthetics. Right. It was about creating spaces that were both functional and beautiful. Yeah. Spaces that reflected the Brazilian spirit and way of life. All right. I need to see these buildings for myself. You do. Let's move on to Mexico. What made their version of modernism so unique? Well, if Brazil's modernism was all about exuberance and energy, Mexico's was more introspective, more about creating these quiet, contemplative spaces. Oh, I like that. And no one embodied this better than Luis Berragon. I've heard his name before, but I don't know much about his work. Fill me in. Berragon was a master of light and shadow, color and texture. He drew inspiration from traditional Mexican architecture with its thick walls, courtyards, and vibrant colors. But he reinterpreted those elements in a thoroughly modern way. Okay. Let's take a look at this picture. Okay. And what about his most famous work? Well, his own house and studio in Mexico City is a masterpiece. It's a series of interconnected rooms and courtyards, all bathed in this incredible light that changes throughout the day. Wow. He uses color in a very deliberate way, often in large blocks of pink, yellow, and purple, which creates this incredibly serene and spiritual atmosphere. Wow. I can see why people say his work is so poetic. Yeah. It sounds like more than just architecture. It is. It's about creating an emotional experience. Absolutely. Yeah. And he wasn't just working with interiors. Right. He also designed these incredible landscapes. Okay. For Berragon, landscape was an extension of the architecture, a way to create these outdoor rooms that were just as carefully composed as the interiors. Do you have a favorite example? One of his most iconic works is the Torres de Taddley. Okay. These massive, colorful sculptures that stand on the edge of Mexico City. Oh, yeah. I've seen those. They're like giant beacons. Yeah. Visible from miles around. Right. And they've become a symbol of the city's dynamism and modernity. So they're not just sculptures. They're landmarks. Yeah. Almost like a gateway to the city. Exactly. And they're a perfect example of how Berragon was able to take these simple geometric forms and imbue them with a sense of monumentality and poetry. Okay. So we've got Brazil with its bold, expressive forms and Mexico with its quiet, contemplative spaces. Yeah. What about Cuba? Okay. What was their architectural story? Well, Cuba's story takes a dramatic turn with the revolution in 1959. Okay. Before that, their architecture was heavily influenced by European styles. Okay. Particularly Art Deco and Neoclassicism. But after Castro came to power, there was a real push to create a new national identity, one that was rooted in Cuban culture and socialist ideals. So how did that play out in their architecture? One of the most ambitious projects of the early revolutionary period was the National Art Schools Project. Okay. Fidel Castro envisioned these schools as a way to cultivate a new generation of Cuban artists and architects, and he brought in a group of young, talented architects to design them. Who were these architects? The three main architects were Ricardo Porro. Okay. Vittorio Garati. Okay. And Roberto Cattardi. Okay. They were all relatively unknown at the time. Okay. But they shared Castro's vision for a new Cuba, and they were eager to create something truly groundbreaking. So what did they come up with? They designed these incredible organic structures that seemed to grow out of the Cuban landscape. Wow. And they used local materials like brick and terracotta tile, and they incorporated elements of Cuban vernacular architecture, like courtyards and covered walkways. So even though it was a new era, they were still drawing inspiration from their own history and culture. Exactly. Yeah. And the schools were designed to be more than just places of learning. Okay. They were meant to be communities. Right. Places where students could live, work, and create together. It sounds like a really idealistic vision. It was. Unfortunately, the project was never fully completed. Why not? Well, there were a lot of factors. Okay. Political pressures. Right. Economic constraints. And even disagreements among the architects themselves. Wow. But what remains of the schools is still a powerful testament to the creative energy and idealism of the early revolutionary period. It's almost like a frozen moment in time. Yes. A glimpse into what might have been. Exactly. Yeah. Architecture is never just about buildings. Oh, right. It's about the people who create them. Yeah. And the societies they inhabit. Okay. So we've got these three fascinating architectural stories. Brazil, Mexico, and Cuba. Right. But I have a feeling this is just the tip of the iceberg. Right. Absolutely. Okay. We've only just scratched the surface. Yes. There were incredible things happening all across Latin America during this period. Okay. From Uruguay to Chile to Colombia. Well, then I guess we better keep diving. Where do we go from here? Let's go. You know, it's interesting how we often think of architectural movements as starting in Europe and then spreading to the rest of the world. But in the case of