Ciudad Vieja. Loss, preservation, transformation. by Centro de Fotografía de Montevideo

c i u d a d

v i e j a

Loss, preservation, transformation

GELATIN SILVER PRINT COLLECTION

Aerial Photograph of Montevideo, 1926. (Aerofotos Limitada). Original on paper, scale 1:5000, owned by the Geomatics Service Archive, City Council of Montevideo. The centre-left area (between Independencia and Constituciรณn Squares) is missing, due to damage in the original.

This book of photographs the Centro de Fotografía de Montevideo–CdF (Montevideo Photography Centre) is presenting is a product of the exhibition of photographs titled Loss, Preservation, Transformation, exhibited by the CdF Ciudad Vieja Open-Air Photo Gallery in 2012, the third of its kind in the city. These exhibitions are part of the Programme for Revitalising the Ciudad Vieja, carried out jointly by the City Council and the Inter-American Development Bank with the support of the Special Fund of Japan. The Programme for Revitalising the Ciudad Vieja inaugurated a new stage in the process of protecting the cultural heritage of Montevideo’s historical centre. In 1982, when it was declared an Area of Reference —now, a Heritage Area— the Ciudad Vieja Special Permanent Committee was established. At the time, this was an innovative public and private administration venture.

The process gained momentum with the approval in 2004 of the Special Plan for the Ordinance, Protection and Improvement of the Ciudad Vieja. At present, the Plan needs to be updated, with actions to further restore and renovate the area. By using the Plan’s designated pedestrian areas, the CdF Ciudad Vieja Open-Air Photo Gallery introduced a new way for people to appropriate and enjoy public areas. This book seeks to publicise the City Council’s extraordinary photographic archive so that Uruguayans may reflect on the value of their cultural heritage. Programa de Revitalización de Ciudad Vieja (Programme for Revitalising the Ciudad Vieja)

Loss, Preservation, Transformation Nostalgia (which implies sorrow and grief caused by absence), is not what this book promotes. Rather, this compilation of old photographs from the CdF archive is an invitation to memory and reflection. Colombian Alberto Saldarriaga states that “every generation contributes and eliminates something. That which survives, together with the new contributions, is passed on to younger generations”, hence the responsibility implicit when it comes to protecting our tangible and intangible heritage, which, importantly, define and confer identity. But an even greater responsibility lies in bringing about the transformations needed to adapt what we have inherited to present-day needs. Possibly the Ciudad Vieja’s singular character is found in its physical structure (geographic, urban and architectural) and its fabric of human beings, who together add up, as in the Elarqa magazine headline years ago, the sum of their times. And this is precisely its greatest attraction: it is not a museum-city, but a living organism where one can walk around, experiencing all of its history first-hand. It is true that there are buildings and whole sections of the Ciudad Vieja which have disappeared. A distant though emblematic example of this was the demolition of the Spera shop built between the Cathedral’s buttresses on Sarandí Street, its removal —as that of other buildings— not replaced by anything which enriched life in the city in any way. Reflecting on how ideas change, we might well remember that this so-called act of “freeing” the Cathedral was driven by (or had the consent of) the heritage protectors of the day.

However, in this process involving painful losses some cases of valuable contributions did take place, as happened after the “Bajo”, or red-light district, was demolished. Although in many adjacent areas of this old neighbourhood the wound which Ramón Collazo and Victor Soliño sang about has not yet healed, we should take into account that its demolition permitted the construction of the Rambla Sur. To mention the Rambla Sur when referring to heritage matters is especially pertinent. When it was first built, the Rambla Sur represented modernity, and the avant-garde; today the whole area has its own character, its emblematic and landscape value, quality design and construction, so that everyone can claim ownership, allowing, as it does, Montevideans to carry out a variety of activities. So the Rambla Sur has come to be a national heritage site for the people in Montevideo. On the other hand, during the process of heritage preservation carried out in the Ciudad Vieja over the last few years, numerous cases of refurbishment and even recovery of valuables have been carried out. Proven by images of Constitución Square, the Solís Theatre, the old Pablo Ferrando and Jaureguiberry buildings, the Colón and Pyramides Hotels, as well as so many more making up the anonymous fabric of the Ciudad Vieja, they reflect the effort and dedication of the Montevideo commune on behalf of the preservation of its heritage. Finally, preserving heritage does not mean not touching anything; it means knowing what to do so that our essential memories may endure, to identify with what we inherit, and so, embrace the future. Ernesto Spósito (Architect) Director (i) Unidad de Protección del Patrimonio (Heritage Protection Unit) Montevideo City Council

Historic Series Group (FMH) The photographs published in this book belong to the Historic Series Group (FMH) of the Centro de fotografía de Montevideo. The FMH series group was formed following work carried out by the first municipal photographers, Isidoro Damonte and Carlos Ángel Carmona, who were hired in the mid-1910s by the Municipal Celebrations Committee; after 1919, they were joined by a team from the Information and Propaganda Office, now the Information and Communications Division of the Montevideo City Council. This group of photographs, incremented by those taken by the photographers who succeeded Damonte and Carmona, was further augmented by collections donated or purchased by the municipal government throughout the 20th century. The approximate total is of 30,000 monochrome negatives and positives, on glass plates, plastic or paper in a variety of formats, dating from 1860 to 1990. Most of the photographs document building and urban transformation in Montevideo, depicting emblematic buildings, squares, parks, transport, and leisure spaces. They also show historically rooted traditions and customs among Uruguayans, such as a variety of carnival celebrations, and the beaches; and also political affairs in the 19th and 20th centuries (presidential inauguration ceremonies and other public celebrations, distinguished visitors, funerals of public figures, and partypolitics matters such as marches and street propaganda). As well, among the eight series making up this historical series group, there are maps, aerial photographs, portraits and reproductions of paintings and iconography. Montevideo’s Ciudad Vieja is especially well-represented. As the political, economic and cultural centre for a long time, it has been photographed profusely since the second half of the 19th century. The photographs comprising the FMH series group are preserved through a chain procedure involving material control

