The Neo-Andean Architecture of Bolivia
Introduction
In 2005, the year of the election of Evo Morales, the first indigenous President of Bolivia, a new style of architecture began to appear. It has been described as Neo-Andean architecture, contemptuously known by some as Cholets.
The style has been pioneered by architect Freddy Mamani Silvestre, an Aymara man from El Alto, Bolivia. Situated near La Paz, the area around which Mamani grew up had historically been built as a reflection of the power the European minority had over the natives, with buildings being modeled after those across the ocean. He had a revolutionary architectural vision for his city inspired by the designs of the textiles of the highlands, in addition to the Tiwanaku, a pre-Inca culture which impressed Mamani to an extraordinary degree. These designs spread throughout Bolivia including to Potosí, Oruro and even as far as Pando.
External Design
Meant to look modern without abandoning the traditions and aesthetics of old, this colorful form of architecture incorporates various symbols and references to native, particularly Aymara culture in Bolivia. It also borrows from the patterns of traditional Aymara fabrics.
Within a single decade, more than 60 of these unique buildings have been created. These buildings come amid a revaluation of the Aymara peoples’ roots, replacing the older buildings, which Mamani describes as often simply being of exposed brick and without color.
One recurring feature of Mamani’s architecture is the Andean cross, otherwise known as the Chakana. It carries significance in the worldview of Andean cultures, often said to represent the Southern Cross constellation, also said to be an instrument of astronomy, social organization and mathematics.
Interiors
In addition to external symbols representing indigenous Bolivian cultural symbolism, the interior of each building is often very colorful and filled with patterns. Typically on the ground-floor, these buildings contain party halls in which Bolivians may host events.
Criticism
These buildings do not exist without criticism from architects and citizens. Such criticisms include the perceived lack of a practical purpose for the buildings to exist, with construction being principally concerned with the aesthetic of the building. Mamani is also criticized for his buildings’ Aymara-centric designs.
One other problem is the cost of the buildings. These buildings can cost hundreds of thousands of dollars, and are mostly only used by the so-called Aymara bourgeoisie of Bolivia. However, as time progresses, these buildings can possibly be made for a lower price and become more available to Bolivia’s many non-wealthy residents.
Conclusion
This relatively new movement in the architectural world has the potential to shape architecture within South America in the coming decades. Notably defying the traditional rules set by architects, Mamani has pioneered a unique way of designing buildings that will be remembered in the history of Bolivia for generations.
Sources:
La nueva arquitectura andina de Freddy Mamani Silvestre en la construcción de imaginarios urbanos y representación de identidad en la ciudad de El Alto, Bolivia, Carlos Gustavo Caro Navarrete
Research and Project Studio Design Topic: The Architecture of the «Cholets», Mateo Servia
https://fido.palermo.edu/servicios_dyc/blog/docentes/trabajos/26510_87437.pdf
