The Ciudad Universitaria de Caracas, headquarter of the Central University of Venezuela, was declared a World Heritage Site by UNESCO in 2000 for “representing a masterpiece of human creative genius” and “being an outstanding example of a significant architectural ensemble for the history of mankind”, both for its buildings, urban planning, as well as for its integration with nature and modern art. It represents an exceptional universal value, which transcends the borders of our country because of its interest for present and future generations of all mankind.
Venezuela joins the “Laboratory of the Future”, proposal of this Architecture Biennial 2023, becoming a new center of knowledge production, where new narratives, tools, spaces, and architectural projects offer the possibility of building a better society.
We accept the challenge proposed, wishing to share the learning and experience acquired in the professional recovery of these heritage monuments of modern architecture.
The main campus in Caracas of the Central University of Venezuela (UCV) currently has 100 buildings housing nine faculties, various administrative and research offices, cultural, sports, and hospital services, 108 artworks, and 92 hectares of green areas, whose recovery and maintenance motivated the President of the Bolivarian Republic of Venezuela, Nicolás Maduro Moros, to create the Presidential Commission for the Recovery of the UCV, integrated by teams of professionals, advisors, and inspectors from different areas such as restoration, landscaping, engineering, restoration and maintenance of artistic works.
The exhibition we are presenting at this Venice Biennale – Architecture 2023 is a collection of 20 months of work, “helping to imagine a common future, more equitable and optimistic”.
The campus of the Ciudad Universitaria de Caracas C.U.C. headquarters of the Central University of Venezuela has:
An area of 164 hectares of which 95 are green spaces.
A Botanical Garden.
The University Clinical Hospital.
100 buildings linked to each other with 2 km of roofed corridors.
108 artworks integrated into its architecture.
It is an integrated center of higher education where hundreds of students, professors, employees, and citizens gather daily in its academic, research and outreach, cultural, sports, and medical care facilities.
The heritage restoration project currently underway is being carried out by 150 specialized professionals, some as advisors, and others as inspectors. This group is made up of architects and engineers from the Central University of Venezuela, working together with renowned construction companies.
The restoration project includes controlled demolitions, reconstructions in accordance with the original C.U.C. project, restoration of spaces and their original use, renovation of furniture in classrooms, amphitheaters, and laboratories, analysis of colors and their application where appropriate, as well as restoration of the original landscaping.
Of the 100 existing buildings in the Ciudad Universitaria de Caracas, restoration and maintenance work are currently underway in 63 of them, including the University Hospital, in 3 public spaces: the Plaza del Rectorado, the Plaza Cubierta and the Plaza Jorge Rodríguez (popularly known as “Tierra de nadie” – “No Man’s Land”), in the sports facilities and intensively in the landscaping of the complex.
Clinical University Hospital
The complete restoration of the hospital is currently underway and is arduous due to the fact that work must be done while the health center is still in operation. The complex planning and programming of the work have already made it possible to restore, in accordance with Villanueva’s original project, several of the pavilions, consulting rooms, medical services, internal circulations, façades and terraces.
1/2. Two rooms of the Children’s Pavilion restored with original colors and lamps.
3. General view of the Children’s Hospitalization Pavilion, nurses’ station in the background.
4. The internal hallway in the Children’s Pavilion
5/6. An office and an internal staircase of the hospital
7/8 Interview room for psychiatric patients
9/10. Interventions in hallways and exterior spaces of the building
11. View of a floor Terrace of the University Clinical Hospital.
12. The main access to the hospital corresponds to the original axis of the campus layout designed by Maestro Villanueva, which connects it through an underpass to all the buildings of the Faculty of Medicine.
UNIVERSITY CLINICAL HOSPITAL
One of the first buildings designed for CUC was the University Clinical Hospital, which between 1944 and 1945 was progressively defined by Master Carlos Raúl Villanueva in collaboration with the firm Pardo, Proctor, Freeman & Mueser Consultants, R. Ponton and Thomas E. Martín, Armando Vega and Hernán De Las Casas.