(cleaning, re-enveloping, safekeeping at controlled and monitored temperature and appropriate humidity conditions); intellectual control (analysing and documenting image content; digitalising and accessing). The aim of these actions is to preserve the originals and to allow access both to the digitalised images and to the data for contextualizing productions. Many of the photographs have been exhibited, appeared in books, as audiovisuals, post-cards, and posters, and are sought by Uruguayans for reasons of identity and affection, as well as by foreign visitors who purchase them as souvenirs. As well as the FMH series group, notable for the quantity and content of the collection, the CdF preserves an ever-growing archive, currently composed of approximately 150,000 photographs from the 19th, 20th and 21st centuries, organized in documentary collections according to the photograph’s origin. Among these the Group of Contemporary Series (FMC) is made up of photographs taken by CdF photographers for specific projects and coverage documenting aspects of the city, such as transport, everyday life in neighbourhoods, changes in buildings and main cultural activities, the aim being to form an archive of photographs of Montevideo for future generations. This collection seeks to foster among its users, reflection, critical thinking and citizen identity within an immediate iconosphere. This means, on the one hand, circulating images connected with Uruguayan and Latin-American history, heritage, and identity, so that Uruguayans and other LatinAmericans can communicate freely with one another, and also feel interrogated as social subjects, in the understanding that, although their daily lives may be marked by the massive circulation of images, very few will have any connection with the aspects referred to. As well, this allows simpler access, both for Uruguayan and Latin-American photographers as well as for citizens in general, to the technical and conceptual tools which will allow them to develop their personal, individual, visual discourses and languages.

Arrival in Montevideo of H.R.H. Edward, Prince of Wales. Port of Montevideo. Year: 1925. (Photograph: 03959FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

The Uruguayan Olympic Football Champion Team is welcomed on their arrival from Paris. Port of Montevideo. 18th July 1924. (Photograph: 03656FMHGE.CDF.IMO.UY - Author: N.i. IMO). Re-framed

Aerial view of the bay of Montevideo. Centre: Port and Ciudad Vieja. Print reproduction. November 12th 1945. (Photograph: 0339FMHE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Constitución Square and the Colonial Town Council (Cabildo). On the right: Sarandí Street. Year: 1867. (Photograph: 0036FMHB.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Constitución Square and the Cathedral. Foreground: intersection of Sarandí and Juan Carlos Gómez Streets. Year: 1910 (approx.). (Photograph: 1295FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Constitución Square. Foreground: intersection of Sarandí and Juan Carlos Gómez Streets. Year: 1895. (Photograph: 0474FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Constitución Square. Foreground: Rincón Street. Background: Colonial Town Council (Cabildo), Grand Hotel Lanata and Club Uruguay. Year: 1910 (approx.). (Photograph: 13330FMHGE.CDF.IMO.UY – Donated by Dardo Quintana - Author: N.i.).

Constituciรณn Square. Background, left: Gutenmajer, Tailor. Right: Colonial Town Council. (Photograph: 02067FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Colonial Town Council, Grand Hotel Lanata, Club Uruguay and Corralejo Shop. Foreground: Constitución Square and Sarandí Street. Background: 18 de Julio Avenue. Year: 1916. (Photograph: 01128FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Hotel Pyramides. Intersection of Ituzaingó and Sarandí Streets. Year: 1927. (Photograph: 0461FMHA.CDF.IMO.UY - Author: N.i. /IMO).

Cathedral. Foreground: Club Uruguay, Sarandí Street and Constitución Square. Year: 1948 (approx.). (Photograph: 08335FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

South Coast. Background: Naval Academy and a chimney on GuaranÃ Street. Year: 1920 (approx.). (Photograph: 0193FMHB.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Patagones Street during the construction of the sewerage system. Background: The Hotel Nacional. Year: 1900. (approx.). (Photograph: 13268FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Rambla Sur undergoing construction. Left: GuaranÃ Street sewer chimney. Years: 1923-1935. (Photograph: 18638FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Sewerage system construction on Valles Street. 1920s. (Photograph: 18625FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

South Coast during the construction of the Rambla Sur, at the intersection of Rambla Francia and Treinta y Tres Street. Background: Palacio Salvo and the Rex Building dome. Years: 1928-1935 (approx.). (Photograph: 18609FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

South Coast. Right: Entrance to the Aurquía Baths, and the intersection of Maldonado and Juan Carlos Gómez Streets. Background: South Bulwark and the Anglican Church. Year: 1918 (approx.). (Photograph: 0745FMHB.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Citadel Gateway and Sarandí Street. Entrance to the Old Market (currently, the location of Independencia Square). Print reproduction. Year: 1874. (Photograph: 0928FMHB.CDF.IMO.UY – Author: photographers Chute and Brooks).

Independencia Square. Centre: entrance leading onto SarandĂ Street. March 1923. (Photograph: 03399FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Sarandí Street. Foreground: Colón Store and Colonial Town Council. Background: the Cathedral. Year: 1931. (Photograph: 05441FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Corner of SarandÃ and Juncal Streets. Year: 1930. (Photograph: 05436FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Sarandí Street. Centre: intersection of Juan Carlos Gómez Street. Background, right: Montevideo Cathedral tower. (Photograph: 03401FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Sarandí Street. Background: Independencia Square and monument in honour of José Gervasio Artigas. (Photograph: 03402FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Rincón Street. Background: Bartolomé Mitre Street intersection. Year: 1922. (Photograph: 03157FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Ciudadela Gateway. Foreground: SarandÃ Street. Year: 1962. (Photograph: 010128FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Ciudad Vieja. Centre: Buenos Aires Street. December 7th, 1932. (Photograph: 05844FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Brecha and Reconquista Streets. Background: the “Bajo”, red-light district. 1910s. (Photograph: 0251FMHB.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Yerbal and BartolomĂŠ Mitre Streets. Year: 1920 (approx.). (Photograph: 0728FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Misiones and Recinto Streets, during the demolition process of the “Bajo” before the construction of the Rambla Sur. Year: 1929. (Photograph: 0739FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Intersection of Ituzaingรณ and Brecha Streets. Background, right: Anglican Church. Year: 1920 (approx.). (Photograph: 0744FMHB.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Prow formed by Reconquista Street (left) and Recinto Street (right). Year: 1920 (approx.). (Photograph: 0105FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Yerbal and Ciudadela Streets. Right: back view of the Central Market. Year: 1920 (approx.). (Photograph: 0272FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Central Market. Reconquista Street. 1910s. (Photograph: 0552FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Ciudadela Street. Left: Central Market faรงade. Background: Liniers and Soriano Streets. Year: 1920 (approx.). (Photograph: 0278FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Central Market: Juncal Street. Year: 1930 (approx.). (Photograph: 01012FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Aerial view of the Rambla Sur, at the Francia and Gran Bretaña Ramblas. Centre: South Bulwark and Anglican Church. Background: Sarandí breakwater and Ciudad Vieja. 1940s (approx.). (Photograph: 0313FMHE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Zabala Square. Right: San Felipe Theatre. Print reproduction. Year: 1890 (approx.). (Photograph: 0308FMHB.CDF.IMO.UY - Author: English Photograph). Re-framed