modernism, Latin America was actually ahead of the curve in a lot of ways. Oh, really? How so? Well, take Brazil's pavilion at the 1939 New York World's Fair. Okay. It was designed by Lucio Costa and a young Oscar Niemeyer. Right. And it caused a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. And it's still a sensation. Well, what was so groundbreaking about it? Well, for one thing, it was one of the first major international exhibitions to showcase a distinctly Latin American interpretation of modernism. Remember, this was just as Europe was descending into war, Latin America, particularly Brazil, was looking to the future. And this pavilion really embodied that optimism. It's like they were saying, hey, world, we're here. And we're doing things differently. Precisely. And the world took notice. The pavilion won the grand prize for best pavilion at the fair. Wow. And it had a huge impact on architects and designers internationally. I can see why it's such a striking building. It is. Did it have any specific influences on later architectural trends? Oh, absolutely. Okay. One figure who was particularly captivated was Philip Johnson, the influential American architect and curator. He visited the pavilion and was so impressed that he actually included it in the Museum of Modern Art's exhibition, Brazil Builds, just a few years later. Wow. That's quite an honor. It is. So, in a way, this one pavilion helped launch Latin American architecture onto the international scene. I think it's fair to say that. Yeah. It definitely played a role in opening people's eyes to the incredible talent and creativity that was coming out of Latin America. That's fascinating. Yeah. So, we've talked about how Latin American architects were pushing the boundaries of modernism, but I'm curious about the social and political context. How did all of this architectural activity intersect with what was happening in these countries at the time? That's a great question. Yeah. It's important to remember that this period of architectural innovation coincided with a period of rapid urbanization and social change across Latin America. Right. Mexico City and Caracas were growing at an unprecedented rate. Wow. And architects were grappling with how to create spaces that could accommodate this influx of people while also fostering a sense of community. It wasn't just about building houses. Right. It was about building cities. Yeah. And even societies. Exactly. Yeah. And this is where we see some of the most innovative ideas emerge. Okay. So, there were large-scale housing projects that incorporated green spaces. Right. Public transportation systems that connected different parts of the city. Okay. And a real emphasis on creating vibrant public spaces where people could gather and interact. It sounds like there was a real social consciousness driving a lot of this architecture. There was. It wasn't just about aesthetics. Right. It was about using architecture to make a positive impact on people's lives. I'm thinking of someone like Eladio D'Este in Uruguay. Yes. He was not even an architect, but an engineer. Right. And yet, his work with brick vaulting was so innovative, so beautiful, and so attuned to the needs of the people he was building for. D'Este is a fantastic example. Yeah. He revolutionized the use of brick vaulting. Right. Creating these incredibly lightweight and economical structures. Yeah. That were perfect for schools, factories, and even churches. Wow. What's amazing is that he did all of this without using any steel or reinforced concrete. It's like he was taking this humble material and doing these incredible things with it. He was. He was a true innovator. Yeah. And his work is a testament to the fact that architectural innovation wasn't limited to a few star architects. Right. It was happening all across Latin America. Yeah. Often in the most unexpected places. So, we've got these big names like Niemeyer and Farragon, but also these unsung heroes like D'Este. Right. It sounds like there was a real ferment of ideas happening during this period. There was. Yeah. And one of the most striking things about it is the sheer diversity of approaches and styles. Oh, interesting. You have Niemeyer's monumental concrete structures. Right. Farragon's poetic use of color and light. D'Este's minimalist brick vaults. Yeah. They're all exploring different facets of modernism. And yet, despite these differences, there was this common thread, this desire to create architecture that was both modern and rooted in the local context. Exactly. Yeah. It's this idea of finding a balance between the universal and the particular. Right. And it's what makes Latin American modernism so unique and so compelling. Speaking of unique, we can't talk about Latin American architecture without talking about Brasilia. Right? Yeah. Yeah. The city that Oscar Niemeyer helped shape. Right. It was the brainchild of President Juscelino Kubitschek, who wanted to create a city that would symbolize a modern, progressive Brazil. Right. And Niemeyer's designs for the government buildings, the cathedral, the national theater, they were nothing short of spectacular. I know we touched on Brasilia earlier, but