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El objetivo del trabajo es visibilizar la prolífica producción de la empresa constructora Candia, que operó en el siglo pasado en la ciudad de Rosario. Ejecutaron obras de calidad, edificios emblemáticos para el círculo de arquitectos destacados y la burguesía empresaria local. Esta circunstancia posicionó a la empresa en un lugar de privilegio ya que su legado edilicio se constituyó en un testimonio de los debates culturales de su tiempo, cuya evolución y contradicciones quedan relatadas en su propia historia. En este caso, se aborda el período de transición entre la arquitectura académica y el movimiento moderno en la ciudad, describiendo las técnicas constructivas utilizadas registradas en el archivo documental de las obras ejecutadas por la empresa. Se relatan cronológicamente las principales obras de este período, la evolución de la empresa y el rol de sus referentes. Destacamos tres momentos característicos, el !"#$%&'(#%) con la figura de Rafael Candia, el de *+,%#-'.# con Rafael Candia (h) y Armando Delannoy y el de &(#-()'$%&'.# con el Arq. Rafael Carlos Candia como referente. La empresa abordó diversos estilos y géneros arquitectónicos y operó en todos los campos de la industria de la construcción, legando un patrimonio edilicio que no debe pasar inadvertido.
!"#$%&'()!!"#$%&#'!()$*+,-(+&)$!()./#$0'!1)*#,&)'!23,&+#43
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The aim of this work is to set forth the prolific production of Candia Construction Company which operated during the last century in the city of Rosario. It pro!
duced quality buildings, emblematic constructions for a number of outstanding architects and local bourgeoisie businessmen. This circumstance positioned the company on a privileged spot since its building legacy became a testimony of the cultural debates of the time. Thus, the evolution and contradictions of this period are reflected in its own history. This paper is focused on the transition!
al period ranging from the academic architecture to the modern movement in the city, it describes the construction technics which were used and registered in the archive of the projects built by the company. The main constructions of this period, the company’s evolution and the role of its main referents are dealt with in a chronological order. Three significant phases are addressed: the foun!
dation with the figure of Rafael Candia, then the expansion with Rafael Candia Jr and Armando Delannoy, and, finally, the consolidation with architect Rafael Carlos Candia as its referent. The company explored all architectural styles and genres; it worked in every field of the construction industry leaving a built heri!
tage that should not pass unacknowledged.
-Altuzarra, C. E. (2019). De oficio 4/:)31))/3%;*8(*
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!"# $%&'()*$$+,&# -.# /"# $+*-"-# %0.-.$.# "# 12/3 (+4/.'# 5"$(%).'6# 7&# ./# $%1+.&8%# .)"# *&"# $+*-"-# +&5%)1"/9# .'4%&(:&."9# ;*.# /*.<%# .&# '*# $%&'%3 /+-"$+,&#'.#5*.#5%)1"/+8"&-%6#!"#<=&.'+'#-.#.'"# $%&'()*$$+,&#.'(*>%#."&%'#-.#+-,&.%'#;*.9# ).<+-%'# 4%)# /%'# 4)+&$+4+%'# -.# /"# $%14%'+$+,&# "$"-=1+$"#?#/"#()"-+$+,&#$%&'()*$(+>"#-.#/"#(.$3 nología mamposteril, construían edificios de +14.$"0/.# 5"$(*)"6# @&"# 5"1+/+"# -.# +&1+<)"&(.'# +("/+"&%'#'.#-.'("$"#4%)#'*#()"?.$(%)+"#.&#/"#$%&3 '%/+-"$+,&#-.#/"#$+*-"-#-.#A%'")+%9#().'#<.&.)"3 $+%&.'# -.# $%&'()*$(%).'# ;*.# B"&# $%&()+0*+-%# $%&#'*#()"0"C%#.&#/"#4)%-*$$+,&#-.#*"()+1%3 &+%#.-+/+$+%#'*4.)/"(+>%6#
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facetas. Ejecutar, promover y financiar obras de innegable calidad ha sido el sello distintivo de una marca, Candia.