The hospital opened in 1955, with 1,250 inpatient beds (later expanded to 1,658 beds). The building has 14 floors and two mezzanines, 10 elevators and two freight elevators, 4 ramps, 6 operating rooms with overhead lighting and observation domes for physicians and students, a pharmacy on each floor, a centralized kitchen (serving 3,500 meals daily) and a laundry.
The group of buildings of the School of Medicine were designed by C.R. Villanueva between 1944 and 1945, being built simultaneously and completed in 1952.
The group of buildings of the School of Medicine is composed of the following:
a. Clinical Hospital
b. Anatomical Institute
c. Institute of Experimental Medicine
d. Institute of Anatomic Pathology
e. Institute of Tropical Medicine
h. School of Nurses / School of Basic Medicine Luis Razetti
i. National Institute of Hygiene
Later, the following buildings were designed and constructed: f. School of Pharmacy (1955-1957) and g. School of Dentistry (1956-1960).
Construction chronology of the Ciudad Universitaria de Caracas
Medical School buildings complex
Institute of Experimental Medicine
It is one of the seven research institutes under the Faculty of Medicine. It is mainly dedicated to basic scientific research, improvement of teaching, and promotion of health services.
Anatomical Institute
This is the second institute of the School of Medicine, which through research transfer and divulgate innovations in basic medical sciences, both at the clinical and experimental levels.
Completed in 1949, it opened three years later, allowing the transfer of medical students from the old and inadequate building built in 1911, located next to the Vargas Hospital.
Institute of Anatamopathology and Institute of Immunology.
The first of these two institutes included in 1949 in the initial program of the C.U.C., trains physicians in the field of morphological diagnostics: biopsies, autopsies, and cytology. The activities of the Institute of Immunology are focused on research, teaching, and clinical care services in the areas of Clinical Immunology and Basic Immunology.
Anatomical Institute
The Anatomical Institute’s main building during general repairs to restore its original state.
In this building, it was completed the restoration of the facade, eaves, and windows, the recovery of the glass block walls, metallic ironwork, painting, and waterproofing.
The auditorium and teaching laboratories restored
Institute of Experimental Medicine
The main building of this Institute, named after Dr. José Gregorio Hernández, is another of the restored buildings. At the end of the terrace, there is the artwork “Educación”, made in Cumarebo stone by the artist Francisco Narváez.
The original space of the Institute’s teaching laboratory has been restored recovering its structures by removing the ceiling, installing new lighting fixtures, painting the ceiling, walls, and windows, as well as equipping it with new furniture and optical equipment.
Works chronology of the Ciudad Universitaria de Caracas
School of Medicine buildings complex
These buildings of the School of Medicine were also designed by C.R. Villanueva between 1944 and 1945, being built simultaneously and completed in 1952.
National Institute of Hygiene.
This institute, created in 1938 and named after “Rafael Rangel”, is an independent entity of national reference for diagnosis, development of biotechnologies, research on endemic diseases, sanitary control of products for human use and consumption, production of experimental animals, as well as teacher training.
National School of Nurses
Designed between 1943 and 1953 and completed in 1955, the building consists of a 2-story classroom building, a 4-story residential building, and a 2-story service building, all three connected by vaulted corridors.
Institute of Tropical Medicine
This institute is the national reference center for research, extension and undergraduate and graduate teaching of tropical medicine, microbiology and parasitology of the School of Medicine.
Medical Institutes.
