Buenos Aires modernism emerged in the mid-1930s to the early 1940s. It is a movement that grew in sync with a period of fast-paced, radical change in the South American city. From experiencing a golden age for tango, film and literature to the implementation of urban developments around car use that transformed it into a modern 20th-century metropolis, the Argentine capital quickly became one of the era's cultural powerhouses.
During this period, and inspired by the rise of modernism everywhere, architects began to reject the heavy ornamentation of European eclecticism and Beaux-Arts styles in favour of avant-garde design – and modernist architecture's clean lines and streamlined geometry.
Edificio O'Higgins 2319 by Jorge Ferrari Hardoy and Juan Kurchan
A homegrown regional style began to develop, which combined elements of European rationalism, Bauhaus-inspired German aesthetics, and art deco. Reinforced concrete and industrial materials became popular during this period of rapid urban expansion when demand for construction soared. Early modernist exponents blended Le Corbusier's theories with their own approach and local idiosyncrasies to impressive effects. Buenos Aires modernism is a true gem of its genre as a result.
Explore Buenos Aires modernism
Buenos Aires architects worked on many private residences, but also experimented with collective living spaces that prioritised integration with their natural surroundings. Public and cultural spaces complete the mix of an era that led the way in innovative thinking. Here is a selection of projects that best represent this time.
Kavanagh by Luis Sanchez, Ernesto Lagos and Luis María De La Torre
When: 1934-36
A beacon of the golden era of Argentine prosperity and opulence, the building was commissioned by wealthy landowner and socialite Corina Kavanagh and was the tallest reinforced concrete building in South America on completion. Kitted out with all mod cons such as air conditioning and central heating, as well as impressive tiered garden terraces, it was designed with no expense spared. Kavanagh hired French designer Jean Michel Frank, who collaborated with local design firm Comte to custom-design several luxurious apartments as well as the main lobby. The result is considered one of his most emblematic works and is still 100 per cent preserved. Signature hallmarks include parchment-covered doors and walls, intricate straw marquetry and elegant minimal furniture.
Casa Bigatti-Forner by Alejo Martínez
When: 1937
The building was commissioned by Argentine artists Raquel Forner and her husband Alfredo Bigatti to house both their studios and residence under the same roof. The design comes with some interesting bespoke details. The couple's interconnecting studios over two levels allowed them to converse while working independently, with a double-height glass door that maximised both sunlight and functionality (Bigatti's monumental sculptures could thus easily move in and out of the house).
Ateliers para Artistas by Antonio Bonet, Abel Lopez Chas and Ricardo Vera Barros
When: 1938
Located on a bustling corner of Downtown, this building is a benchmark in Buenos Aires modernism. With its pleasing streamlined lines and curved facade with vertical electric parasols at the intersection, it was originally designed to accommodate four ground-floor commercial spaces, with the two floors above spanning seven ateliers and studios for artists and architects, each boasting double-height ceilings. Its characteristic industrial design includes glass bricks and a collective roof garden. The iconic butterfly chair (BKF) was first piloted in this project, which Bonet designed collaboratively with architects Kurchan and Hardoy as part of the Argentine Austral design group.
Edificio O'Higgins 2319 by Jorge Ferrari Hardoy and Juan Kurchan
When: 1941
In 1937, Hardoy and Kurchan did a year-long stint in Paris working as draftsmen with Le Corbusier in his Rue de Sèvres atelier. On their return, they worked on various projects, deeply influenced by the modernist master's tutelage. First came O'Higgins, built on a narrow plot of just 9.52m wide by 13.90m in length but maximised by its transformable design, allowing residents to reconfigure the layout of their apartments through moveable partitions and mobile cupboards. Innovative cooling systems include double brick walls, wooden window louvres, and cross-ventilation to temper the hot summers.
Eucaliptos / Edificio Virrey del Pino 2446 by Jorge Ferrari Hardoy and Juan Kurchan
When: 1941
This radical design incorporated two large pre-existing eucalyptus trees, promoting a dialogue between nature and architecture – a concept not tried before in Buenos Aires. Built at the rear of the plot and set back from the road, the building challenged the strict urban code of the time, which called for a uniform street facade. Sadly, the trees grew so tall that they prevented sunlight from reaching many of the units and eventually had to be cut down. All the apartments featured built-in storage, compact centralised waste chutes, modern refrigeration systems and shared communal areas such as a creche, library and in-house canteen to facilitate modern community living.
Casa en Calle La Pampa by Wladimiro Acosta
When: 1936-40
Set back from the street, this secluded private residence was the studio and personal residence of the Ukrainian-born, naturalised Argentine architect Wladimiro Acosta – designed and owned by himself. His groundbreaking Helios system, developed in 1932, is implemented to great effect here. The house incorporates a vertical slab that provides shade and protection from the blistering summer sun, while maximising sunlight in the winter months thanks to the house's positioning and openings. By scientifically adapting modern architecture to regional climates, Acosta shaped his design's geometry and orientation to work with nature. Inside, the layout is functional, featuring cross-ventilation, natural light and huge windows that look out over the verdant surroundings.
Automovil Club Argentino (ACA) - Central by Antonio Villar and associates
When: 1941-43
During what was a period of exponential growth in the automobile and petroleum industries and expansion of the city's road network, the ACA developed a prestigious and powerful reputation. The imposing, monumental style of its headquarters was meant to reflect this position, and it occupies an entire block in one of the most exclusive neighbourhoods in the city to this day. Architect Antonio Vilar worked alongside a collaborative team of respected modernists, including Alejandro Bustillo and Jorge Bunge. The design fuses a symmetrical, marble-fronted rectangular prism that houses a museum and administrative and corporate areas, with a semi-cylindrical structure at the rear that includes a service station and parking.
Teatro Gran Rex by Alberto Prebisch and engineer Adolfo Moret
When: 1937
Built a year after Prebisch worked on the city's famous obelisk, this theatre's rationalist design employs the same modernist principles, defined by geometric lines, swathes of marble and minimal ornamentation; a conscious move away from the aesthetic of European palace-style theatres. Making the most of the widening of the newly inaugurated Corrientes Avenue, he created a large transparent glass facade to allow for a visual dialogue with the hustle and bustle of the street outside. Inside, the layout is functional, aided by the absence of obstructing columns; the impressive triple-height lobby and capacious auditorium seating over 3,200 people are reminiscent of New York's Radio City Music Hall.