Zabala Square. Intersection of Circunvalación Durango and Solís Streets. Year: 1893. (Photograph: 0479FMHB.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Corner of Circunvalaciรณn Durango and Alzรกibar Streets. Year: 1929 (approx.). (Photograph: 0117FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Zabala Square and SolÃs Street. Background: San Felipe Theatre. Year: 1900s (approx.). (Photograph: 0863FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Taranco Palace. 25 de Mayo and 1ยบ de Mayo Streets. Year: 1920. (Photograph: 0057FMHA.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Intersection of Zabala and Cerrito Streets. Centre: Stock Exchange Building. Print reproduction. Year: 1885 (approx.). (Photograph: 0878FMHB.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

Stock Exchange Building. Zabala Street. Print reproduction. Year: 1900 (approx.). (Photograph: 03403FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Stock Exchange Building and Mautone Palace. Intersection of Zabala and Piedras Streets. Year: 1920 (approx.). (Photograph: 0120FMHA.CDF.IMO.UY - Author: N.i. /IMO).

Mautone Palace. Zabala and Piedras Streets. Year: 1919. (Photograph: 0022FMHA.CDF.IMO.UY - Author: N.i. /IMO).

Laying of the foundation stone of the República Oriental del Uruguay Bank main building on the block circled by Piedras, Zabala, Cerrito and Solís Streets. Year: 1926 (approx.). (Photograph: 14610FMHGE.CDF.IMO.UY – Donated by Andrés Barreira - Author: N.i.). Re-framed

Zabala Street, between 25 de Mayo and Cerrito Streets. Left: RepÃºblica Oriental del Uruguay Bank. 1940s. (Photograph: 05868FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Reencuadre

Manuel Herrera y Obes Square. Intersection of Treinta y Tres and Piedras Streets. Year: 1920 (approx.). (Photograph: 0263FMHB.CDF.IMO.UY - Author: N.i. /IMO).

25 de Agosto Street, at the intersection with Treinta y Tres Street. Left: Manuel Herrera y Obes Square. Year: 1920 (approx.). (Photograph: 0252FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Treinta y Tres and Piedras Streets. Year: 1923. (Photograph: 0267FMHB.CDF.IMO.UY - Author: N.i. /IMO).

25 de Agosto Street, on the corner of Ituzaingรณ Street. Year: 1920 (approx.). (Photograph: 0262FMHB.CDF.IMO.UY - Author: N.i. /IMO).

SolĂs Theatre. Buenos Aires Street. Print reproduction. Year: 1860 (approx.). (Photograph: 0834FMHB.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

SolĂs Theatre. Buenos Aires and Juncal Streets. Year: 1916. (Photograp: 01104FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

English Bank Building. Intersection of 25 de Mayo and Zabala Streets. Year: 1918 (approx.). (Photograph: 01951FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Popular Bank Building. Intersection of 25 de Mayo and Zabala Streets. Year: 1919 (approx.). (Photograph: 0019FMHA.CDF.IMO.UY - Author: N.i. /IMO).

Juan Antonio Lavallejaâ&#x20AC;&#x2122;s House. Zabala Street, between 25 de Mayo and Cerrito Streets. Year: 1920 (approx.). (Photograph: 0148FMHB.CDF.IMO.UY - Author: N.i. /IMO).

Mortgage Bank of Uruguay Building. (Banco Hipotecario del Uruguay). 1435 Misiones St. Print Reproduction. Year: 1918. (Photograph: 01953FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Casa Spera, Tailors. SarandĂ Street. Year: 1919 (approx.). (Photograph: 0027FMHA.CDF.IMO.UY - Author: N.i. /IMO).

Navigazione Generale Italiana. Company Branch building. Intersection of Sarandí and Misiones Streets. Years: 1920-1930. (Photograph: 14612FMHGE.CDF.IMO.UY – Donated by Andrés Barreira - Author: N.i.).

Bacacay Street. Foreground: Buenos Aires Street. Background: Pablo Ferrando Building. Year: 1918. (Photograph: 01982FMHGE.CDF.IMO.UY - Author: N.i. /IMO).

Policía Vieja Lane. Foreground: Bartolomé Mitre Street. Right: Doré Cinema. Years: 1920-1930. (Photograph: 0084FMHB.CDF.IMO.UY - Author: N.i. /IMO).

La Alhambra Hotel. Intersection of Sarandí and Bartolomé Mitre Streets. Year: 1920. (Photograph: 0116FMHA.CDF.IMO.UY - Author: N.i. /IMO).

100

Grand Hotel Lanata. Intersection of Sarandí and Juan Carlos Gómez Streets. Year: 1919. (Photograph: 0013FMHA.CDF.IMO.UY - Author: N.i. /IMO).

101

Gandós Palace. Intersection of Rincón and Bartolomé Mitre Streets. 1960. (Photograph: 1378FMHB.CDF.IMO.UY - Author: N.i. /IMO).