Considered by architectural critics as transitional buildings between the Escuela Gran Colombia (1939), the urbanization of El Silencio (1941), the Industrial Technical School – ETI (1946-1947), and his masterpiece of the central complex of the Rectorate, Plaza Cubierta, Aula Magna and Central Library (1952-1953), these buildings underline the ambivalent character of the architecture and the urban approach of this first stage, which is basically characterized by:
Considering this perspective, a possible re-reading of this first stage should start from the assumption that Carlos Raúl Villanueva (CARLOS RAUL VILLANUEVA) does not have a dissociated conception of architectural space and urban space. On the contrary, his conception fully coincides with what, years later, Bruno Zevi (1948-1976. p 28) will define as the double responsibility of every work of architecture: simultaneous creation of “the internal spaces, completely defined by each architectural work, and the external or urbanistic spaces, which are delimited by each of them and their contiguous ones”. This idea is confirmed by the first images of the campus ideation process, present in the overall plans of 1943 and 1944, where the buildings of the Clinical Hospital, the Institute of Experimental Medicine, and the Institute of Anatomy, which structure the urban spatial conception of the campus in neoclassical language, appear prefigured in plan with the same characteristics that would later be developed in the executive project, between 1945 and 1947, by the independent technical engineering firm of Pardo, Proctor, Feeman, Feeman & Mueser, Consulting Engineers, with the architectural advice and supervision of CARLOS RAUL VILLANUEVA. This is clear evidence that by 1943 the early prefiguration responds to the existence of a complete development of the architectural blueprint, simultaneous with the development of the urban plan for the campus.
This reinterpretation requires a radical change in the critical reasoning. Instead of considering this first stage as a process that begins with an academic urban conception, by using a modern language of architecture, it should be seen as part of a fully modern architectural research process, which, for circumstantial reasons, uses urban terms in academic language.
From this perspective, the six buildings of the first stage, including the special case of Hygiene, do not constitute a parenthesis within CARLOS RAUL VILLANUEVA’s architectural search but are part of its patient research, as a common thread and without a solution of continuity. This development has among its most significant previous links the fundamental experience in terms of education and modern architectural language of the Escuela Gran Colombia of 1939; the architectural and urban experience of El Silencio of 1941, from which he rescues the fully modern architectural language with which he makes explicit the environmental relationship of the internal courtyards and the houses. From 1946-1947 Villanueva experiences the synthesis of the Industrial Technical School in which, taking inspiration from the Escuela Gran Colombia, he articulates the functions of housing, services, administrative areas, laboratories, and natural environment, using open spaces and the covered corridor as an articulating element, and explores the technological possibilities of concrete and steel for the solution of the larger spaces, such as the dining room and the laboratories.
In this process of architectural reflection, the academic conception associated with the ideation process of the urban complex approach of the Ciudad Universitaria de Caracas, can be described as what Giulio Carlo Argán (1973. p17) calls an architecture of composition which will evolve into the fully modern conception of architecture of formal determination. The architectural synthesis that is already present in the ETI is nourished by the experience of the process of exploration of the structural possibilities and language of concrete, through the design of the covered walkways (1948), and of the University Stadiums (1949-1952). In addition, Villanueva’s parallel exploration of the dining area and social spaces of the School of Nurses building (1953) will result in the architectural and urban synthesis of the buildings of the central administrative and cultural area in 1952 and 1953.
In relation to this process of urban spatial composition and with the criticisms formulated about a relative lack of unity between the central complex, composed of the buildings of the Clinical Hospital and the institutes of Experimental Medicine and Anatomy, and the supposedly “free” institutes of Pathological Anatomy and Tropical Medicine, the architectural critics coincide in underlining the generically neoclassical roots of the first stage of the Ciudad Universitaria de Caracas, associated with the use of symmetry as a resource of organization and hierarchy of urban planning represented in the buildings of the Clinical Hospital and the institutes of Experimental Medicine and Anatomy. On the other hand, not much is said about the properly classical sense with which are conceived the four buildings of the medical institutes, including those of Pathological Anatomy and Tropical Medicine, as an integral part of the relations between unity and urban totality of this first stage of the 1942-43 plan. The ideation of these buildings responds to what Sigfried Giedion, (1971- 1975. p.3) defines as the final stage of the first conception of space, which culminates with Greek architecture where buildings stand as volumes of radial spaces, interacting through presence, where the colonnade of the Greek temple, generator of shadow, plays a determining role. The colonnade in the buildings of the Institute of Pathological Anatomy and Tropical Medicine can only be considered as part of this precise architectural and urban intention, which must be interpreted as an effort to recompose a totality conditioned by the disproportionate presence of the Clinical Hospital building, which Villanueva was unable to balance completely through the relationships with the institutes and, for this reason, he applies the disintegration of the presence of the Clinical Hospital assigned to Mateo Manaure (1954) through the use of color.