Coincidimos con Castellanos Gómez (2012, p. 1) en que el enfrentamiento directo con las obras de arquitectura, podría constituir un método para construir una teoría operatoria que tuviera la capacidad de incidir de nuevo en el proyecto arquitectónico, en donde el primer paso es el re! conocimiento y difusión de aquellas obras que, como en todos estos casos, estuvieron relacio! nadas con un mismo constructor y han sido de! positarias de un saber hacer.
La empresa tiene su punto de inicio en 1885 con el arribo de Rafael Candia2 a la Argentina, esta!
bleciéndose definitivamente en Rosario en el año 1890"#
Si bien Rafael Candia realizó algunas obras en Buenos Aires, el primer antecedente local es la vivienda construida en 1890 para Waldino Ba! sualdo en el actual Parque de la Independencia,
!"#$%&%'()'(*'+($,-.'/.01#2-'%*'.-+(&%*3'&(2-4 *#&%'$-2-'$-)+($!()$#%'&('*%'$.(%$#0)'&('%5!(*' /%.5!(6' 7)' (+(' /(.8-&-' -",#()(' #2/-.,%),(+' contratos, como el primer edificio de la Bolsa &(' 9-2(.$#-' /%.%' (*' :.56' ;(*#/(' 9()+#' <=>?@A3' La Inmobiliaria para el Arq. Juan Buschiazzo (1914) y el edificio para el Jockey Club de Ro4 +%.#-' #&(%&-' /-.' (*' :.56' 7).#5!(' B(' C-))#(.' <=>DEA6
7)' 2F.#,-' %' +!' #&-)(#&%&' $-2-' $-)+,.!$,-.3' Rafael Candia obtiene en el año 1894 el certi4 ficado de Maestro de Obras, otorgado por la Municipalidad de Rosario.
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$(&*P*"LN&")4"&*%=&(2*4"*L>`-L(*#(,-4(4;*J)*",* (O%*Z[ZcD*P*")*B-&$G4*4"*2G*#(N(#-4(4*N(&(*"S"^ #G$(&*%=&(2D*2"*,"*%$%&7(*N%&*N(&$"*4",*"S"#G$-B%* LG)-#-N(,*",*$0$G,%*4"*1("2$&%*1(P%&*4"*I=&(2;* <"*(2%#-(*#%)*",*H)7;*F(&,%2*H2",,(D*#%)2$-$GP")^ 4%* ,(* "LN&"2(* F()4-(^H2",,(D* &"(,-9()4%* %=&(2* #%L%* ",* +()#%* 1%)2"&&($* @Z[b\ED* 8(* '(B%&-$(* @Z[b\ED*+%,2(*4"*F%L"&#-%*@Z[b_ED*+G)7"*P*+%&)* @Z[b_E*P*T(,(#-%*1-)"$$-*@Z[b[E*")$&"*%$&(2; J)*",*(O%*Z[Zl*-)#%&N%&(*(*3&L()4%*/",())%P* #%L%*4-=GS()$"*N(&(*&"(,-9(&*,%2*N&%P"#$%2*:G"* ,(*"LN&"2(*#%)2$&GP";**
*
G*3&41#2%,2-*'#"*(#F.-7)