I'd love to hear more about it. Sure. I'd love to actually experience this city rising from the ground up. Well, imagine this, a vast, empty plain in the heart of Brazil. Okay. And then, over the course of just a few years, this futuristic city emerges with wide avenues, modernist architecture, and this utopian vision of a new society. He must have been mind-blowing. It was. Yeah. It captured the world's imagination. Right. And he saw Brasilia as a symbol of progress, a bold experiment in urban planning. Of course, the reality of Brasilia is more complex, but there's no denying the power of its architectural statement. Absolutely. Yeah. And it wasn't just about Brasilia. There were other ambitious urban renewal projects happening across Latin America at the time. Like what? Well, in Caracas, Venezuela, there was a massive redevelopment project in the 1950s that aimed to transform the city center into a modern metropolis. Wow. It was heavily influenced by the ideas of Le Corbusier, the Swiss-French architect who was so influential in the development of modernist urban planning. For those of us who aren't architecture buffs, could you give us a quick primer on Le Corbusier? Sure. Okay. Le Corbusier was a pioneer of modern architecture. He believed in using new materials, like concrete and steel, to create buildings that were functional, efficient, and aesthetically pleasing. Oh, okay. He was also a big proponent of high-rise buildings, open green spaces, and the separation of pedestrian and vehicular traffic. So how did his ideas play out in Caracas? Well, the most prominent example is the Central Salón Bolívar, a massive complex of office towers, plazas, and underground roadways. That was meant to be the heart of the new city. It was a bold vision. And while it wasn't without its flaws, it still stands as a testament to the ambition and scale of urban renewal projects in Latin America at that time. It seems like there's this real sense of possibility, this belief that architecture could create a better future. Absolutely. Yeah. And that's one of the most exciting things about studying this period, this sense of optimism, this willingness to experiment and push boundaries. But it's also important to remember that this was a period of political turmoil and social upheaval in many parts of Latin America, right? You're absolutely right. Cuban Revolution, military dictatorships in Argentina and Chile, political instability in many other countries. Yeah. It was a complex and often contradictory time. So how did this political context shape the architectural landscape? Well, in some cases, it led to censorship and restrictions on what architects could design. Can you give us an example? Well, in Cuba, after the revolution, there was a shift away from the kind of luxurious architecture that had been favored by the Batista regime. Revolutionary government wanted to promote a different kind of aesthetic, one that reflected its socialist ideals. It makes sense that they would want to distance themselves from the architecture of the previous regime. Yeah. So what kind of architecture did they promote? They encouraged a more utilitarian style of architecture, one that was focused on functionality and affordability, simple geometric forms, the use of local materials, and a rejection of ornamentation. So it was more about serving the needs of the people than about making grand architectural statements. Exactly. Yeah. But that doesn't mean it wasn't creative. Right. There were still some incredibly innovative projects happening in Cuba during this period, even within those political constraints. Like the National Art Schools project we discussed earlier? Exactly. Yeah. Despite the challenges, the architects involved in that project were able to create something truly extraordinary. It seems like there was this constant push and pull between ideology and creativity. Yes. Yeah. And that tension is part of what makes the architecture of this period so fascinating. Right. And it's a reflection of the complex and often contradictory realities of life in Latin America at that time. Okay. So we talked about grand projects like Brasilia and the Centro Simón Bolívar, but I'm also curious about the everyday architecture of this period, the homes, the schools, the hospitals, what was happening there? That's a crucial part of the story too. Right. And it's where we see some of the most innovative solutions to the challenges of rapid urbanization and limited resources. What comes to mind? Well, in Mexico, architect Mario Panini designed several large-scale housing projects that were incredibly influential. Okay. He was a pioneer in the development of multifamily housing, and he believed that everyone deserved access to quality housing, regardless of income. So it wasn't just about building housing, it was about social housing. Yes. About creating affordable housing for the masses. Exactly. Yeah. And Panini's designs were incredibly innovative. Okay. He incorporated green spaces. Right. Communal areas. Mm-hmm. And even schools and shops within these large residential complexes. Wow. He was trying to create self-contained communities where people could