Waterfront retrieved. Buenos Aires’ contrasting leisure experience

The southern waterfront of the city of Buenos Aires has been recovered. Now that more than 20 years have passed since the projects began, we are able to get some perspective on these developments and can confront them with the integral history of this area. The areas of Puerto Madero, Costanera Sur, Reserva Ecológica and Santa María del Plata have distinctive characteristics and these are reflected in urban landscape, architecture and especially through the use of these spaces. Real estate developments cohabit with public space, tourism with local leisure facilities, and the most expensive office floors with local choripan1 stands, all of these in a development in which the state, the municipality, international corporations and real estate companies have collaborated and discussed to produce a hybrid new space for the city.

Imported and translated landscapes: Buenos Aires nineteenth-century waterfront parks

The study of urban and landscape history has recently questioned the peripheral condition of certain areas and re-examined them as valuable parts of an international network . In such a framework cities are not only recipients of foreign influences but active agents in their own urban transformations. Meanwhile, the regeneration of urban waterfronts appears increasingly in the spotlight globally , but the re-use of the waterfront as public space began more than a century ago.

Buenos Aires is an example of a ‘peripheral’ city, in which waterfront parks at the end of the nineteenth century were the product of international influences combined with local conditions, needs and expertise. Buenos Aires developed a continuous increase and diversity of leisure waterfront space, making it different from most European or ‘central’ cities. This paper will analyse the process of translation of landscape design on Buenos Aires’ waterfront while outlining the significance of waterfront parks to the city and its growing urban population.

Exposición Internacional 1910. Buenos Aires.: Didactic leisure and international recognition

International exhibitions were greatly responsible for the modernization of western society. The motive for these events was based on the possibility of enhancing the country’s international status abroad. The genesis of world exhibitions came from the conviction that humanity as a whole would improve the continual flow of new practical applications, the development of modern communication techniques and the social need for a medium that could acquaint the general public with changes in technology, economy and society .
Since the first national industrial exhibitions in Paris during the eighteenth century and especially starting from the first Great Exhibition in London’s Hyde Park in 1851 these international events spread steadily all over Europe and the United States, to reach Latin America in the beginnings of the twentieth century . The work of professionals such as Daniel Burnham, Werner Hegemann and Elbert Peets made the relation between exhibitions and urban transformation a much more connected one, setting a precedent for subsequent exhibitions.
In Buenos Aires, the celebration of the centennial of independence from Spain in 1910 had many meanings and repercussions. A series of factors allowed for a moment of change in the city. Official optimism, economical progress, inequality and social conflict made of this a suitable time for transformation. With the organization of the Exposición Internacional the government had, among others, one specific aim: to achieve a network of visual tools to set the feeling of belonging and provide an identity for the mixture of cultures that populated the city of Buenos Aires at the time. Another important objective of the government was to put Buenos Aires at the level of European cities.
Foreign professionals had a great influence in the conceptual and factual shaping of the exhibition and in the subsequent changes caused in the urban condition. The exhibition had an important role in the ways of thinking the city and in the leisure ideas it introduced. The exhibition, as a didactic tool, worked as a precedent for conceiving leisure spaces in the future. Urban and landscape planners such as Joseph Bouvard and Charles Thays were instrumental in great part of the design of the Exhibition, but it was not only the architects and designers who shaped the identity of the fair. Other visitors such as Jules Huret or Georges Clemenceau were responsible for giving the city an international image it did not previously have.
This paper will explore on the one hand the significance of the exhibition of 1910 for the shaping of the city and its image; and on the other hand, the role of foreign professionals and the reach these influences had.

Imported landscapes:Buenos Aires nineteenth century waterfront parks

The study of urban and landscape history has recently questioned the peripheral condition of certain areas and re-examined them as valuable parts of an international network . Meanwhile, the regeneration of urban waterfronts appears increasingly in the spotlight globally , while the re-use of the waterfront as public space actually began more than a century ago.
Buenos Aires is an example of a peripheral city, where waterfront parks at the end of the nineteenth century were the product of international influences combined with local conditions, needs and expertise. This paper will analyse the process of translation of landscape design on Buenos Aires’ waterfront while outlining the significance of waterfront parks for civilising the growing urban population.

Torn between two horizons. Perceptions of Buenos Aires riverfront

If you stand on the edge of a river you are likely to see the otherside. From a narrow stream in the countryside to broad urban bodies of water, one of the conditions of rivers in Europe is the relative  narrowness and ease to cross. Other rivers, such as Rio de la Plata are very far from this condition,  with a width of 48 km at the merging of delta del Paraná and 219 km where it meets the sea. This 
condition had a great significance in the way Buenos Aires was perceived and the way it developed 
historically. A boundless flat land confronted with a boundless flat river is a very particular condition 
that invites each person to frame their own view. The riverfront is therefore the fringe and horizon 
of the city. As a horizon it is the link with others, with the outside, with faraway lands, and for some 
even the reminder of home. These areas, in their harbor condition, are the fringe of the city; they 
are working areas, contested spaces, open for speculation and social conflict. 
In this paper I intend to explore a series of different perceptions of the river from the land and the 
land from the river as the riverfront evolved from a fortified defense system through to the 
combination of a commercial harbor, airport and populated public spaces. For this purpose I will 
investigate the writings of travelers, urban designers and policy makers who were instrumental in 
the transformation of the riverfront.