J`N"&-L")$(4%* ")* ,(* (&:G-$"#$G&(* 5&()#"2(D* /",())%P* P(* ?(=0(* &"(,-9(4%* N&%P"#$%2* ")* -L^ N%&$()$"2* "2$G4-%2* 4"* +G")%2* 3-&"2;* /"* "2$"* L%4%D*#%)*",*#%&&"&*4",*$-"LN%*5G"*%=$")-")4%*
'-7G&(*Z;*<()*8%&")9%*ZZ]_*j*'-7G&(*b;*F%&&-")$"2*\]c*j*'-7G&(*h;*F-)"*U"&(,4%;*HL>7")"2*N"&$")"#-")$"2*(,*3&#?-B%*F()4-(*4",*1G2"%*4"*,(*F-G4(4
[h
!"#$%&'()'*)+,+$$!"##$%&'&()*)+,-.+&/0#1&2&!""#$!%&'()*$+,-+.-/01$$.$!""#$23435*6$+,-+.-/17
&&"&(*4"*3&:G-$"#$G&(D*%=$")-")4%*2G*4-N,%L(* ")*",*(O%*Z[]c;*
Se trata de un edificio que rompe la línea de
#%LN%2-#-X)* #,>2-#(D* ")* ,(* =W2:G"4(* 4"* G)* ":G-,-=&-%* 4-)>L-#%* 4"* ,%2* #%LN%)")$"2* 4"* ,(* 5(#?(4(Y* N,()%2* P* ,0)"(2* #%)2$-$GP")* ",* )G"B%*
lenguaje para un edificio que se presenta a la
B()7G(&4-(*4"*2G*VN%#(;*8(*%=&(*"2*#%)$-7G(*(* %$&(* :G"* #%)2$&GP"&(* ,(* "LN&"2(* N(&(* ",* 3&:;* /G&()4*")*Z[hZD*")*2%,%*Z\*(O%2*",*2(,$%*"2$-,02^ $-#%*"2*")%&L"D*G)%*#%&&"2N%)4"*#%)*",*W,$-L%* "2,(=X)*4",*N"&0%4%*#,>2-#%D*",*%$&%*2"*N&"2")$(* #%L%*",*#%L-")9%*4"*,%*:G"*"2$>*N%&*B")-&; J)*",*(O%*Z[l[*,%2*L-2L%2*(G$%&"2*N&%P"#$()* N(&(*1-)"$$-*@'-7;*iED*G)(*(LN,-(#-X)*")*,(*N,()^ $(*-)4G2$&-(,*4"*#(,,"*<(,$(;*8(*4-2N%2-#-X)*4"*,(2* (="&$G&(2* &"2N"$(* ,(* N%2-#-X)* 4"* ,(2* N&""`-2^
tentes, unificadas en este caso, con un fuerte
trazado horizontal. Este edificio revela el com^
N&%L-2%*4"*#%)2$&G-&*(&:G-$"#$G&(*:G"*(2GL")* ,%2*N&%P"#$-2$(2*5&")$"*(*,(*#-G4(4g*",*#%)$&(2$"*
con lo preexistente es muy significativo.
J)*(O%*Z[]bD*2"*-)#%&N%&(&%)*(,*":G-N%*,%2*N&%^ P"#$-2$(2*!(W,*M-LV)"9*!(5G,9*P*,%2*?"&L()%2* 6G()* P* 1(&-%* <%,(&-* .-7,-")%D* :G"* #%)2$-$GP"^ &%)*",*7&GN%*"2$(=,"*:G"*4"2(&&%,,X*",*&"2$%*4"* ,%2*N&%P"#$%2*4"*,(*"LN&"2(;*J)*Z[]]*N&%P"#$(^ &%)*N(&(*,(*"LN&"2(*FG&(*U)%2;*@'-7;*[ED*G)*"4-^
ficio de volúmenes puros, con planos verticales
:G"* #%)$&%,()* ,(* -)#-4")#-(* 2%,(&;* 8(* #%LN%2-^ #-X)*4"*,%2*","L")$%2*"`$"&)%2*N"&L-$"*-)5"&-&* ,(2*4-2$-)$(2*5G)#-%)"2*-)$"&)(2D*#%LN(&$-")4%*
orientación y lenguaje con el edificio para Mi^
)"$$-*4"*#(,,"*<(,$(;
G*D.*>&)J-*%K%,12-&*(%*.)*)&41#2%,21&)*