102

Italcable Building. Intersection of 25 de Mayo and Zabala Streets. 1920s. (Photograph: 01414FMHGE.CDF.IMO.UY â&#x20AC;&#x201C; Donated by Andres Barreira - Author: N.i.).

103

Maciel Hospital. Left: Caridad Chapel. Maciel and 25 de Mayo Streets. Year: 1920. (Photograph: 0122FMHA.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

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105

Maciel Hospital. 25 de Mayo Street, between Francisco Maciel and GuaranĂ Streets. Print reproduction. Year: 1900 (approx.). (Photograph: 03407FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

106

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Montevideo Customs Building. Rambla 25 de Agosto. Year: 1933. (Photograph: 05962FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

109

Piedras Street. Foreground: PÃ©rez Castellano Street. Right: Port Market. Year: 1920 (approx.). (Photograph: 0276FMHB.CDF.IMO.UY - Author: N.i. /IMO).

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YacarÃ© Street. Foreground: 25 de Agosto Street. Year: 1920 (approx.). (Photograph: 0268FMHB.CDF.IMO.UY - Author: N.i. /IMO).

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112

Ciudad Vieja Neighbourhood. Centre: San Francisco Church. Left: RepĂşblica Oriental del Uruguay Bank Main Building under construction. Year: 1937 (approx.). (Photograph: 06055FMHGE.CDF.IMO.UY - Author: N.i. /IMO). Reencuadre

113

N.i Piedras Street. Year: 1925. (Photograph: 0917FPMC.CDF.IMO.UY – Donated by Eduardo Montemuiño - Author: N.i.).

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Aerial view of the Ciudad Vieja. Year: 1930. (Photograph: 0108FMHE.CDF.IMO.UY - Author: N.i. /IMO). Re-framed

117

Additional Information This section shows the photographs in small-scale format accompanied by additional information, expanding that given in their corresponding captions. This further information refers to the dates of construction of the buildings; the uses they were put to over time; the architects involved; refurbishing; as well as a more detailed description of the photographs themselves. The information was collated by Ernesto Spรณsito, author of this section.

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(p. 10) Arrival of H.R.H. Edward, Prince of Wales at the port of Montevideo. In the background and centre are the steeple of the Church of San Francisco and in front of it, the Santos Warehouse (currently Ministry of Tourism and Sport main office building). On the left, the towers and dome of the Cathedral and on the right, the mansard roof of the Jaureguiberry Building and the Port Market. Year: 1925.

(p. 20) Constitución Square from Rincón Street. In the background, from left to right, the Cabildo (Colonial Town Council), the Grand Hotel Lanata (later La Alhambra Hotel) before it was extended and the mansard roof added in 1913, and the Club Uruguay. Year: 1910 (approx.).

(p. 12) The ship Valdivia (centre, decked with flags) enters the Port of Montevideo with the Uruguayan football delegation on board, returning home after winning the gold medal at the Colombes Stadium of the Paris Olympic Games. Dozens of ships and a bi-plane escort the ship. A crowd awaits at the dock. Year: 1924.

(p. 21) Constitución Square viewed from Ituzaingó Street, looking towards Juan Carlos Gómez Street. The Cabildo (Colonial Town Council) and two buildings are still standing with no major alterations whereas the building on the far left was replaced in 1931. Year: 1918.

(p. 14) General view of the Ciudad Vieja and the entrance of the bay taken from the Cerro de Montevideo. In the foreground, the port docks and Customs Building, built early in the 20th century and in the 1920s respectively. On the left of the Customs Building and towards the background rises the Salvo Palace tower, and, further back, the City Council Building. Years: 1930-1940.

(p. 22) Sarandí Street, Constitución Square, the Cabildo (Colonial Town Council), the Grand Hotel Lanata (later La Alhambra Hotel), the Club Uruguay and Corralejo shop (later refurbished as the main offices of the Mortgage Bank), seen from atop the Cathedral. In the background, 18 de Julio Avenue. Year: 1916.

(p. 16) Constitución Square and the Colonial Town Council (Cabildo), taken from the intersection of Ituzaingó and Rincón Streets. The fountain in the middle of the square had not yet been installed (it would shortly be installed) and the Cabildo façade is missing the triangular pediment over the entrance which was added between 1867 and 1869. All the 18th and early-to-mid-19th century buildings along Sarandí Street were replaced over the next few years by the Club Uruguay, the Grand Hotel Lanata and the Colón Store. Year: 1867.

(p. 23) The old Hotel Pyramides located on the southwest corner of Ituzaingó and Sarandí Streets, seen from Constitución Square. Year: 1927.

(p. 18) Constitución Square from the intersection of Sarandí and Juan Carlos Gómez Streets. On the left, the Cathedral following alterations made by architect Bernardo Poncini in 1859, and modified again by architect Rafael Ruano between 1941 and 1949. Background, right, is the 1908 building designed by architect J. Vázquez Varela, which today has been further altered by eliminating the mansard roof and dome. Year: 1910 (approx.).

(p. 24) Southwest section of Constitución Square, where Sarandí and Ituzaingó Streets intersect. In the foreground, the Cathedral as it stands today, after architect Rafael Ruano introduced changes in the 1940s. On the left, in the first place is the Club Uruguay, then the Mortgage Bank’s second headquarters (today, ATIR), for which the old Corralejo shop refurbishment was carried out by architect Juan Aubriot around 1936. Year: 1948 (approx.).

(p. 19) Constitución Square from the intersection of Sarandí and Juan Carlos Gómez Streets. On the left, the north side of the Cathedral can be seen as it was then, showing architect Bernardo Poncini’s 1859 alterations. Two buildings still standing along Ituzaingó Street follow. Year: 1895.

(p. 26) West end of the Ciudad Vieja, before the Rambla was built. On the far left is the façade of the Naval Academy (today, Dr. José Scosería Health School), on the intersection of Juan Lindolfo Cuestas and Buenos Aires Streets. Centre-right is the chimney, still standing today on the Rambla Sur and Guaraní Street. Year: 1920 (approx.).

