SOUTH SCIENTIFIC UNIVERSITY

FACULTY OF ENVIRONMENTAL SCIENCES

THE YEAR OF DIALOGUE AND RECONCILIATION
NATIONAL

ENRIQUE SEOANE ROS AND THE SEARCH FOR PERUVIAN ROOTS IN

THE ARCHITECTURE
Enrique Seoane Ros (*)

Members: Domínguez Peña Gerson Jamil

Vílchez Chuco Milagros

Professor: Architect Hurtado Valdez Pedro Augusto

Course: History of Architecture III

Lima-Peru
2018 - II

Peruvian architect graduated from the National School of Engineers of Lima, Peru in 1938. His
architectural production was vast, encompassing high society single-family homes as well as
public and private buildings.
1
 ENRIQUE SEOANE ROS AND THE SEARCH FOR PERUVIAN ROOTS IN
HER NEW ARCHITECTURE
Gerson Dominguez Peña, Milagros Vilchez Chuco1
SCIENTIFIC UNIVERSITY OF THE SOUTH

SUMMARY
This research shows us a series of architectural changes to
through the trajectory of Enrique Seoane Ros seeking originality in his
projects through a constant search for distinctly Peruvian traits.
In this way, this report describes the facades in terms of design,
prioritizing to highlight the characteristics of design that are distinctly Peruvian and
original works by Enrique Seoane Ros, which aims to innovate through proposals
contemporary using national elements.

ABSTRACT
This present descriptive report tells us the biography of the Peruvian architect.
Enrique Seoane Ros in which we will see his renowned works through his long
career looking for a 'Peruvian architecture' reflected in his projects that can be
appreciated and in force even by the busiest streets of Lima being one of the leading
architects of the 20th century.
The purpose of this report is to appreciate the modern architecture of the twentieth
century proposed by Enrique Seoane mastering several architectural languages
through mixed compositions between the contemporary and the classical, trying to
find a local formal identity which is identified with the Peruvian architecture that has
I have been developing over the years.
With the objective of describing his most outstanding works in terms of volume,
national identity and urban space that has evolved over the years due to the same
demographic growth.

KEYWORDS
Enrique Seoane Ros; Modern Architecture; Javier Alzamora Valdez Building

1Students of the Faculty of Environmental Sciences of the School of Architecture and Environmental Urbanism

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INTRODUCTION
This descriptive report tells us the biography of the Peruvian architect.
Enrique Seoane Ros in which we will see his renowned works through his
long trajectory searching for a 'Peruvian architecture' reflected in its
projects that can be appreciated and are still active on the most crowded streets
de Lima being one of the leading architects of the 20th century.
Aiming to describe his most outstanding works regarding their
volumetry, national identity, and urban space that has evolved over time
due to the same demographic growth.
The purpose of this report is to appreciate the modern architecture of the 20th century that
Enrique Seoane proposed mastering various architectural languages through
mixed compositions between the contemporary and the classical trying to seek a
formal local identity that is identified with Peruvian architecture that has been
I have been developing over the years.

YOUTH AND EARLY SIGNS OF NEO-COLONIAL ARCHITECTURE

The architect Enrique Seoane Ros (Lima, 1915-1980) was born in the city of Lima,
prominent diplomat and politician during the presidency of Augusto B. in Peru.
Leguía had a keen interest in drawing and art from a young age. He began his studies
students at the Colegio de la Inmaculada, run by the Jesuit fathers, on Av. La
Colmena, in Lima. In its first fifteen years of Seoane coincides with a series.
of interventions and urban reforms in the city of Lima, which allowed him to live
the transformation of the city. The school where he studied, for example, was located in
one of the new arteries of the city, as Av. La Colmena did not correspond
not with any street of the viceroyal layout, but rather it opened by cutting through a series of
apples or islands, completing their school studies by the end of the years
thirty.
Seoane in his childhood and adolescence, having lived in the center of Lima, must have
appreciate the works of the Polish architect Ricardo de Jaxa Malachoswki. For that
same period, and perhaps under the Mexican movements of the early 20th century, there
in Peru, a demand for indigenous themes in the world of painting and the
sculpture with the indigenous movement, of which are important representatives
like José Sabogal, Camino Brent, Jorge Vinatea Reynoso and Julia Codesido. This
the recovery of the indigenous as a source of inspiration has its correlate in the
proposals for a 'Peruvian architecture' that will have different versions and
motivations, but always based on the local as a source of reference. In this
environment of changes, of gestation of an architecture with Peruvian roots and with the
the possibility of knowing the wealth of other cities such as Ayacucho and Arequipa, is

