Paraguayan architecture

Paraguay used to be a Spanish colony. Conquistadors were searching for gold, silver and other minerals in South America. The Spanish founded Asunción as the capital of Paraguay. With European colonization, Paraguay remained relatively underdeveloped due to a lack of extensive mineral resources. As a consequence, distinctive architectural styles and buildings did not develop before the eighteenth century. Prior to this period, most of the monuments were made with wood, although the Spanish commenced the use of stone in building churches. This activity is regarded as the first European influence over South American architecture. In 1562, natives destroyed Buenos Aires,[4] and the Spanish fled to Asunción. The city became the center of a large Spanish colonial province comprising part of Brazil, present-day Paraguay and northeastern Argentina: the Giant Province of the Indies. In 1603 Asunción was the seat of the First Synod of Asunción, which set guidelines for the evangelization of the natives in their lingua franca, Guarani.[5]

In 1731, an uprising under José de Antequeray y Castro[6] was one of the first rebellions against Spanish colonial rule. The uprising failed, but it was the first sign of the independent spirit that was growing among the criollos, mestizos and natives of Paraguay. The event influenced the independence of Paraguay, which then materialised in 1811. The secret reunions between the independence leaders to plan an ambush against the Spanish Governor in Paraguay, Bernardo de Velasco[7] were held at the home of Juana María de Lara, in downtown Asunción. On the night of 14 and 15 May the rebels succeeded and were able to force governor Velasco to surrender. Today, Lara's home is known as Casa de la Independencia[8] (House of the Independence) and serves as a museum and historical building

In 1814, after a short period of unstable government, José Gaspar Rodrígez de Francia became a temporary dictator. During 30 years, the progress of urban architecture was slow, particularly in the case of the capital, Asuncion. The return of the dictator created an infrastructure which allowed an active construction program. This gave to the capital a new architectural design. From the architectural point of view this was a stage of technological continuity and spatial traditions for the colony. The Francista Age produced only technological innovations, which change the bearing structures of wood and masonry pillars bearing walls. The period closed with an almost total absence of public works. Among the few examples of works of the period is the council of the city of Pilar.[9]

As part of its comprehensive project for the country, the president Carlos A. López started a policy of major public works, starting with the reconstruction of the city of Asuncion. This covered a number of new issues hither to unknown in the country, including the state building of schools, government offices, railway stations, docks, and arsenals. The public work of Carlos A. López, plentiful and of excellent quality, became iconic of a national project and his time. Specifically in the case of the architecture, the reign of Carlos López started the gradual imposition of a new cultural pattern that left behind colonial tradition : a pattern that would characterized as a transition towards classicism, understood as a sign of modernity, preserving certain values themselves as part of the national consciousness which was also part of the project country, as a paradigm of modernity.

From the technological point of view, this period completely left behind the wooden colonial structure, supporting and working predominantly with masonry bearing walls. This removed the "lance" structural-spatial module in use in the colony, corresponding to the maximum length of a wooden beam. It saw the introduction of new building materials, including iron, present in the spiral staircase of the president's house in Trinidad, and in the unusual glazed metal stairs of the Cabildo.[10]

The architectural liberal period comes from the reconstruction of the country after the First World War, which brought a lot of European architects to Paraguay, including Italians such as Grassi, Rapetti and Pozzi. This influence of European architects resulted in a new architectural style for Paraguay and the other countries of South America. Cities like Asuncion received a new architecture which brought an improvement in the design quality and visual appeal of urban buildings. There was an approach to mix nature and architecture. This changed the approaches not just to houses and streets, but also for hospitals, churches and institutional buildings. At the beginning of the 20th century neo-colonialist architectural style appeared, such as in the church of San Roque Gonzalez.

Due to an arrival of the first professional Paraguayan architects, the urban landscape started to change. A new modern influence became visible, while still retaining a concern for the natural environment. An Art Deco style combined with an idea of green cities started to appear. Attempts were made to create a new harmony between high buildings such as villas, and the surrounding nature. Important public buildings were constructed, such as the building of IPS Herrera streets and Constitution, the building of the Ministry of Public Works and Communications, and the headquarters of the Governing Board of the NRA. Another strong influence in Paraguay comes from Brazil.[11] The modern movement is really strong there and Brazilian architectural buildings began to be built in Paraguay. In the 1970s a radical change appeared, due to the economic « boom » produced by Itaipu. This event helped to stimulate the growth of the entrepreneurial bourgeoisie, which created a demand for a new urban residential neighborhood. The 1980s witnessed a process of degradation of the historical center and everything « old » but also a discrediting of the modern influence due to different and new expectations of the growing bourgeoisie. Since the late 1990s this aspect changed. Nowadays there is more of an appreciation of both the old and the modern architecture. Some modern heritage tends to be forgotten or abandoned.[12]