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(p. 28) View of the sewerage system construction works on Patagones Street (today, Juan Lindolfo Cuestas) from the point where it intersects Sarandí Street towards the north. In the background the building of the College of Mathematics, built in 1890 for the National Hotel (although the National Public Works Company went bankrupt before it could be inaugurated); later it housed the Colleges of Architecture, Engineering and, later still, Humanities and Science. When the photograph was taken the building still had its mansard roof, removed in 1912. Year: 1900 (approx.).

(p. 38) Independencia Square taken from its north side looking towards the west. All the buildings along Juncal Street show the roofed colonnades ordained for the square by Carlo Zucchi. Year: 1923.

(p. 30) Rambla Sur under construction, showing the demolition of all buildings south of Reconquista Street which made up the “Bajo” district. In the background the sewerage system chimney standing straight down from Guaraní Street. Year: 1923-1935 (approx.).

(p. 40) Sarandí Street between Juan Carlos Gómez and Bartolomé Mitre Streets, taken looking west. From left to right, the Colón Store ground floor (demolished in the 60s); the bow-window on the chamfered corner of the Grand Hotel Lanata (later, La Alhambra Hotel); one of the Cathedral belltowers and central dome; and, lastly, part of the Colonial own Hall (Cabildo) façade. Year: 1931.

(p. 31) Sewerage system undergoing repair work on Valles Street looking eastwards. This street was two blocks long running from Ciudadela Street to Andes Street, immediately parallel to Isla de Flores Street towards the south. All the area was demolished for the construction of the Rambla Sur; a fairly large sector of the street is now the República Argentina Square. 1920s.

(p. 41) Sarandí and Juncal Streets, viewed from Independencia Square. In the background the La Alhambra Hotel (later, Hotel Artigas) where it was first located on the intersection of Sarandí and Bartolomé Mitre Streets. The Gateway to the Citadel was not yet occupying its present place: when the Old Market was demolished it was dismantled and taken to the Arts and Crafts School in 1879. Year: 1930.

(p. 32) Photograph taken from the South Bulwark during the construction of the Rambla Sur. The old “Bajo” buildings in the foreground were demolished to build the Rambla. In the background, to the left, is the Salvo Palace and in the centre the Rex Building dome. Year: 1928-1935 (approx.).

(p. 42) Sarandí Street looking west taken from the La Alhambra Hotel (today Plaza Fuerte Hotel), located on the intersection of Bartolomé Mitre Street. From left to right, the mansard roof and dome of the Colón Store (demolished in 1960), the mansard roof and two towers of the old Grand Hotel Lanata (later, the La Alhambra Hotel), the glazed dome of the Casa Corralejo shop (refurbished in 1960 for the Mortgage Bank), one of the Cathedral bell-towers, and finally, the singular wrought-iron top of the now-vanished building of the Bruzzone Opticians building. Year: 1923.

(p. 34) Now long-gone section of Maldonado Street at its intersection with Juan Carlos Gómez Street. Centre left, jutting out into the water is the South Bulwark with the Anglican Church which was originally located on it. Demolished together with the “Bajo”, the Anglican Church was re-built facing the water, where it still stands. In the background is the chimney on the Rambla Sur and Guaraní Street. All of this sector was demolished towards the end of the 1920s for the construction of the Rambla Sur. Year: 1918 (approx.).

(p. 44) Sarandí Street, Independencia Square, and 18 de Julio Avenue looking east from the La Alhambra Hotel balcony (today Hotel Plaza Fuerte) on the corner of Bartolomé Mitre. Today in the same area there remain the José Martinelli building, designed by engineer José Foglia in 1905 (the mansard roof was removed); the Pablo Ferrando Opticians building; and the old Nueva Sirena shop, on the southeast corner, from whose façade the ornamental elements were removed. The Citadel Gateway is missing, dismantled and lodged in the Arts and Crafts School from 1879 to 1969. Year: 1923.

(p. 37) Gateway to the Citadel viewed from Sarandí Street. At the time the photograph was taken it was located in the old Citadel fortification known as the “Old Market”. In the background the old Citadel chapel and 18 de Julio Avenue. Year: 1874.

(p. 45) Rincón Street between Juan Carlos Gómez and Bartolomé Mitre Streets looking eastwards. Most of the buildings along this block are still standing, except for the lowest building in the centre, replaced in the 1950s. Year: 1922.

(p. 46) Citadel Gateway (rebuilt in its original position in 1959) viewed from Sarandí and Bacacay Streets looking eastwards. In the background, Independencia Square and the Ciudadela Building. Year: 1962.

(p. 56) The prow formed by Reconquista (left) and Recinto (right) Streets, now vanished. All the buildings centre and right were demolished to allow for the construction of the Rambla Sur. In the background, left, at the intersection of Pérez Castellano Street, is the building with a bow-window on the chamfer, still standing today. Year: 1920 (approx.).

(p. 48) Bird’s-eye view of the Ciudad Vieja taken from the Salvo Palace tower. Centre, Buenos Aires Street, with the Post Office tower. Opposite Independencia Square, visible on the corner of Juncal and Buenos Aires Streets, are the Tupí Nambá coffee shop tables. Year: 1932.

(p. 58) The length of Yerbal Street taken from Ciudadela Street. On the right, the back view of the old Central Market and at the end of the street, the high building of the Second Section Police Station. The street itself, then parallel to Reconquista Street, disappeared together with the whole district when it was demolished to allow for the construction of the Rambla Sur. Year: 1920 (approx.).

(p. 50) The old “Bajo” or red-light district, taken from Brecha Street where it meets Reconquista and Ituzaingó Streets. All the buildings were demolished towards the end of the 1920s to give way to the Rambla Sur, except for the building on the far right, the Pérsico Palace. 1910s.

(p. 59) Main façade of the old Central Market on Reconquista Street, demolished around 1968. Viewed from the corner of Juncal Street, the Solís Theatre is just visible on the right. Years: 1910-1920.