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in which Enrique Seoane Ros grows up and develops his childhood and early youth.
Enrique Seoane fully identified with that style (inspired by the Baroque of
18th century) and became one of its main exponents in the country. The
neocolonial, very in vogue in the 30s and 40s, had the virtue of displacing the
academic styles, basically of French cut, and standardize the architecture in
our country, besides awakening interest in the architecture of the past, in this
case of the colonial times.

Trajectory and transition from neocolonial architecture to the

MODERN ARCHITECTURE OF SEOANE ROS
In 1934, he took architecture courses at the National School of Engineers.
when Ing. Enrique Laroza was director. In 1937, Seoane begins his pre-internship.
professionals in Guillermo Payet's office, where he will be until next year,
when he starts working with architects Álvarez Calderón and Emilio Hart-Terre,
who shared an office in Plaza San Martín. With them, he participated in the
projects from various residences and in the competitions of Tourist Hotels of
Cusco and Arequipa, both in Neocolonial style that the partners mastered so well
from the office and in which Seoane also knew how to work with skill and comfort.
In 1938, he completed his studies in the field of Architecture where he obtained
with the title of Architect-Builder, Seoane always distinguished himself as outstanding
student for his skill in drawing, his knowledge of styles, mastery
of the composition and skill in design. In July 1939, half a year after
graduate of the National School of Engineers, and at 24 years of age, Seoane
he started working at the firm GRAMONVEL, (fig.01) where he would stay for about
from five years until March 1944.

(fig.01) Enrique
Seoane Ros started working at the firm GRAMONVEL formed by Graña and
Montero. Source: [Link]

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Within this stylistic trend, Seoane designed several private homes and
the Rizo Patrón Building (1939-40) (fig.2). It is a triangular construction of
seven levels plus a basement, located on the extension of Tacna Avenue with
Garcilaso de la Vega. The building was awarded by the Municipality of Lima in the
National Holidays of 1940.

(fig.02) Rizo Patron Building in Neocolonial style (1939-1940), Enrique Seoane

Ros. Source: [Link]

Seoane would have to prove to be a prominent architect of neocolonialism.

system that will dominate and in which it will comfortably develop in the years
forty, before moving on to equally notable more modern proposals, it calls
the attention to see your first two architectural projects such as the Hotel de La
Punta (1940), and the Nestlé Factory (1941), which are part of the movement
geometric and functional style detached from any reference to classical language of the
architecture, which demonstrates its versatility in mastering various languages
architectural and on the other hand the proposals that draw on diverse inspirations
and even seemingly opposed, as in academic compositions
devoid of classical ornamentation that were examples, thus Seoane Ros allows
think of an architecture that assumes values in different ways, and creates a new one
proposes a more contemporary architecture with local roots. While
Enrique Seoane Ros continued to innovate with new modernist proposals.
degree in engineering-architecture in 1944 and was a professor in the Department of
Architecture of the UNI (fig.03) and of the Federico Villarreal University. In its beginnings
As a professional, he worked with various architects and participated in projects of various
residences in Lima and in the competitions for tourist hotels in Cusco and
Arequipa, which in the end won with its neocolonial proposal.

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(fig.03) Headquarters of the

Architecture Faculty of UNI where Seoane Ros was a professor in 1944.

Source: [Link]
architecture-uni-lima-mario-bianco

At that moment, the architect Enrique Seoane Ros, who in the 'architecture with
the pre-Hispanic and colonial reasons were not elements to be directly
copied and applied in modern buildings, but rather are elements of a
specific language that can be skillfully recreated in contemporary tone,
generating an innovative, determined, and original architectural proposal.” Seoane
nourished by the vast riches of forms in the architectural legacy of Peru, all
this is to find the elements that could express a new proposal
creator, an architecture with a formal local identity beyond any intention.
As is the case with some of its covers (Building 'Insurance Company La
National" (fig.04) with novel proportions and where it incorporates in the
entablature 'very subtle straight elements that allowed to evoke a
influence of pre-Hispanic language.