live, work, and play. It sounds like he was taking a holistic approach to housing. He was. Yeah. It wasn't just about providing shelter. Right. It was about creating a sense of community. Right. And his projects had a huge impact, not just in Mexico, but throughout Latin America. It's interesting to see how these ideas about social housing were being explored on such a grand scale. It was. Yeah. And it wasn't just about quantity. Right. It was also about quality. Architects in Latin America were experimenting with new materials and construction techniques to create affordable housing. Yeah. That was also aesthetically pleasing and durable. It sounds like they were really pushing the boundaries of what was possible with limited resources. They were. Yeah. And I think that commitment to social responsibility is something that really sets this period apart. Right. It wasn't just about creating beautiful buildings for the elite. Right. It was about using architecture to improve the lives of all people. I love that. Yeah. Okay. So, we've covered a lot of ground from grand architectural statements like Brasilia to the everyday realities of social housing projects. Right. What would you say are the key takeaways from this deep dive into Latin American architecture in the mid-20th century? Well, I think one of the most important takeaways is that this was a period of incredible creativity and innovation. Yeah. Architects in Latin America were pushing the boundaries of modernism. Right. Creating a style that was both universal and uniquely rooted in the local context. They were responding to the specific challenges of their societies. Good urbanization, social inequality, political turmoil, but they were also looking to the future with a sense of optimism and possibility. I think another key takeaway is the importance of public space in Latin American architecture. Okay. Whether it's Niemeyer's grand plazas in Brasilia, or Berragon's intimate courtyards in Mexico City, there's this consistent emphasis on creating spaces where people can gather, interact, and celebrate their shared culture. And finally, I think we have to acknowledge the social consciousness that permeates so much of the architecture of this period. Right. From those large-scale housing projects to those innovative solutions for low-cost construction. Yes. There's this clear commitment to using architecture as a tool to improve people's lives. Absolutely. Yeah. It's this combination of creativity, social responsibility, and a deep understanding of the local context that makes this period in Latin American architecture so remarkable and so relevant to us today. And as we continue to grapple with challenges like climate change, rapid urbanization, and social inequality, I think the lessons from Latin America are more important than ever. I completely agree. Yeah. Perhaps by looking back at this remarkable period of architectural innovation, we can find inspiration and guidance for building a better future. Well said. Thank you. Now, let's move on to something that's often overlooked when we talk about architecture, the landscape. Okay. You know, when we think about architecture, we often focus on the buildings themselves. Right. But the landscape plays such a crucial role in shaping our experience of a place. Absolutely. Yeah. And in Latin America, landscape architecture is more than just aesthetics. Yeah. It's deeply intertwined with social, cultural, and even political forces. So it's like the landscape becomes this canvas. Yes. Where these larger stories are playing out. Exactly. Yeah. And one of the masters of weaving these stories into the landscape was Luis Burrugon, who we talked about earlier. Right. Yeah. His own house and studio in Mexico City is a prime example. I remember you mentioning how he uses light and color in such a unique way. It's amazing. Can you tell us more about how he incorporates landscape into his designs? Well, for Burrugon, landscape wasn't just an afterthought. Okay. It was an integral part of the architectural experience. He used walls, colors, water, and vegetation to create these incredibly serene and contemplative spaces. I'm imagining those vibrant pinks and yellows. Oh, yeah. Just opposed against that lush greenery. It must be a feast for defenses. It is. Yeah. And it's not just about visual impact. Right. He uses these elements to create different moods and atmospheres. Okay. Sometimes it's about enclosure and intimacy, other times it's about openness and connection to the sky. It sounds like he's playing with our perceptions of space and light. He is. Yeah. And he does it with such a deft hand. Yeah. He understands how to create these moments of surprise and delight, how to draw you through a space and make you feel certain emotions. It's interesting how he draws inspiration from those traditional Mexican haciendas and gardens, but then reinterprets them in this modernist language. Yeah. It's like he's bridging the gap between the past and the present. Exactly. He's taking these familiar elements and transforming them into something completely new and unexpected. Yeah. And it's not just about beauty. Right. It's about creating a sense of place, of