7-(%&")*%"*/-')&#-8(* "LN&"2(* #%)2$&GP"* %=&(2* 4"* (G$%&D* N(&(* ",* #0&#G,%*4"*N&%5"2-%)(,"2*-)4"N")4-")$"2*-)#%&^ N%&(4%2* ")* ",* 4"=($"* #G,$G&(,* (&:G-$"#$X)-#%D* N%&*L"4-%*4"*#%)#G&2%2*P*)%$(2*NG=,-#(4(2*")* &"B-2$(2* "2N"#-(,-9(4(2* #%L%* 8(09040#;* F%)5%&^ L()* ")* #%)SG)$%* G)* ")5%:G"* 3#40/Z:)#* :G"* L"&#-%*4"*#(,,"*FX&4%=(*P*F%&&-")$"2*")*",*(O%*
Z[b\;* J2$"* L($"&-(,* #%L")9(=(* (* 4"2N,(9(&* ",*
uso de los perfiles laminados. De ropaje clásico,
-)#%&N%&(=(* G)* L%4"&)%* L($"&-(,* "2$&G#$G&(,;* <G*#WNG,(*")*Ud3d*5G"*4"*7&()*(G4(#-(*$"#)%,X^ 7-#(* (,* &%LN"&* #%)* ,(* $&(4-#-X)* 4",* ")$&(L(4%* 4"*L(4"&(*#%L%*"2$&G#$G&(*N(&(*",*2%N%&$"*4"* ,(2*$"S(2*4"*N-9(&&(;*J,*?%&L-7X)*(&L(4%*2"*?(^ =0(*-)2$(,(4%*")*",*#%L-")9%*#%L%*G)(*"2$&G#^ $G&(* #%,(=%&($-B(* #%)* ,(* L(LN%2$"&0(D* ?(2$(* (,#()9(&*,G"7%D*2G*(=2%,G$(*-)4"N")4")#-(;
Resulta notable cómo en el caso del edificio
4"* 8(* F%)$-)")$(,* @'-7;* ]ED* 4"* ,%2* (&:G-$"#^ $%2* 3&)%,4* 6(#%=2D* !(W,* M-LV)"9* P* 3=",(&4%* '(,%L-&D* ,(* "2$&G#$G&(* 4"* ?%&L-7X)* :G"* N%^ 2-=-,-$(=(* 7&()4"2* B()%2D* 5G"* &"#G=-"&$(* #%)* L(LN%2$"&0(D*(#%$()4%*(20*",*B0)#G,%*"2N(#-(,;*
Progresivamente, la confianza en el material
,%* &"2#($(=(* 4"* 2G* %#G,$(* L-2-X)* "2$&G#$G&(,D* N(&(*(,#()9(&*G)(*"`$"&-%&-9(#-X)*N,")(D*L()-^
festada en los voladizos que definían la imagen del edificio. Primeramente, la caja muraria al
N&"B(,"#"&*2%=&"*,%2*B()%2D*$%4(B0(*B"&$-#(,"2* P* ()7%2$%2D* "B%,G#-%)(=(* (* G)(* (="&$G&(* :G"* 2"* "`$")40(* ?(2$(* ",* =%&4"* 4"* ,(* "2$&G#$G&(;* <-)*"L=(&7%D*")*"2$"*N"&0%4%*",*?%&L-7X)*N"&^ L()"#0(*")L(2#(&(4%*N%&*G)*(#(=(4%*2GN"&^
ficial o inmerso en la mampostería de cierre,
2G*N%$")#-(,*L($"&-(,-4(4*"`N&"2-B(*$%4(B0(*)%* ?(=0(*2-4%*(,#()9(4(;*J)*",*(O%*Z[liD*,(*"LN&"^ 2(*F()4-(*#%)2$&GP"*N(&(*6(#%=2*P*'(,%L-&*G)*
edificio emblemático de la arquitectura indus^
$&-(,*&%2(&-)(]D*,(*5>=&-#(*$"`$-,*J<KJu3*@'-7;*\ED*
4%)4"*2G#"2-B(2*)(B"2*#%)*5%&L(*4"*=XB"4(2* 4"*#(OX)*#%&&-4%*"`N,%$(=()*,(*#(N(#-4(4*"2^ $&G#$G&(,*P*5%&L(,*4",*?%&L-7X);***
La ejecución y proyecto del edificio para Ca^
