Pre-Columbian Treasures
Ecuador is home to astonishing relics of early South American civilizations. 5,500 years ago, in the heart of the Amazon, the Mayo-Chinchipe-Maranon developed a highly refined art of stonework. One of the key sites of this culture is Santa-Ana-La-Florida. Here, the remains of a large circular plaza and ceremonial fireplaces can be seen, testifying to the organization of space in accordance with sacred rites. This element is also found among the Yumbo people, famous for their vast purifying pools, the most famous of which is at Tulipe. But the relics found in greatest numbers in Ecuador are the mounds. These man-made mounds of earth can be round, square or in the shape of a truncated pyramid, often flanked by an access ramp leading to an upper platform. Depending on their size, they can serve as burial mounds or ceremonial centers. The Upano Valley is rich in mounds attributed to the Huapula culture. Potholes, pits and hearths have also been discovered, suggesting individual dwellings. Mounds are also inextricably linked with the Mantena culture, of which there are numerous testimonies on the Manabi coast and in Machalilla National Park. The Japoto site is one of the most famous, with mounds up to 80 m long, 20 m wide and sometimes over 3 m high. These mounds were built by successive contributions in horizontal strata, offering greater resistance to erosion. Among the country's other major archaeological sites, don't miss the truncated pyramids of Cochasqui. According to archaeologists, there are 15 of them, forming a large solar calendar. The Otavalo civilization is also famous for its mounds and pyramids, such as the Zuleta pyramid of impressive dimensions: its base is 84 m square, the sides of its platform measure 60 m and its access ramp stretches for 180 m! This religious architecture is complemented by military architecture symbolized by fortresses such as Rumicucho. These defensive structures were largely reused by the Incas. They can be identified by the concentric rings of stone walls and ditches that encircle the summits of many hills. Originally built by the Canari people, the famous site ofIngapirca was redesigned by the Incas. Arranged around a vast central platform known as the Temple of the Sun, the various remains are typical of Inca architecture: their trapezoidal doorways and perfectly cut stones, arranged in mortar-free structures, were designed to better withstand earthquakes. Another great testament to Inca power is the Qhapaq Nan, the famous Andean road network. Along the road between Achupallas and Ingapirca, you can discover fortresses such as Qallana Pucara, and tambos or inns such as Cuchishiana and Paredones de Culebrillas. In addition, bridges, staircases and water drainage systems bear witness to the power of the Inca builders, who were able to master hostile terrain with the aid of simple stone and wood tools!
Colonial heritage
As in the rest of Latin America, the Spanish colonists imported their strict urban planning rules to Ecuador, organizing their cities according to a checkerboard plan, with the main space being the large central plaza, known as the Plaza de Armas or Plaza Mayor, which brings together all the powers (cathedral, courthouse, town hall). The cobbled streets lead to numerous parks and public spaces. The colonial houses lining these streets can be recognized by their simple yet elegant silhouettes of adobe blocks limed in white or pastel colors and rising one or two storeys, their facades adorned with carved wooden balconies, their doors and windows decorated with refined moldings and their tiled roofs. The interior is organized around one or more patios. The galleries overlooking the patios and leading to the various rooms of the house are adorned with sumptuous balustrades and carved wooden colonnades. While the historic centers of Cuenca and Quito bear witness to the finest examples of this colonial urbanism, don't miss the beautiful houses of Riobamba and Ibarra, nicknamed the White City, and of course the beautiful arcades and colonnades of the streets of Guayaquil.
Alongside this civil architecture, the Spanish colonists developed a rich religious architecture. The Immaculada Cathedral in Cuenca, with its imposing twin towers and austere silhouette, is reminiscent of the fortress churches of the early missionaries. Gradually, however, this austerity gave way to Baroque exuberance, as evidenced by Quito's sumptuous religious buildings, including the Church of the Society of Jesus, with its green and gilded ceilings, blood-red walls, twisted columns and gilded decorations. But take a closer look at the decor... you'll discover indigenous faces, as well as references to astronomy and Indian rites. This blending of cultures is the hallmark of the famous Ecole de Quito, blending European Baroque with Indian know-how, particularly in painting, sculpture and goldwork. For the colonists, this blend was the key to successful evangelization. So it's hardly surprising that many churches were built on pre-Columbian sites.
The mastery of the land was accompanied by the appearance of haciendas, large farm-villas. The main building is the mansion, which most often follows a quadrilateral plan, with its wings framing a vast patio, either paved or planted with trees. Elegant staircases lead up to the arcades and galleries serving the various rooms of the house, which is the object of great decorative attention with its stylized pillars and columns, sculpted balustrades and balconies, and stucco decorations and moldings. The double-sloped tiled roof features overhangs to protect the facades from sun and rain. In addition to the main house, the hacienda comprises service dwellings, storage areas and a chapel, organized around courtyards, gardens and wells. The entire property is protected by a surrounding wall. Wood, cob, adobe and, above all, adobe are the materials of choice. Among the country's most beautiful haciendas, don't miss Tilipulito, La Herreria, La Merced, Haciendas Zuleta and Ibarra.
From the Republic to modernism
In the 19th century, Ecuador embarked on the construction of the Trans-Andin, "the most difficult train in the world", its many metal and steel tunnels and bridges having to adapt to the rugged topography. Numerous towns sprang up along the railroad, such asAlausi, famous for its superb station and wooden houses with outside porches, bringing a coastal atmosphere to the heart of the mountains and testifying to the exchanges between regions made possible by the train! It was also at this time that the mining town of Zaruma experienced a new boom. The town's architecture was perfectly adapted to its environment. Plants and gardens refreshed the houses, while wooden structures, cob and dry earth made them more resistant to the climate and, above all, to earthquakes, while allowing for sumptuous decorative work on the facades.