(p. 52) Intersection of Yerbal and Bartolomé Mitre Streets, looking west. In the background, the high building is the Second Section Police Station. This was the centre of the “Bajo”, the district demolished towards the end of the 1920s to allow for the construction of the Rambla Sur. Year: 1920 (approx.).

(p. 60) Ciudadela Street at the point where it met Liniers (left) and Soriano (right) Streets. On the left, the façade of the old Central Market, and in the background, right, the lateral façade of the Estévez Palace. All the buildings in the centre were demolished from 1944, and especially in the 1960s, to make way for the Palace of Justice, today the Executive Tower. Year: 1920 (approx.).

(p. 53) Intersection of Misiones and Recinto Streets. The photograph was taken from the southernmost end, during the “Bajo” demolition process to allow for the construction of the Rambla Sur. From Reconquista Street (the second intersection) towards the south all the buildings were demolished with the exception of the block owned by the Sisters of Charity (located between Misiones and Zabala). In the background is the Post Office tower. Year: 1929.

(p. 61) The Central Market, Juncal Street façade. This entrance faced Soriano Street. The Central Market was inaugurated on April 11th, 1869 and demolished in 1959. Year: 1930 (approx.).

(p. 54) Intersection of Ituzaingó and Brecha Streets. In the background the Anglican Church where it was first built, on the South Bulwark. The district was demolished to allow for the construction of the Rambla Sur; an exact copy of the original Anglican Church was rebuilt opposite. Year: 1920 (approx.).

(p. 62) General view of the Rambla Sur on completion, looking west from Ciudadela Street. Although most of the “Bajo” had been demolished, when the photograph was taken several buildings south of Reconquista Street were still standing, soon to disappear. The Anglican Church already stood in its present location, facing its original location on the South Bulwark. In the foreground, from left to right, the roofs of Chile School; 1166 Ciudadela St. construction site; and, lastly, the back view of the old Central Market. 1940s (approx.).

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(p. 64) Zabala Square from its southeast corner. On the other side of the square is the old Nuevo Teatro San Felipe building, built in 1879 on the site of the old Comedias Theatre and demolished in 1907 together with the rest of the buildings on the block, to allow for the construction of the Taranco Palace. In the background, left, the San Francisco Church steeple is visible. Year: 1890 (approx.).

(p. 66) Zabala Square from Circunvalación Durango and Solís Streets looking south. The old Governor’s House (known as “El Fuerte”) was demolished following an 1878 decree, and the area was assigned for public recreation. In 1890 the present Square designed by Edouard André was inaugurated. Year: 1893.

(p. 68) Building on the southeast corner of Circunvalación Durango and Alzáibar Streets demolished in the 1940s. The building on the far left was demolished around 1980. Year: 1929 (approx.).

(p. 69) Zabala Square. In the background, the roofs of the old Nuevo Teatro San Felipe building (built in 1879 on the site of the old Comedias Theatre) and demolished in 1907 together with the rest of the buildings on the block, to allow for the construction of the Taranco Palace. 1900s (approx.).

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(p. 74) Old Stock Market building, designed by architect Víctor Rabú, inaugurated in 1867, on the southeast corner of Zabala and Piedras Streets. For its construction, the old San Francisco Chapel and Convent were demolished, and, later, this building was also demolished along with the rest of the buildings on the block to allow for the construction of the main building of the República Oriental del Uruguay Bank. Year: 1900 (approx.).

(p. 75) In the foreground, the old Stock Market building, designed by architect Víctor Rabú, inaugurated in 1867, on the southeast corner of Zabala and Piedras Streets. For its construction, the old San Francisco Chapel and Convent were demolished, and, later, this building was also demolished along with the rest of the buildings on the block to allow for the construction of the main building of the República Oriental del Uruguay Bank. In the background along Zabala Street (between Piedras and 25 de Agosto Streets), is the Pensions Institute (later, the National Meat-packers building), demolished towards the end of the 1970s. In the centre is the old Customs building, the only building still standing today. Year: 1920 (approx.).

(p. 77) Main building of the Pensions Institute (later, the National Meat-packers building) located on the northeast intersection of Piedras and Zabala Streets. It was demolished towards the end of the 1970s in order to allow for a more open view of the República Oriental del Uruguay Bank. It was used as an open-air car-park. In 2009 the República Oriental del Uruguay Bank issued an international call for tenders to design a new building and refurbish the old Customs and dockyards. The studio of architects A. Baptista Vedia, A. Baptista Acerenza and H. Flora won the bid. Year: 1919 (approx.).

(p. 70) Taranco Palace main entrance on the corner of 25 de Mayo and 1º de Mayo Streets. Built in 1910 by Félix Ortiz de Taranco, it was designed by French architects Charles Girault and H. Chifflot. It replaced all the old buildings on the block including the Nuevo Teatro San Felipe building built in 1879 on the site of the old Comedias Theatre. Year: 1920 (approx.).

(p. 78) Laying of the foundation stone of the República Oriental del Uruguay Bank main building, designed by architects Juan Veltroni and Raúl Lerena Acevedo. In the background, the intersection of Cerrito and Zabala Streets and the buildings of today’s National Housing Agency, previously the Commercial Bank. Year 1926 (approx.).

(p. 72) Zabala and Cerrito Streets intersection. In the background, the old Stock Market building, demolished in 1925 along with the rest of the block to allow for the construction of the main building of the República Oriental del Uruguay Bank. Year: 1885 (approx.).

(p. 80) Intersection of Zabala and Cerrito Streets looking north. On the left the present-day National Housing Agency building, and the República Oriental del Uruguay Bank main building. On the right the Rio de Janeiro English Bank (currently, the National Institute for Scenic Arts) and on the corner, the Bank of London and South America (non-existent today). 1940s.

(p. 82) Manuel Herrera y Obes Square, where the monument to José Garibaldi is currently located, viewed from near the intersection of Treinta y Tres and Piedras Streets. All the buildings in the background, on the other side of 25 de Agosto Street, were demolished in the 1960s to build the Port Rambla. Year: 1920 (approx.).