P"$()%* M>,($$"* ")* #(,,"* 3,B"(&* [bc* ")* ",* (O%*
1947 (Fig. 7) marcó la adscripción definitiva al
L%B-L-")$%* L%4"&)%* N%&* N(&$"* 4"* ,(* "LN&"^ 2(;**<%)*(G$%&"2*4",*N&%P"#$%*3)4&V2*'(##?-)-D* 6%&7"*IG4o"&o*P*!(5(",*F(&,%2*F()4-(D*?-S%*4"* !(5(",*@?ED*:G"*")*"2"*L%L")$%*#G&2(=(*,(*#(^ '-7G&(*l;*a"&=($"&(*1(&$-)D*Z[bl;*j*'-7G&(*];*FX&4%=(*Z]\]D* Z[ll;*j*'-7G&(*\;*J<KJu3D*Z[li;*HL>7")"2*N"&$")"#-")$"2*(,* 3&#?-B%*F()4-(*4",*1G2"%*4"*,(*F-G4(4
[l !"#$%&'()'*)+,+$$!"##$%&'&()*)+,-.+&/0#1&2&!""#$!%&'()*$+,-+.-/01$$.$!""#$23435*6$+,-+.-/17
te unifica la sucesión de plantas por medio de
,0)"(2*B"&$-#(,"2*:G"*($&(B-"2()*$%4(*,(*5(#?(4(;* U(#-(*",*"2$"D*2%=&"*",*+,B4;*I&%O%*2"*4-2N%)")* G)(*2G#"2-X)*4"*=(,#%)"2*(*L%4%*4"*N(,#%2D*:G"* N"&L-$")*"2N"#$(&*,(*#"&"L%)-(*2%#-(,*4",*N(2"%; +(S%* "2$"* &V7-L")D* ,(* "LN&"2(* 7")"&(* "L^
prendimientos inmobiliarios como el Edificio
F(L%($$-* ")* A&:G-9(* Zihc* @Z[]\ED* 6%&7"* Hd* ")*
la calle Mendoza 65 (1957), Edificio Argos Cór^
4%=(* "2:;* T(&(7G(P* @Z[]iED* <()* 8%&")9%* bZbh* @Z[]iED* M(,"&0(* 8(* '(B%&-$(* @Z[\bED* F"&"2* ")* FX&4%=(*Zl\i*@Z[\hE*P*F(L%($$-*HH*")*<()$-(7%* \c*=-2*@Z[\[E;
G*H)*L).%&M)*/-')&#-El edificio emblema de la empresa es sin dudas
,(*M(,"&0(*!%2(&-%D*4%)4"*!(5(",*F()4-(*@?E*&-)4"* ?%L")(S"*(*,(*#-G4(4*:G"*,%*#%=-S(&(;*/"*(,7G)(*
manera, este edificio es el cenit del desarrollo
4"*,(*"LN&"2(;*J,*N&%P"#$%*2"*"LN,(9(*2%=&"*G)%* 4"*,%2*,%$"2*")*",*:G"*2G*N(4&"*?(=0(*#%)2$&G-4%*
el edificio para la Droguería El Águila en el año
Z[c\D*G=-#(4%*")*#(,,"*<()*1(&$0)*i\c;*8%2*(G$%^
comenzado con los Rascacielos y Edificios de
&")$(*")*,(*4V#(4(*4",*bcD*&"#-=-&0(*G)*-LNG,2%* #%)*,(*2()#-X)*4"*,(*8"P*4"*T&%N-"4(4*U%&-9%)^ $(,*4%)4"*2"*N&%&&($"(=(*",*N&"#-%*4",*$"&&")%* ")$&"* ",* )WL"&%* $%$(,* 4"* G)-4(4"2* ?(=-$(#-%^ )(,"2D* N%2-=-,-$()4%* (##"4"&* (* G)(* B-B-")4(* ")* 9%)(2* 4"* ,(* #-G4(4* 4%)4"* ",* N&"#-%* 4",* 2G",%* "&(*","B(4%R;*8(*"LN&"2(*F()4-(*4"24"*2G2*#%^ L-")9%2*#%)2$&GPX*N(&(*,(*=G&7G"20(*#%L"&#-(,*
local rascacielos y edificios de renta; ni bien se