It should be pointed out, without suggesting that this is a literal and direct reference, that for Giedion this first conception of space already expresses a new way of life, the democratic way of life; a sense that coincides with the appreciation of the architecture of the Ciudad Universitaria de Caracas by Sibyl Moholy-Nagy (1964, p.35) as “…a means that will stimulate the student to improve himself, without rejecting the democratic spirit… to create an image of university life whose realization could only be fulfilled in the future“. In the case of the School of Medicine, this future is clearly associated with its conception as a faculty based on research institutes, responsible for theoretical-practical training, which is nourished by the development of scientific research; while practical-theoretical training takes place mainly at the Clinical Hospital.
It is not clear, from the above architectural considerations regarding the medical buildings, whether it is perceived that the essential content has been designed, far beyond professional training, to be one of the fundamental pieces in the construction of a full scientific development of the country, a basic condition of all modernity that, after 80 years, we are still far from achieving.
References:
Covered walkways
Carlos Raúl Villanueva connected the entire complex of buildings of the Ciudad Universitaria de Caracas with 2 km of covered walkways, built in reinforced concrete and pre-compressed concrete using the “Morandi System”. With the use of this type of concrete, it was possible to achieve slenderness in the roofs built, despite the 15 m distance between the supports.
On June 17, 2020, a tensor of a section of Walkway Number 5, in front of the School of Humanities and Education, failed due to corrosion and collapsed, fortunately without injury or casualties. One year later, in July 2021, the National Government created the Presidential Commission for the Recovery of the UCV, which focused as a first step to carry out diagnostic inspections of these structures, and then dismantle the collapsed section.
Consequently, once the structural study of all the existing Covered Walkways at the CUC was completed, some sections were shored up as a safety measure.
An international competition for the reconstruction of this walkway is currently being evaluated, in collaboration with UNESCO.
The Covered Walkways
The covered walkways, one of the outstanding features of the Ciudad Universitaria de Caracas, were designed by Carlos Raúl Villanueva in association with the company Precomprimido, C.A., integrated by engineers Juan Otaola and Oscar Benedetti. These were designed and built progressively in accordance with the progress of the construction of the complex buildings.
Between 1949 and 1953 were built: the walkway that connects the Dining Hall with the Store was built; in 1951 the walkway of the Faculty of Engineering; in 1952 the walkway that connects the Rectorate with the Museum; in 1953 the Access Shells to the CUC, the one that connects Experimental Medicine with the Rectorate Square, the one that covers from the access of Plaza Venezuela to the Institute of Tropical Medicine; in 1954 the walkway of the School of Humanities and finally in 1956 those of the School of Architecture.
Access Shells
This structure was designed for the two main entrances: Plaza Venezuela and Los Chaguaramos urbanization.
Pump Sheds And Power Transformers
This beautiful independent structure was designed to contain technical equipment in constant operation. This building is the juncture point between the covered walkway entering the university from the north, Plaza Venezuela, and the Medical School Complex buildings.
Swimming Pool – Gymnasiums
1. Access ramps to the swimming pool grandstands.
2. Entrance to the different facilities located on the first floor during their recovery.
3. Reconstruction of the two pools and the adjacent beach.
In the background, there is the chimney of the old Casona de la Hacienda Ibarra.
4. The Olympic Pool and the covered grandstand during restoration works.
5. The restoration works included: the recovery of the pool, the illumination, and a color test for the interior lining of the pool.
6. In the Pump room maintenance was performed on the technical equipment.
7. Gymnastics Room
8. Fencing Room
9. Judo Hall
10. Table Tennis Room
11. In the Tennis Courts, which are located next to the Pool-Gym complex and in front of the University Housing, the restoration works restored fences and illumination.
12. Olympic Stadium
It was designed between 1949-1951 and finished in 1952 to host the Bolivarian Games. The Stadium has a capacity of 50.000 spectators.
13. CUC-UCV Olympic Stadium. View of the covered grandstand.
Villanueva’s treatment of space, “the limit, which is neither interior nor exterior,” is once again evident in his design of the grandstand.