Insurance Company Building

The National of Modern Style (1947-
1948). Source:

6
 [Link]
[Link]

Seoane was a highly talented designer, very intuitive, who did not worry about
participate in the theoretical groups of the time, such as, for example, 'The Group'
Space (1946-1954). In 1947, Seoane supported, although he did not sign, the "Manifesto of
the "Espacio Group" in which a group of architects, led by Luis Miro
Quesada demanded to leave behind the prevailing eclecticism and to promote and disseminate the
art, contemporary architecture and urban planning; the 'Manifesto' was published
in El Comercio and in the magazine El Arquitecto Peruano. According to this call,
Seoane enters a period of evolution in which he uses certain elements of
neocolonial and combines it with the rationalism of modernist currents.

Entering the modern era of 1950, it shifts from the design of single-family homes in
neocolonial style to a multifamily and commercial architecture whose expression takes
increasingly greater traits related to modernity. In fact, Seoane
he was an architect of transition to the modern and practiced his profession of
very independent way regarding international fashions, the
university teachings of the moment and specialized criticism.

Between 1951 and 1960, Seoane's fame increased and his professionalism grew.
recognition. Their architecture firm, in addition, was organized with a high level
technician and had as collaborators many of his students who would later stand out
as valuable professionals. For the architect Enrique Seoane Ros, in the work of
Ministry of Education (1951–1956)(fig.05) is the most important point as
architect, and reflects all his concern with architecture, with characteristics of
how to combine the modern with the rescue of the native from the rigor of
study of 'form and function'. Also Seoane
obtained in his architectural projects a
a very unique way of what would be a
architecture with neo-origin ideas
Peruvian (neo-colonial) and Latin American.

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 (fig.05) Ex Ministry of Education (1951-1956). Source:
60 years of the building of the former Ministry
education-235332?photo=1

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REPRESENTATIVE WORKS

Rizo Patrón Building, Lima (1939–1940)

It is located at the corner of La Colmena Avenue (Nicolás de Piérola)
and Wilson Avenue (Garcilaso de la Vega). It has a Neocolonial style.
academic, unfortunately currently in a total state of
abandonment with an area of 622.45 m2 completed in 1940.

Rizo Patrón Building Placement of the building

Wilson Building, Lima (1945 –1946)

Wilson Building located at the corner of Av. Wilson and Jr. Rufino Torrico, with its
geometric reliefs inspired by the drawings of pre-Hispanic cultures
costeñas, characteristic stamp of Seoane's work. It is a mixed-use building.
(commerce on the first level, housing on the upper levels), the facade faced three
fronts are worked with a base impregnated with neocolonial reminiscences:
a middle section, with modern cut continuous windows, topping with
prehispanic decorations in the upper levels.

Wilson Building

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Diagonal Building, Miraflores, Lima (1952–1954)
The diagonal building, right in front of Kennedy Park, in the heart of Miraflores,
it shows a desire for urban development away from the urban center of Lima. It is a
timeless building constructed in 1954, taking advantage of the good location,
developed an elegant facade, evoking the ancient balconies and filigree of
center. This building of single-family homes, with a triangular layout, shows
a great solidity and at the same time lightness, the curtain wall was used which allows freedom
of movement and expansion of the building.

Diagonal Building Diagonal Building, Miraflores

Limatambo Residential Building, San Isidro, Lima (1953–1954)

The block facing Avenida Javier Prado had nine levels and two apartments.
by floor; and it was connected by a narrowing at the base with the rear block,
the one that contained an apartment per floor and had seven levels. In the preliminary project
From 1953, the open terraces can be appreciated, as can be seen in the
plants, but later in the development it was decided to close the terraces
involving them in the existing living room and bedroom environments.