connection to the land and to Mexican culture. Speaking of connecting to the land, I know Brazil has its own landscape architecture superstar, Roberto Burl Marx. Oh, yeah. What made his work so unique? Well, Burl Marx was a true Renaissance man. Okay. He wasn't just a landscape architect. Right. He was also a botanist. Okay. A painter. Wow. And even a set designer. Wow. Talk about a multi-talented individual. He was. So how did all of these different interests come together in his landscape designs? Well, his gardens were like vibrant tapestries. Okay. Bursting with color and texture. Yeah. He had this incredible eye for combining different plant species and creating these really dynamic compositions. I bet his knowledge of botany came in handy. Absolutely. Yeah. He championed the use of native Brazilian plants. Okay. And often incorporated elements of Brazilian folk art and indigenous traditions into his designs. So there was this real sense of celebrating Brazilian culture and biodiversity in his work. There was. He was always an experiment. Right. He was always pushing the boundaries of what was possible in landscape design. Do you have a favorite example of his work? Oh, it's hard to choose just one. I know. Right. But one of his most iconic works has to be the Copacabana Beach Promenade in Rio de Janeiro. Oh, yeah. Yeah. I've seen pictures of that. Have you? Yeah. Those undulating black and white mosaics are so striking. They are. Yeah. They're actually inspired by Portuguese pavements. Okay. But Burl Marx took that simple pattern. Yeah. And transformed it into something truly unique. And it's not just beautiful. Right. It's also functional. Yes. It creates shade. Yeah. Guides pedestrian flow. Mm-hmm. And defines those public spaces. Exactly. Yeah. And this idea of fusing beauty and functionality is a hallmark of Burl Marx's work. It's amazing how these landscape architects were shaping the way people experienced entire cities. Yeah. And this, in fact, goes far beyond individual gardens and parks. It does. Yeah. They understood that landscape is an essential part of the urban fabric. Right. It's what makes a city livable, breathable, and enjoyable. Okay. So, we've explored these incredible landscapes. Yes. Now, let's zoom back into the buildings themselves. Okay. The book mentions how Latin American architects were particularly innovative in their use of materials. Right. Especially concrete. Concrete was a real game changer for architects in Latin America. Okay. It was readily available. Yeah. Relatively inexpensive. Right. And incredibly versatile. It allowed them to create these bold, expressive forms that would have been impossible with traditional materials. Just like they were sculpting with concrete. They were. Yeah. And they were doing it with a level of mastery that was unmatched anywhere else in the world. Right. Think of Oscar Niemeyer's designs for Brasilia. Right. Those buildings are like concrete sculptures. Yeah. They have sweeping curves and dramatic cantilevers. They almost seem to defy gravity. They do. Yeah. Niemeyer really pushed the limits of what was possible with concrete. Right. He understood its structural properties, but also its expressive potential. But it wasn't just about aesthetics. Right. Right. Concrete also had practical advantages in the often hot and humid climates of Latin America. Absolutely. Yeah. It's a material that can withstand extreme weather conditions. Right. And requires minimal maintenance. Yeah. But it also allowed for the creation of large open spaces. Yeah. Which was essential for public buildings and housing projects. So concrete wasn't just a material. Right. It was a symbol of modernity, progress, and even national pride in a way. You could say that. Yeah. It represented a break from the past. Right. An embrace of new technologies and new ways of thinking. And this is something that you see across Latin America. Yeah. They weren't just importing European styles. Right. They were using concrete to create a distinctly Latin American form of modernism. Precisely. Yeah. And that's one of the key takeaways from this journey through Latin American architecture. Right. It's a story of innovation, creativity, and a deep understanding of place. It's a reminder that great architecture is not just about aesthetics. Right. It's about responding to the needs of people and the environment. It's about creating spaces that are both beautiful and functional. And it's about telling stories. Yeah. The stories of the people who built these structures. Right. And the societies they inhabit. Well, I think this deep dive has given us a lot to think about. What started as a simple exploration of Latin American architecture has turned into a journey through history, culture, and the power of human ingenuity. It's been a fascinating journey. It has. And I hope it inspires our listener to continue exploring the world of architecture. Yes. To look beyond the familiar. Right. To explore the unexpected beauty that's waiting to be found. To our listener, keep those eyes open and keep questioning. Keep learning. Yeah. And remember, the most incredible discoveries are often found in the most unexpected places.