14. Baseball Stadium and the Olympic Stadium in the background.
15. Court of Honor and Olympic Stadium in the background.
Pool and Gymnasium Complex Building
Carlos Raúl Villanueva 1900 – 1975
Carlos Raúl Villanueva was born in London in 1900, the son of Carlos Antonio Villanueva, a Venezuelan civil engineer and diplomat, and Pauline Astoul, a French high society lady.
He graduated as an architect from the École Nationale Supérieure des Beaux-Arts in Paris in 1928 (revalidating his degree in 1936 at the Universidad Central de Venezuela). In 1937 he made complementary studies of urban planning at the University of Paris.
In 1929 he returns to Venezuela and settles in Caracas. He is hired by the Ministry of Public Works as an architect in charge of Buildings Director, where he works for 10 years, designing during that period the Plaza Bolívar, the Plaza de Toros, and the Hotel Jardín, in Maracay, Aragua State, and in Caracas, the Manicomio de Lídice, the Plaza Carabobo and the Museums of Fine Arts and Natural Sciences.
Museum of Fine Arts, Los Caobos, Caracas, was designed and built in 1935 and inaugurated in 1938.
Museum of Natural Sciences, Los Caobos, Caracas, was also designed in 1936 and inaugurated in 1939.
In 1942 the Banco Obrero BO (a Venezuelan institution created to plan, design, build and allocate housing for the working and middle classes) organized a competition for the redevelopment of El Silencio, a marginal neighborhood in the historic center of the capital, which was won by Carlos Raúl Villanueva. The remarkable residential complex of seven blocks, some of them of four levels, others of up to seven, with commercial space on the first floor, was built in 30 months during the presidency of Isaías Medina Angarita and inaugurated in 1945.
In 1943 the National Government, pressured by the need to provide the capital with a hospital, a medical school and a university in accordance with the population growth of the time, after considering various options, decided to buy the 220 hectares Hacienda Ibarra, located on the suburbs of the city, to build the University City of Caracas – CUC.
On January 2, the University City Institute is created for its construction. Carlos Raúl Villanueva begins to elaborate the General Plan for the CUC, which was designed and built between 1943 and 1972, a project exhibited in detail at the Venice Biennale 2023.
In 1945 Carlos Raúl Villanueva joined Banco Obrero (BO), advising or designing, together with young Venezuelan architects, the construction of multiple urban complexes and buildings in the main cities of the country. It is worth mentioning the Urbanización 23 de enero (formerly known as 2 de diciembre) was designed between 1955-1957 with the collaboration of architects Carlos Brando, José Manuel Mijares, and José Hoffman.
In 1967, together with the engineer Ricardo de Sola and the architect Arthur Erickson, the plastic artist Jesús Soto and the musician Antonio Estévez, he designed the Venezuelan Pavilion for Expo-67, Montreal, Canada.
In 1970 he designed his last work, the Jesús Soto Museum of Modern Art, located in Ciudad Bolívar, Bolívar state, which was completed two years later.
List of those who collaborated with Carlos Raúl Villanueva in the creation of the University City of Caracas.
In 1942, the Ministry of Public Works (MOP) commissioned the University City Study Commission, composed of architect Carlos Raul Villanueva and engineers Armando Vegas Sánchez and Guillermo Herrera Umerez, to prepare a study and a preliminary project for the C.U.C. (including the University Clinical Hospital).
This Commission was supported in its work on the university campus by Dr. Frank Mc Vey, President Emeritus of the University of Kentucky, USA, an educator with recognized experience in university plans in that country, and by Dr. Thomas R. Ponton, an American physician specialized in hospitals advised the commission and was hired for that purpose in 1943.
The structural and facilities project was carried out by the group Pardo, Proctor, Freeman & Mueser Consultants, together with engineers Armando Vegas, Hérman de las Casas, Edgar D. Martin, and Dr. Thomas. R. Ponton.
The Consultant Commission was enlarged with the participation of engineers Edgar Pardo Stolk, Carlton S. Proctor and William Henry Mueser.
The University Clinical Hospital was built between 1943 and 1956.