The late 19th century was marked by a very European neoclassical style. In Cuenca, the Maison Coco, dating from 1890, is a perfect example of this style, dubbed the "République style", with its plaster friezes, columns and frames, as well as its pewter leaf decorations imported from France. This style continued into the 20s and 30s, as evidenced by other Cuenca buildings such as the École Benigno Malo, designed as a replica of the University of Lyon; the Cour de Justice; and the Clinica Bolivar. Wrought-iron balconies, Corinthian columns, floral motifs, turrets and stylized arcatures characterize this style. While concrete made its appearance in the 20s and 30s, modernism struggled to establish itself, not least because of a law requiring all modern construction to make reference to the past! It wasn't until the 50s and 60s that the first truly modernist buildings appeared, such as the Hotel Quito and the Ministry of Foreign Affairs. In the 70s, the architect Milton Barragán Dumet continued to work with concrete in buildings with a striking brutalism, such as Quito's Temple de la Douleur, with its protruding volumes, or the Centre International des Etudes Supérieures de Communication pour l'Amérique latine, which takes the shape of a tree. In contrast to this international style, other architects proposed an architecture that multiplied references to local cultures and traditions. The leading exponents of this movement were Eduardo Kingman and Oswaldo Guayasamin. The latter notably designed the Cubist-inspired Chapelle de l'Homme, which today houses a museum dedicated to his work.
Contemporary effervescence
In the 1990s, the city of Guayaquil launched MALECON 2000, a major urban regeneration project accompanying the rehabilitation of the Malecón Simón Bolívar, a long promenade created in the 19th century. The new route is divided into three main zones (commercial, residential and cultural) punctuated by squares, parks, kiosks and gardens. The project is also accompanied by a revitalization of the city's historic center. Streets are being repaved, beautiful colonial and neoclassical facades repainted and squares and parks redesigned, such as the Plaza Baquerio Moreno and its central building resembling a floating metal cube.
But when it comes to contemporary architecture, it's Quito that all eyes are now on. The headquarters of the Union des Nations Unies d'Amérique, designed by Diego Guayasamin, is a vast building with imposing volumes composed of white aluminum panels and black-tinted glass, with a cantilevered structure over 50 m long projecting onto a large esplanade adorned with water mirrors. Often criticized for its somewhat ostentatious monumentalism, this building nevertheless marks the beginning of Quito's transformation, accelerated since 2013 with the transformation of the former Mariscal Sucre airport into a vast green space, Parc La Carolina. The relocation of the airport to the outskirts of the city meant the repeal of the law imposing a maximum height of 4 storeys on buildings. The craziest high-rise projects can now see the light of day! The 22-storey Yoo Quito tower, crowned by an immense aluminium cloud designed by Philippe Starck, is sure to catch the eye. As for Bjarke Ingels, he has designed two astonishing towers along the future metro line: the 24-storey Epiq Tower, with its pinkish hues reminiscent of the local terra-cotta, and the 33-storey Icon Tower, with its astonishing silhouette of stacked cubes. Both feature planted roof terraces, providing a vertical extension of La Carolina Park.
Other major upcoming projects include Moshe Safdie's 24-storey Corner Tower, with its double-level terraces and green wall, and Carlos Zapata's 23-storey Unique Tower, with its glass silhouette. But Quito's craziest project is undoubtedly the Aquarela residential complex designed by Jean Nouvel in the Cumbaya district. This urban jungle-like complex offers an astonishing dialogue between the minerality of the facades, the wood of the louvered shutters and the omnipresent greenery. The project is scheduled for completion by the second half of 2024. At the same time, Quito is rehabilitating its historical heritage with elegant projects that combine tradition and modernity. The Republica Rosa Boutique Hotel, with its superb patio, and the Centre Culturel, which houses the renovated home of the famous writer Benjamin Carrion, are two of the finest examples.
Vernacular and sustainable wealth
In the coastal regions, palm trees, mangroves, bamboo and thatch are in the limelight... bamboo, palm and thatch found in the Amazonian Oriente. In the Sierra, eucalyptus, agave stems, earth, pampas grass and thatch are used in abundance. In wetlands, dwellings are built on stilts, but in general, whatever the zone, houses are usually raised for ventilation and insulation. The major HABITAT III conference organized by the UN in Quito after the devastating 2016 earthquake highlighted the fact that the only buildings to have withstood the tremors were bamboo structures, thus advocating the need for an immediate return to vernacular traditions. Local materials, elevated structures and an accentuated relationship between interior and exterior in a constant respect for nature characterize the creations of Ecuadorian architects today. The Natura Futura agency, in particular, is multiplying its projects with its Tea Room on stilts in Babahoyo, its hut on stilts combining terracotta bricks and wood in Villamil and, above all, its sumptuous hut for hikers between Guarando and Babahoyo, all in wood but entirely covered with mirrors to blend into the landscape.
In Guayaquil, the Faro Verde project, a 6-storey bamboo tower designed as a large community space, is currently underway. The Chamanga cultural center, meanwhile, blends a return to its roots with sustainable ingenuity, as demonstrated by its roof made from recycled Tetrapak sheets. Recycling is at the heart of the Dark Matter house designed by the young Al Borde collective. Eager to offer everyone the chance to live in dignity, these architects have imagined a house made from recycled materials, based on the simple principles of self-construction. Adaptability and modularity are also at the heart of the Paper Log House designed by renowned Japanese architect Shigeru Ban to help the victims of the 2016 earthquake. Foundations of plastic beer crates filled with sandbags, walls of waterproofed, fireproofed cardboard tubes connected by metal rods and a canvas roof are the main principles of this ingenious habitat. Ecuador proves more than ever that it's up to architecture to adapt to nature, and not the other way around!