(fig.11) Limatambo Residential

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Wiese Bank Building, Lima (1957–1965)
The solution designed for the building consisted of two architectural bodies, a
a high-rise block for offices, not built, that rose above a volume
basement that occupies the entire lot with a parking basement, two levels and
basement for the activities of the Bank. This volume of closed architecture and
compact seeks to maintain the scale and unity of the historic city of Lima.
square.

(fig.12) Wiese Bank Building (fig.13) Wiese Bank Building

ARCHITECTURAL WORKS AND DISCIPLINARY EVENTS THAT INFLUENCED

IN THE ARCHITECTURE OF ENRIQUE SEONAE ROS

In 1921, the construction of what was then called Av. Leguía (now Av.
Arequipa), Avenida Progreso (now Venezuela) was completed in 1924, the year in which it
They are constructing the buildings around Dos de Mayo Square. They are developing
new developments such as Santa Beatriz in 1922 and the Country Club. The presence
The automobile allowed for an unprecedented development in Lima, and poses the challenge of
new interventions with building systems alien to tradition,
new buildings and new formal proposals. Regarding formal language
of these new proposals, the prevailing official style is that of Architecture
Internationally led by the Academy of Fine Arts in Paris,
the most representative example in Lima is undoubtedly the Government Palace.
Architects trained in the academic proposal had arrived in Lima in the
the first decades of the 20th century, and their works began to be appreciated in Lima, in
some cases on the outskirts of the city, in others in more consolidated areas, but
always in a sequence and continuity in the construction of a city
coherent.
Works that Seoane should have appreciated in his childhood and youth, since he lived part of this
the period of his life in the center of Lima was that of Ricardo de Jaxa Malachowski,
Polish architect trained in Paris who designed the Rímac building built between
1919 and 1924, the buildings around Plaza Dos de Mayo, from 1924, the Club

11
National in the then new Plaza San Martín, the Italian Bank, from 1929,
in addition to the Government Palace and the Archbishop's Palace (between 1919 and 1924), where
worked jointly with the French Claudio Sahut. He must also have known the
young Seoane the works of Rafael Marquina, Peruvian architect who studied in
Cornell and whose academic training is reflected in the projects of the Station of
Desamparados railway, Loayza Hospital, Bolívar Hotel and the portals of
Zela and Pumacahua of the modern Plaza San Martín.
Around the same time, however, and perhaps under the influence of the movements
Mexicans at the beginning of the century, there is a reassertion of the themes in Peru.
indigenous people in the world of painting and sculpture with the indigenist movement, of the
who are important representatives José Sabogal, Camino Brent, Jorge Vinatea
Reynoso and Julia Codesido. This recovery of the indigenous as a source of
inspiration has its correlate in the proposals of a 'Peruvian' architecture that
It will have different versions and in that different motivations, but always based on
the local as a source of reference.
In 1920, the Spanish sculptor Manuel Piqueras Cotolí arrives in Lima, who proposes
an architecture with designs that combine pre-Hispanic motifs and
colonial. The facade of the School of Fine Arts, completed in 1924, and the project
for the Basilica of Santa Rosa de Lima (with Architect Héctor Velarde) are
excellent manifestations of this proposal. On the other hand, and with origins
different, an architecture emerges that will have greater diffusion and demand, and
what is based on a historicist eclecticism of viceroyal motifs.
The inhabitants of new neighborhoods in Lima, such as San Isidro, commissioned a series of
houses with evocative motifs of a glorious colonial past, while in the
historic center numerous representative buildings will opt for this proposal,
initially as a variant in terms of ornamental and compositional motives
from academic architecture (this is the case of the Archbishop's Palace or the Bolívar Hotel, )
to later acquire a more autonomous character, as in the case of the
proposals from the contest for the renovation of the Plaza de Armas in 1939.
Neocolonialism, in another somewhat less academic and more picturesque vein,
it would be related in its origins to the influences of California architecture
based on the so-called American Mission Style, and it would have its first
demonstration at Casa Fari, of 1911, designed by Rafael Marquina near
Chosica. In this variant would be one of the paradigm works of the new district
from San Isidro, the Country Club. In any case, this trend quickly led to
an appropriation of colonial motives to create an architecture that, like the
neoperuvian would offer a historical continuity with the past, a local alternative
to the eclecticism and academicism of a distinctly European nature, and an identity
local to the architecture of the 20th century in Peru.