2()#-%)(*,(*,"P*4",*&V7-L")*4"*N&%N-"4(4*?%&-^ 9%)$(,D*#GP(*B-7")#-(*"2*(*N(&$-&*4",*(O%*Z[liD*
proyecta, promueve y construye edificios pro^
N-%2*N(&(*#,-")$"2*()X)-L%2;*8(*N&-L"&(*"`N"^
riencia bajo esta modalidad son dos edificios
#%)$-7G%2*")*,(*"2:G-)(*4"*+B;*I&%O%*P*<()*8%^ &")9%D*I&-%)*P*3P(o*@'-7;*ZcE;
J,*$&($(L-")$%*(&:G-$"#$X)-#%*4"*"2$%2*4%2*"4-^
ficios los unifica, el basamento es revestido con
N-"4&(2*&"#G(4&(4(2D*4-2NG"2$(2*")*5%&L(*$&(=(^ 4(D*:G"*&"L-$"*(*G)(*&"-)$"&N&"$(#-X)*L%4"&)(* 4",* (,L%?(4-,,(4%* 4"* N-"4&(* #,>2-#%;* <%=&"* "2$"* =(2(L")$%D*G)*#G"&N%*2(,-")$"*:G"*L-&(*(,*)%&^ %N"&(*")*,(*(&:G-$"#$G&(*,%#(,D*#%)*5%&L(2*NG&(2*
:G"*2"*4-5"&")#-()*4",*N(2(4%;*.%,WL")"2D*N,(^ )%2*P*,0)"(2*#%)2$-$GP")*",*)G"B%*,")7G(S";*
Obras como el Instituto de Tráfico de FCCA del Arq. Leopoldo Schwartz de 1935, o el edificio
N(&(* F")$&%* A)-X)* /"N")4-")$"2* 4"* ,%2* ?"&^ L()%2*K-$%*P*6%2V*1-#?","$$-*4",*(O%*Z[h_*2%)* &"N&"2")$($-B%2* 4"* (:G",,(* B%,G)$(4* 4"* &GN$G^ &(* #%)* ",* N(2(4%;* T&%5"2-%)(,"2* #%L%* ,%2* 3&:;* 3&)%,4*3&L()*P*3=",(&4%*K%4"2#?-)-D*:G"*N&%^ P"#$(&%)* ",* T%,-#,0)-#%* F%B(4%)7(* @Z[hiE* P* ",*
edificio para la Compañía de Seguro, Industria y
F%L"&#-%*@Z[h[ED*$(L=-V)*&"(,-9(&>)*2G2*%=&(2* #%)*,(*"LN&"2(;*J,*#-)"*!(4(&*4"*,%2*3&:;*6%&7"* K?%L(2D* 6%&7"* +%&7($$%* P* !;* TG"&$(2* @Z[l]E* P* 8(*1"&#()$-,*!%2(&-)(*4"*U"&)()4"9*8(&7G0(*P* C"n$%)*@Z[]ZE*#%&&"2N%)4")*(*"2$"*N"&0%4%*4"* &"B-2-X)*"2$V$-#(*P*$"#)%,X7-#(*P*5G"&%)*(,#()9(^ 4%2*$(L=-V)*N%&*",*=&(9%*"S"#G$%&*4"*,(*"LN&"2(;
G*@-,#).#J),#?"*(%*.)*F&-F#%()(
'F%L%* "`N&"2(* FG$&G)"%* @bcZlD* N;* ZliED* Q,(*
construcción de edificios en altura, que había
Figura 7. Edificio Gálatte, 1947. | Figura 8. Minetti, 1949. | Figura 9. Cura Hnos., 1955. Imágenes pertenecientes al Archivo
F()4-(*4",*1G2"%*4"*,(*F-G4(4;
[]
!"#$%&'()'*)+,+$$!"##$%&'&()*)+,-.+&/0#1&2&!""#$!%&'()*$+,-+.-/01$$.$!""#$23435*6$+,-+.-/17
&"2*4",*N&%P"#$%*,%*#%)5%&L()*",*L-2L%*":G-N%* :G"* B")0(* 4"2(&&%,,()4%* ,%2* "LN&")4-L-")$%2* -)L%=-,-(&-%2* 4"* ,(* "LN&"2(D* #GP%* &"5"&")$"* ")* "2"*N"&0%4%*"&(*",*3&:;*!(5(",*F(&,%2*F()4-(*#%)* ,(*#%,(=%&(#-X)*4"*,%2*(&:G-$"#$%2*6G()*P*1(&-%* <%,(&-*.-7,-")%*P*3)4&V2*'(##?-)-;