Villanueva designed all of the buildings that integrate the C.U.C. He only had collaborators in two of them: Gorka Dorronsoro in the building of the School of Sanitary Engineering and again Dorronsoro and Juan Pedro Posani in the School of Economics.
He had 36 engineers working with him, many of them were foreigners residing in the country, two consulting engineering firms, the aforementioned Pardo, Proctor, Freeman & Mueser Consultants, and Bolt, Beranek & Robert Newman, Inc. acoustics consultants.
A total of 43 draftsmen worked on producing the 3.600 original plans archived and preserved by the Council for Preservation and Development of the UCV- COPRED, already digitized.
25 avant-garde artists, ten of them Venezuelan, one Cuban, one North American and the rest European, participated in the world-renowned Synthesis of the Arts project, integrating their works into the architecture.
The following professionals collaborated with Carlos Raúl Villanueva in the realization of the University City of Caracas:
University Clinical Hospital
Preliminary project, Commission of Studies of the University City, 1942.
Architect Carlos Raul Villanueva, Engineer Armando Vegas Sanchez, Engineer Guillermo Herrera Umerez
Structural and facilities design: Pardo, Proctor, Freeman & Mueser Consultants.
Engineer Armando Vegas, Engineer Hérman de las Casas, Engineer Edgar D. Martin, Dr. Thomas. R. Ponton
Final project,
Architect Carlos Raúl Villanueva
Engineers, Eng. Edgar Pardo Stolk, Engineer Carlton S. Proctor, Engineer William Henry Muesar
Draftsmen, Mario Briceño, E. Palacios, Escobar
Participating artists. Mateo Manaure.
Institute of Experimental Medicine and Anatomical Institute.
Engineers Engineering Office Willy Ossott, Juan Hernández, J. Lira, R. Herrera, Pardo, Proctor, Freeman & Mueser Consultants.
Participating Artist. Francisco Narváez
Institute of Pathology and Institute of Immunology.
Engineers, Pardo, Proctor, Freeman & Mueser Consultants, Kaltenstadler
Draftsmen, Mario Briceño, Facci Lodi, J.P.T., Brkich, David León, G. Bermúdez, Yolanda Roz and F. de Llano.
School of Nurses / Luis Razetti School of Medicine
Engineers Pardo, Proctor, Freeman & Mueser Consultants. Dr. Ellemberg
Draftsmen F. de Llano, Rupérez, M.M. Claudet, Brkich, Walder, Brundri, Savino.
Participating artists. Braulio Salazar.
Institute of Tropical Medicine
Engineers J. Brgek, Bolt Beranek & Newman, Inc., C. Hiedra, J.A. Delgado.
Industrial Technical School
Engineers Willy Ossott Engineering Office.
Draftsmen G. Savino, G.A. Suárez, G. Bermúdez, Padrón, F. Barrios
Participating artists. Mateo Manaure.
Student and Teacher Residencies
Engineers J. Brgek
Draftsmen G. Bermúdez, L.V. Brkich, Belisario, E. Eskenazi, Gavino, F. de Llano, I.T. Mora, Juan Pedro Posani, A. Rodríguez
University Dining Room and Store
Engineers Kravchenko
Draftsmen G. Bermudez, L.V. Brkich, Belisario, E. Eskenazi, Gavino, F. de Llano, I.T. Mora, Juan Pedro Posani, A. Rodriguez
Participating artists. Mateo Manaure (Roof) and Francisco Narváez (Mural).
Botanical Institute
Engineers Bolt, Beranek & Newman Inc., B. Kasimirov, Miller. and C.L.P.
Participating artists. Wifredo Lam and Francisco Narváez
Botanical Garden
Engineer Brcek
Engineering Building Complex
Engineers Salomón Epelboim, Hiedra López, Kaltenstandler, J.A. Delgado
Participating artists. Alejandro Otero, Mateo Manaure
Olympic Stadium
Engineers L. Bello. Blas Lamberti, Alfredo Rodriguez Delfino, ChristianI &
Nielsen, C.L.P.