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JAVIER ALZAMORA VÁSQUEZ BUILDING (Former Ministry of Education)

The Javier Alzamora Valdez Building (designed as the Ministry of Education) was
designed and built by the distinguished and recognized Peruvian architectEnrique
Seoane Rosbetween 1951 and 1956. It was considered the tallest building ofLimabefore
since the construction of the Civic Center in 1974, it remains today as one of the
most important icons of modern architecture in Peru.
In this project, Seoane successfully combines the classicist style and the
modern style, in an effort that required the completion of countless
preliminary projects until convincing President Manuel Odría, who maintained as
the criterion that the verticality of the buildings was masculine and the volumes
Horizontals were feminine.

This formal intention responds to the proposal of a circular square that would result in
of the construction of an inversely symmetrical building: a project of which only
the basement could be established and in which informally it would later settle
the shopping center 'El Hueco', as a paradox of unfulfilled planning
modern of Lima. It was inaugurated in 1956 as can be seen in the figure.
20.

Inauguration of the former Ministry of

Education (1951-1956).

Source: [Link]
ministry-education-235332?photo=1

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The modern expression of the building is complemented by decor inspired by
traditional, characteristic of the work of Seoane Ros. The decorated ceramics with
motifs based on pre-Inca cultures are used to adorn the facades of
the volumes of lower height as can be seen in figure 21, highlighting
as elements designed for the pedestrian scale. These details were
questioned at the time for attacking the premises of an emerging
modernity, which advocated for the denial of ornamentation that is not supported
in a rigid functional character. However, today this project is recognized
for adopting elements that shape an identity character in thearchitecture
Peruvian, in its constant search for a national language.

From the Ministry of

Education (1951-1956). Source:
The provided link does not contain text for translation.
digital/file/60-years-
building-former-ministry-education
235332?photo=1

LOCATION

Between 1953 and 1956, one of the most contemporary buildings was built.
iconic of Lima, The Javier Alzamora Valdez Building (formerly Ministry of
Education) is a building located in the historical center of the city of Lima, the capital
from Peru. It rises at the intersection of Abancay Avenue (fig. 22) and Colmena,
next to the University Park. It currently serves as the main venue of the Court.

14
Superior Court of Justice of Lima, part of the Judiciary of Peru for being one of the
first skyscrapers of the city.

(Fig. 22) Location of the building. Source: [Link]

digital/file/60-years-building-former-ministry-education-235332?photo=1

DESCRIPTION
This building was constructed on the basis of land that totals over 6,000.
square meters. It has four fronts: the University Park, the avenue
Abancay and the streets Apurímac and Cotabambas. In this way, the were built.
three towers, the main and central one with 22 floors (reached a height of 87.50 meters)
it has a curved and convex body towards the corner of the avenues, it is accompanied
by two lateral towers of 12 levels, it has a basement that serves as
parking lots and
In the technical information of the time, it is also detailed that the complex would consist of
10 Schindler elevators, divided into six large ones for the public, and others
four medium-sized private ones that reach up to the 20th floor), flanked by two
blocks of 12 levels each.

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MATERIAL AND STRUCTURE
It is highlighted that the facade is covered 'with ceramic material and glass.
'Sprandelite'(Fig. 23). The last element, the glassware, was a novelty in the
construction in Peru.
The central structure used German steel, imported from the Man factory, and
supervised since its shipping and assembly by the House of Robert Hunt in London. In
The entire construction used reinforced concrete on every floor.

Painted concrete
Aluminum profiles
3. Crystal sprandelite
4. Ceramics

Building construction materials

(fig.24) Structure of the former Ministry building

of Education (1951-1956). Source:
Unable to access the provided URL to retrieve text for translation.
digital/file/60-years-building-ex-
ministry-education-235332?photo=1

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REVIEW AND IDENTIFICATION OF THE PROJECT

FACADE
This building has different surface treatments. To the expression of the facade
the curve is given a certain verticality with the aluminum profiles and achieves a
interesting set. The exterior facade is clad in ceramic with a design in
honor to the Chimú Culture. On the other hand, there is a grid that softens the arrival
of the sun and controls internal heating.