J,*N&%P"#$%*&%LN"*",*4(L"&%*G&=()%D*($&(B-"2(* ,%)7-$G4-)(,L")$"*,(*L()9()(D*N%$")#-()4%*9%^ )(2*-)$"&)(2*:G"*#%L"&#-(,L")$"*#(&"#0()*4"*B(^ ,%&;*J2*N&%=(=,"*:G"*2G*()$"#"4")$"*&(4-:G"*")* %$&(*%=&(*#%)2$&G-4(*N%&*!(5(",*F()4-(*")*",*(O%* Z[b_D*",*T(2(S"*T(LD*")*FX&4%=(*[]l;*
8(*-)(G7G&(#-X)*4"*,(*M(,"&0(*",*bl*4"*L(P%*4"* Z[]\* 2"* #%)2$-$GP"* ")$%)#"2* ")* G)* (#%)$"#-^ L-")$%* 2%#-(,D* #%)* ,(* N&"2")#-(* 4"* ,(2* 5G"&9(2*
vivas de la ciudad. El edificio simboliza el pro^ 7&"2%*4"*,(*L-2L(D*G)*#")$&%*#%L"&#-(,*:G"*N%^ 2-#-%)(=(* (* !%2(&-%* #%L%* G)(* 7&()* L"$&XN%,-;* J,*N&%P"#$%*"2*#%)#"=-4%*4")$&%*4",*&V7-L")*4"*
propiedad horizontal, lo que significa una nove^
4(4*#%L"&#-(,D*N"&L-$-")4%*(*N":G"O%2*#%L"&^
ciantes ser dueños de un local, oficina o departa^
L")$%*4"*B-B-")4(*")*",*#")$&%*4"*,(*#-G4(4;*J)*",* N&%P"#$%*%&-7-)(,*2"*#%)$"LN,(=(*,(*"S"#G#-X)*4"* G)*#-)"^(G4-$X&-GL*N(&(*\cc*"2N"#$(4%&"2*:G"* )%*,,"7X*(*N,(2L(&2";*
8(2* B-B-")4(2* 2"* 4"2(&&%,,()* $-N%,X7-#(L")$"* #%L%* =0=0%&(#' 4#E5&D* #%)* ,%2* )W#,"%2* ?WL"4%2* (2%#-(4%2D* 4-2N%2-#-X)* :G"* N"&L()"#"&>* -)(,^
terable hasta nuestros días en los edificios en
(,$G&(;*J)*#(4(*=,%:G"D*,(2*G)-4(4"2*4"*B-B-")4(* 2"* "2N"S()* 2%=&"* ,(* #-&#G,(#-X)* B"&$-#(,;* J,* N&%^ =,"L(*4"*,(*B-B-")4(*L0)-L(*"L"&7"*#%L%*G)(* #%)4-#-X)*"2")#-(,*4"*"2$"*N,()$"%D*QL-)-L(,^n%^ ?)G)7RD* (,* 4"#-&* 4"* s(,$"&* M&%N-G2D* P(* :G"* Q#%)2-2$"*")*"2$(=,"#"&*",*L0)-L%*","L")$(,*4"* "2N(#-%D*(-&"D*,G9*P*#(,%&*:G"*",*?%L=&"*)"#"2-$(* N(&(* N%4"&* 4"2(&&%,,(&* N,")(L")$"* 2G2* 5G)#-%^ )"2*B-$(,"2D*2-)*,-L-$(#-%)"2*4"=-4(2*(*,(*B-B-")4(* L-2L(D*"2*4"#-&D*G)*L0)-L%*L%4G2*B-B")4-R*@+"^ )"B%,%D*Z[[[D*N;*]h\E;
<%=&"* #(,,"* <(&L-")$%D* G)(* L(&:G"2-)(* #%)* "2^
$&G#$G&(* 4"* ?%&L-7X)* @'-7;* ZZE* 2"* &"2G",B"* L"^ Figura 10. Edificio Orion y Ayak, 1948. Imagen perteneciente al Archivo Candia del Museo de la Ciudad.
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