Fuente: L’Architecture d’Aujourd’hui. -- (1962-1963), nº 105 diciembre-enero; p. 48-51: empl., plan., secc., detall., fot. . / Fondo: Biblioteca PUC. Source: L'Architecture d'Aujourd'hui 105, 1962-1963 / Archive: Catholic University library.
This period includes the 60s and early 70s, and is strongly marked by the influence of Japanese architecture. With Oscar Bórquez, his partner at the time, he followed the magazines L'Architecture d'aujourd'hui and Japan Architecture, which certainly and strongly influenced their production and inspired a story line in their design. At the same time “Contemporary Japanese Architecture” by Manfredo Tafuri was published, illustrating the role of avant-garde architects such as Tange, Mayekawa and Yamada, among others. In 1966, issue 6-7 of AUCA Magazine -a double anniversary issue- featured a thorough vision of recent Chilean architecture. The Bustamante building for Banco de Chile, and the Banco Español buildings in Concepción and Viña del Mar by Despouy were presented preceding the images of the Seagram Building by Mies and the youth center at Mayekawa by Kanagawa. The relationship between the works is unmistakable. In the case of the Bustamante building, the design of the curtain wall and the way of displaying the grid with the use of I-beams is a clear example of technique serving architectural language. He designed it exposed and suspended over the floor, attached to the facade to be admired. The image of the base plate and its reinforced concrete parapets as well as the fenestration design reveals the clear relationship between the Cultural Center of Tokyo by Mayekawa and the controversial Portada de Vitacura (1969). Because of its location on an “island” in the middle of the urban fabric it would never connect to the neighborhood, becoming a solitary and exposed piece. The relationship between Despouy and Japanese architecture will continue with H. Ohe and his project for Hosei University in Tokyo (1953) and the Workers Hospital in Santiago, which suffered the demolition of the wing towards Bustamante Park. The composition of the curtain wall façade recalls the Tokyo city hall building and its Corbusian double façade by Kenzo Tange. The current Workers Hospital goes beyond by combining in its two volumes the Japanese proposal with the MES building in Brasilia (1936-1942) by the Lucio Costa team and under the guidance of Le Corbusier (who approved the changes to the project made by Oscar Niemeyer): this was the first building with the five elements of modern architecture and the use of the double façade with brise-soleil. Also, in the project for the Teja (roof tile) House -designed in 1965 in what is now the Santa Maria de Manquehue neighborhood- it is obvious how Despouy applies concepts from the floor plans and structure of the Golf Club in Tatsuka, also by Tange. All this shows that the avowed influences of Le Corbusier on Despouy’s work were rather indirect. They may be noticed at the University of Tarapacá in Arica, 1966, which belatedly resembles the building for the General Assembly at Chandigarh (1951-65) and La Tourette (1952-1960), and shares with the Workers Hospital the detail of the protruding volume with brise-soleil on top. Despouy learned to distill the expression of his works from the great masters.
Kenzo Tange, Club de Golf en Totsuko, cerca de Tokio, Japón, 1961. / Kenzo Tange, Golf Club in Totsuko near Tokyo, Japan, 1961. Fuente: L’Architecture d’Aujourd’hui (1961), Nº 98 octubre-noviembre; p. 20-27: plan., secc., fot., detall. / Fondo: Biblioteca PUC. Source: L'Architecture d'Aujourd'hui 98 (1961) / Archive: Catholic University library.
Third Period
Kunio Mayekawa & Asociados, Centro Cultural de Tokyo, Japón, 1960. / Kunio Mayekawa & Associates, Cultural Center in Tokyo, Japan, 1960.
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