(Fig. 25) Facade of the building. Source: [Link]

digital/file/60-years-building-former-ministry-education-235332?photo=1

PLANT – CUT – ELEVATIONS AND PERSPECTIVES

(Fig. 26) First floor plan and elevation of the Javier Alzamora Vasquez Building

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 Main elevation of the Javier Alzamora Vasquez Building

CONCEPT:
Successfully combines the classicist style and the modern style, its
organizing principles are the axis, symmetry, hierarchy, radiality, subtraction and
rhythm, its abstract concept comes from the Chimú culture, like its geometry in
his representative works such as the tumi.

Tumi of the Chimú culture Abstraction of the Tumi in the Building

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INTERIOR
Upon entering the hall, visitors would see two maps of the country in a beautiful display.
relief; as well as six murals with allegorical motifs related to the educational theme,
under the direction of notable visual artists such as Teodoro Núñez Ureta, Carlos
Quíspez Asín, Juan Manuel Ugarte Eléspuru, and Enrique Camino Brent. Their cost of
95 million soles (from that time) was financed with resources from the Peruvian state.

(Fig. 29) Painting by the visual artist Teodoro Nuñez Ureta

USE
The offices and meeting rooms are located here. The structure is made of steel.
submerged in concrete. In murals within the Seoane building, true to its
principles of revaluation of the traditional, places ceramic veneers inspired
in Chimú Culture.

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ANNEXES:

COMPARATIVE ANALYSIS JAVIER ALZAMORA BUILDING AND BUILDING

DIAGONAL

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I. LOCATION

The Diagonal building is located at the corner of Benavides and Jose Olaya in the district of
Miraflores, Fig (30).
The Javier Alzamora Vasquez building is located at the intersection of the avenues
Abancay and Colmena, next to the University Park, (Fig 31).

Location of the building. Location of the building

SourceUnable to access the URL provided for translation.
digital/file/60-years-building-ex
ministry-education-235332?photo=1

II. DISTRIBUTION
Senae designs the diagonal building in 1954, while the Javier Alzamora building
Two years later in 1956, they belong to the same era, as well as to a
emerging typology, given the investments and the economic boom of the country, the
conditions that led to the spread of commercial building construction, in
which functioned as stores and offices.

The Diagonal building, Seonae presents at a height of 8 floors (the first floor at
double height for commercial use and the subsequent floors incorporate housing, fig 32)
while in Javier Alzamora it has 22 floors (reaching a height of 87.50
meters) is accompanied by two side towers of 12 levels, 8 floors, (fig 33).
Both, the fate of the first plants in commercial use, however, the
Javier Alzamora building, a difference from the Diagonal, does not incorporate a residence.
within the uses it holds.

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Distribution of the Diagonal building (Fig. 33) Distribution of the building

In the Diagonal building on the first level, there are 4 stores, each of which
which has a separate service area, while in the second
a restaurant is projected with a view towards Av. Diagonal mainly and the kitchen
with the other services directed towards the octagonal vertex.

The upper floors were designed to house offices. In the case of the
offices, the location of these functions is carried out in the peripheral mode, the
functions of the different media, but the structural arrangement is not so
important as the building. The issue of circulation is the resolution of the way
particular due to the presentation, in addition to the main core located in the center
from the building, the independent circulations that allow access to the

22
second level through the circular stairs that have the cylindrical power in
the facades. Instead, Javier Alzamora is located the offices and meeting rooms.

Therefore, among the similarities presented by the Diagonal and Javier Alzamoa buildings.
the use of offices is found, the offices are developed differently
on the upper floors.

The use of the offices in Javier Alzamora is developed on the floors.

superiors, since it presents a structural grid, which offers it the maximum
flexibility. It features a central void, which is the articulating element of the building.
so much to spatially connect the different levels, while the building
Diagonal does not have a central void given its dimensions, it presents as
articulating space, the distribution hall on each floor.

Distribution of the Diagonal building

III. VOLUMETRY

In the Diagonal building, chamfers are made at all its vertices although with
different treatment.