(p. 83) Intersection of 25 de Agosto and Treinta y Tres Streets. On the left, Manuel Herrera y Obes Square, where the monument to José Garibaldi is currently located. All the buildings in the background, on the other side of 25 de Agosto Street, were demolished in the 1960s to build the Port Rambla. Year: 1920 (approx.).

(p. 84) Treinta y Tres Street looking north, where it intersects with Piedras and then 25 de Agosto Streets, La Marseillaise and Orillas del Plata. All the buildings in the centre, between Piedras and 25 de Agosto Streets, are no longer existent, having given way to the construction of the Port Rambla. The buildings just visible on the far left and far right are still standing on the other three corners of the Treinta y Tres and Piedras intersection. Year: 1923.

(p. 90) The English Bank building, on the intersection of Zabala and 25 de Mayo Streets, today the BBVA bank. Designed by engineer Luis Andreoni, it was built between 1888 and 1890. Year: 1918 (approx.).

(p. 91) Popular del Uruguay Bank main building located on the intersection of 25 de Mayo and Zabala Streets, today the offices of the Ministry of Housing, Land Ordinance and the Environment. Built in 1907, it was designed by Catalan architect Cayetano Buigas i Monravá. Originally built on one plot of land, the building was extended in 1910 onto 25 de Mayo Street, keeping the same Catalan Modernisme style. Later, the ornaments on the façade were removed. Year: 1919 (approx.).

(p. 92) Zabala between Cerrito and 25 de Mayo Streets. Centre, the home of Juan Antonio Lavalleja. On the right, the National Housing Agency building (originally, and until 2000, the Commercial Bank) and in the background the present-day Itaú Bank building. Year: 1920 approx.).

(p. 85) 25 de Agosto Street running from Ituzaingó to Misiones Streets. All the buildings on the right of 25 de Agosto Street were demolished for the construction of the Port Rambla. Year: 1920 (approx.). (p. 93) First office building for the Uruguayan Hipotecario (Mortgage) Bank, designed in 1909. Located on the west side of Misiones between Rincón and 25 de Mayo Streets, today it houses National Navy offices. On the left, the old Crédito Bank main building, and Fructuoso Rivera’s house, today the National History Museum. Year: 1918 (approx.). (p. 86) The Solis Theatre, designed originally in 1837 by architect Carlo Zucchi and completed by architect F. X. de Garmendia, just before the lateral wings were added in 1868. Year: 1860 (approx.).

(p. 88) The Solís Theatre viewed from Independencia Square. Following the provisional 1837 design by architect Carlo Zucchi, construction work began between 1841 and 1842 in accordance with the plans drawn up by architect Francisco de Garmendia. Construction was halted with the onset of the Guerra Grande War, and taken up again in 1852. The central building was inaugurated on August 25th 1856, and the lateral wings designed by architect Víctor Rabú, in 1868. On the right, the Café Tupí Nambá. Year: 1916.

(p. 94) Old Spera Tailors building, on Sarandí between Treinta y Tres and Ituzaingó Streets. Built between the Cathedral buttresses early in the 20th century, it was demolished towards 1970 with a view to “freeing the Cathedral of inappropriate additions”. Year: 1919 (approx.).

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(p. 95) Now long-gone, the Navigazione Generale Italiana Company building was located on the southeast corner of the intersection of Sarandí and Misiones Streets. It was one of the Ciudad Vieja’s few buildings in the Modernisme style. Years: 1920-1930.

(p. 96) Bacacay Street viewed from Buenos Aires Street looking north. In the background the old Pablo Ferrando, Opticians building (the dome was removed in in the 1960s and re-built in 2005), and right, the old El Vasko coffee shop (now Bacacay coffee shop). Year: 1918.

(p. 97) Policía Vieja Lane, viewed from Bartolomé Mitre Street. On the right is the old Doré Cinema, in the background a building which was demolished to allow for the opening of Centenario Lane, and on the left, a building still standing, though minus the ornaments on the façade. Years: 1920-1930.

(p. 98) Old La Alhambra Hotel, later Artigas Hotel and at present Plaza Fuerte Hotel, on the north corner of the intersection of Sarandí and Bartolomé Mitre Streets, built around 1913, designed by C. Facello. Year: 1920.

(p. 99) Grand Hotel Lanata, later La Alhambra Hotel on the southeast corner of the intersection of Sarandí and Juan Carlos Gómez Streets. In 1901 the first design was approved, later modified to include another storey which was begun in 1902. In 1913 the top floor was extended to include the mansard roof. The building remains unaltered today. Year: 1919.

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(p. 100) Constructed between 1907 and 1909 as the Palace Gandós on the corner of Rincón and Bartolomé Mitre Streets, its upper floors housed the Colón Hotel. Following alterations of the ground floor, with its upper floors being irregularly occupied for many years, it was refurbished in the early 2000s as the offices of the Inter-American Development Bank. 1960s.

(p. 101) Italcable building (currently, El Fundador), designed by architects A. Guilbert and E. Gantner. Built in 1913, it is located on the intersection of 25 de Mayo and Zabala Streets. 1920s.

(p. 102) Maciel Hospital (previously, San José y la Caridad Hospital). View of its southeast corner on the intersection of 25 de Mayo and Maciel Streets. It was founded in 1788, the original building being demolished in 1824. The present building was constructed in successive stages beginning in 1825 along 25 de Mayo Street, following José Toribio’s design; then in 1859 construction continued along Guaraní Street following architect Bernardo Poncini’s design; and finally, along Maciel and Washington Streets in 1889, designed by architect Julián Mazqueléz. On the left is the façade of the 1798 Caridad Chapel, by architect Miguel Estévez. Year: 1920 (approx.). (p. 105) Maciel Hospital (previously, San José y la Caridad Hospital), Washington Street entrance. The building was constructed in successive stages by different architects beginning in 1825; this sector was completed around 1889 from architect Julián Mazqueléz’s design. Years: 1920-1930.

(p. 106) West façade of the new Customs Building, designed by architect Jorge Herrán who won the design contest held in 1923. On the right side are the following: façade of the four-storey building on Yacaré Street; all the buildings on 25 de Agosto Street between Yacaré and Pérez Castellano Streets; and lastly, the Port Market façade. 1930s.