Draftsmen Bianchet, Puig, Franco Acaleo, Bríton, I. Walder, W. Suesskind, Mara, S. Shlajav, Rupérez
Participating artists. Carlos González Bogen, Mateo Manaure, Francisco Narváez, Armando Barrios.
Baseball Stadium
Engineers Stellingtani, Oscar Pardo and Karabanovich.
Draftsmen Bianchet, Puig, Franco Acaleo, Bríton, I. Walder, W. Suesskind, Mara, S. Shlajav, Rupérez.
Participating artists. Carlos González Bogen, Mateo Manaure, Francisco Narváez, Armando Barrios.
Swimming Pool and Olympic Gymnastics Complex
Engineers Salomón Epelboim, Hiedra López, R. Kaltenstandler, J.A. Delgado
Draftsmen Peña Jaimez, Escobar, Carlos Escalona, Víctor Marchena, López, Padrón, Jesús Díaz, F.A. Delgado, F.A. Delgado, J.A. Delgado.
Padrón, Jesús Díaz, F. Ramírez, M. Alvarado, Luis M.L., F. de Llano, Isabel
Teresa, A. Iglesias and B. Werner
Rectorate Building
Participating artists. Pedro León Castro, Héctor Poleo, and Oswaldo Vigas.
Plaza Cubierta
Participating artists Jean Arp, Henri Laurens, Baltasar Lobo, Fernand Léger,
Mateo Manaure, Pascual Navarro and Victor Vasarely.
Aula Magna
Construction, ChristianI & Nielsen.
Acoustics Consultant Bolt Beranek & Robert Newman, Inc.
Participating artists. Alexander Calder, Carlos González Bogen and Mateo Manaure.
Concert Hall
Acoustics Engineers Bolt Beranek & Robert Newman, Inc.
Participating artists. Mateo Manaure, Pascual Navarro, Victor Vasarely and Antoine Pevsner.
Central Library
Participating artists Carlos González Bogen, Fernand Léger, Pascual Navarro and Alirio Oramas.
Covered Hallways
Engineers R.L. Herrera, Ramos, Juan Otaola Pavan, Oscar Benedetti, Pietri, S. Sagarna, R. Kaltenstandler and Jakovlev.
Independent Structures
Engineers R. Kaltenstandler and Jakovlev
The School of Humanities and Education
Participating artists Jean Arp, Sophie Taueber-Arp and Víctor Valera
School of Architecture and Urban Planning
Engineers R. Kaltenstandler, A. Kravichenko and L. Arocha, Antonio J. Fuenmayor and C.
Rodríguez Uzcanga
Participating Artists Alejandro Otero, Miguel Arroyo, Alexander Calder, Gego, Mateo
Manaure, Francisco Narváez, Alirio Oramas, Jesús Soto y Víctor Valera
School of Dentistry
Engineers Salomón Epelboim, Hiedra López, R. Kaltenstandler, J.A. Delgado and Fernández Esté.
Participating artist Mateo Manaure,
School of Pharmacy
Engineers Salomón Epelboim, Hiedra López, R. Kaltenstandler, J.A. Delgado and Fernández Esté.
Participating artist Mateo Manaure,
School of Economics and Social Sciences
Architect Carlos Raúl Villanueva with collaboration of Gorka Dorronsoro and Juan Pedro Posani.
School of Sanitary Engineering
Architect Carlos Raúl Villanueva with collaboration of Gorka Dorronsoro
Indoor Gymnasium
Engineer Rodolfo Kaltenstadler
Technical Construction Constructora, C.A
Construction South American Construction Company, C.A. (CONSACA).
Participating artists in the Integration of the Arts project.
Jean Arp, Miguel Arroyo, Armando Barrios, André Bloc, Alexander Calder, Omar Carreño, Carlos González Bogen, Wifredo Lam, Henri Laurens, Fernand Léger, Pedro León Castro, Baltasar Lobo, Mateo Manaure, Francisco Narváez, Pascual Navarro, Alirio Oramas, Alejandro Otero, Antoine Pevsner, Héctor Poleo, Braulio Salazar, Jesús Soto, Sophie Taeuber-Arp, Víctor Valera, Víctor Vasarely and Oswaldo Vigas.