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Volume of the Diagonal building
Because the building was located in a financial and commercial area
emerging in Lima at that time, consolidated by Leguía's Oncenio,
It had to have an important height. With a height of 6 stories, it was considered the most
high of his time. Lima Stock Exchange Cloister of the Church La Merced Headquarters
from Scotiabank The Diagonal building is presented as a compact volume, without
the visual effect of its mass and its height is reduced by the slabs that
prolong and protrude from the volume generating horizontal divisions. Seonae
proposes volumes of geometric clarity predominantly on themes
geometric and straight lines
Its architecture at this stage was based on clean volumes, with plastic accents.
that remind of European architecture.

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(Fig. 37) Volumetry of the Diagonal building (Fig. 38) Volume of the building

This volume of the diagonal building, Seonae presents 2 rectilinear volumes that
stand out at 2 of the vertices of the perimeter, which fly from the 3rd to the last
floor, unlike the other building Javier Alzamora, Seonae features three towers,
main and central has a curved and convex body towards the corner of the avenues,
it is accompanied by two side towers of 12 levels.
Regarding its urban environment, this Diagonal building fits appropriately.
since it is a bit taller than the others but does not break the profile, furthermore
that its height allows it to help contain the space of Parque Kennedy, and in the
The Javier Alzamora building imposes a volume but does not break with the profile.
since it has three wide fronts and does not break with the profile of the district.

Volume of the Diagonal building Volume of the building

IV. FACADE

The façade treatment of the Diagonal building is made up of divisions.

horizontal and vertical, which due to the proportions used, reaffirm
the horizontal character of the building, as can be seen in the windows of the
The Diagonal building is composed of modules similar to those of the other building.
Additionally, the horizontal divisions are painted white, which allows
make them stand out more. The outstanding volumes are closed with panels
glazed areas that go from floor to ceiling and maintain similar proportions to the
loose windows and the windows in a row of the set.
The materials used by Seonae in the Javier Alzamora building are used for
differentiate and emphasize the composition, for example, glass is the protagonist in the

25
treatment of the facade just like the other building, however in the Diagonal,
colors are used to highlight the pattern created on the facade through
dividing elements in white on a brown plane.

Figure 32 Distribution of the Diagonal building

CRITICAL APPRECIATION
.
In my opinion, Enrique Seoane Ros is a distinctly Peruvian architect.
not only because he was born in Peru but also because he introduced in his buildings
elements of neoclassical architecture. Today we can appreciate its
architecture in most of the streets of Lima and even in the provinces. It was
an architect who influenced many architects who came to Lima and
he even worked with some of them but always respected the architecture
purely Peruvian even after having changed from a neoclassical style
to a modernist style and later to a postmodernist style. Achievement

26
 use the necessary elements to create a new architecture but without
leave the existing neoclassical style.

CONCLUSIONS

Seonane uses glass as the main feature in the treatment of facades.

In the buildings, they also use colors to emphasize the pattern.
created on the facade through dividing elements

Enrique Seonae seeks an architectural identity for our country.

work of great perception and sensitivity since in Peru we have
infinity of foreign architecture.

Enrique Seonae presents protruding rectilinear volumes.

buildings feature towers, also employs volumes of curved body and
convex accompanied by lateral towers. Regarding its urban environment,
attach the building properly since it does not break with the profile of the
city.

It is concluded that Enrique Seoane Ros presents an influenced architecture.

by academicist movements, synthesizing forms with the purpose of
to seek a national and original architecture

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BIBLIOGRAPHIC REFERENCES

BENTÍN DIEZ CANSECO, JOSÉ

ENRIQUE SEOANE ROS. A SEARCH FOR PERUVIAN ROOTS. Lima:
NATIONAL UNIVERSITY OF ENGINEERING, 2014.

BENTÍN DIEZ CANSECO, JOSÉ

CHRONICLES ON THE ARCHITECTURE ROUTE. Lima:José Bentín Diez
CANSECO2014.

VELARDE, HÉCTOR
PERUVIAN ARCHITECTURE. LIMA: STUDIUM, 1978.

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