(p. 108) Piedras Street viewed from Pérez Castellano Street looking west from the first floor of the Jaureguiberry Building. In the background is the old Architecture and Engineering College (built first for the National Hotel, it was later the College of Humanities and Science), and on the right, the Port Market. Year: 1920 (approx.).

(p. 109) Yacaré Street viewed from 25 de Agosto Street towards Piedras Street. All the buildings in the centre-right are still standing, the Jaureguiberry Building with its mansard roof especially noticeable. In the centre itself is the entrance to Stadium Uruguay, a cinema and shows venue. Later it became the Boston boxing stadium. Year: 1920 (approx.).

(p. 110) General view of the Ciudad Vieja taken from the roof of the Customs Building. Visible near the horizon are: the Salvo Palace; the building on 1390 Juan Carlos Gómez St. (opposite Constitución Square); the towers and dome of the Cathedral; the steeple of San Francisco Church; and the Post Office tower. Viewed centre-left is the República Bank under construction, the scaffolding visible. Year: 1937 (approx.).

(p. 113) Piedras Street at the Massone Bureau de Change. Year: 1925.

(p. 114) Aerial view of the Ciudad Vieja. On the left is the Rambla Sur retaining wall under construction and part of the area still to be demolished to leave room for the Rambla; the Anglican Church on its original location on the South Bulwark; and the four-storey building of the Second Section Police Station at the end of Yerbal Street. Below, Independencia Square. Year: 1930.

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Documenting the CdF historical photograph archive The CdF photograph captions seek to identify the protagonist of the image (who or what is the centre of the photograph), provide a spatial context (where) and a temporal context (when), as well as other information not immediately clear from the photograph itself (type of frame) to aid decoding. The wording of captions avoids connotative interpretations (any suggestion of the significance of the photograph); neither are there any indications regarding what the photograph itself denotes and which would not add any information for the reader. If it is not possible to identify a photograph or provide any meaningful information, this is indicated using one of the following codes: “N.i.” (No identification) means that there is no information about the name of the protagonist of the photograph, whether a person, a group of people, an object, etc. “N.l.” (No location information) means that there is no information about the geographic location the photograph was taken at. If there is no information about the photograph or the author is unknown, the code is “N.d.” (No data). The date the photograph was taken is indicated according to the degree of certainty available. If it is possible to fix the exact date, it will appear as follows: “February 24th 1914”; if the month and year are known, then “February 1914”; if only the year is certain, “Year: 1914”. For cases when a period is estimated, then what will appear is “1910s”; “February-March 1914”; or “Years: 1910-1914”. If there is no certainty, then the abbreviation “approx.” in brackets is used. The code “N.d.” indicates that there is no information regarding the date of the photograph.

The CdF uses a Documentary Description System adopted by several of the Montevideo City Council’s archives seeking to regularize classification processes and descriptions of documents. The system, based on the General International Standard Archival Description (ISAD G), establishes and regulates the use of description levels, so that all the documents produced by the City Council may be considered on the broadest production level (Repository). Each entity in charge of the custody of a specific part of the documents constitutes what is known as a sub-repository. From this level each entity may classify the documents produced or received by them using the other levels provided by the regulation mentioned. The photograph’s registration number corresponds to a letter and number code by which it is identified, and refers to its origin and the number assigned to it in the collection. The alphabetical section begins with the code indicating its origin and classification within the collection (FMH “Subfondo Subordinado Institucional – Grupo de Series Históricas”: Subordinated Institutional Sub-repository-Historical Series Group) and of the series it is part of (B, D, E, and General); and it ends with the code identifying the institution responsible for the production and/or custody of the photograph and the country of its location (CDF: IMO.UY).

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The CdF archive is to foster among its users, reflection, critical thinking and citizen identity within an immediate iconosphere. This means, on the one hand, circulating images connected with Uruguayan and Latin-American history, heritage, and identity, so that Uruguayans and other Latin-Americans can communicate freely with one another, and also feel interrogated as social subjects, in the understanding that, although their daily lives may be marked by the massive circulation of images, very few of them will have any connection with history, heritage or identity. As well, this aim seeks to foster simpler access, both for Uruguayan and Latin-American photographers as well as for citizens in general, to the technical and conceptual tools which will allow them to develop their personal, individual, visual discourses and languages. On the basis of these principles and from a plurality of points of view and perspectives, our aim is to be a reference institution on national, regional and international levels, producing subject matter of substance, activities, spaces for exchange and development in the various areas connected with photography. The CdF was founded in 2002 as a unit of the Information and Communication Division of the Montevideo City Council. From July 2015 it is located in the Bazar Building, a historical building on 885, 18 de Julio Avenue. The building was inaugurated in 1932, housing the well-known Bazar Mitre Store from 1940. Our present headquarters is larger and has better infrastructure, also allowing better access to the various photographic repositories, as well as other CdF services. Following international regulations we administrate an ever-expanding collection of images from the 19th, 20th and 21st centuries, focused on the city of Montevideo. We also offer space for research and development of knowledge on photography in its multiple variants. We have nine locations exclusively used for exhibitions: the three rooms in our main building, on the ground floor, first floor and basement, and the open-air permanent exhibition photo-galleries at the Parque Rodó, Prado, Ciudad Vieja, Villa Dolores, Peñarol, the Contemporary Art Space, Goes, Capurro and Unión.

Mayor of Montevideo Christian Di Candia Secretary Fernando Nopitsch Director, Information and Communication Division Marcelo Visconti

CdF Team Director: Daniel Sosa Assistant: Susana Centeno Head of Administration: Verónica Berrio Coordinator: Gabriel García Management Systems Coordinator: Gabriela Belo Management Committee: Daniel Sosa, Gabriela Belo, Verónica Berrio, Susana Centeno, Gabriel García, Lys Gainza, Francisco Landro, Johana Santana, Javier Suárez Planning: Gonzalo Bazerque, Luis Díaz, Lys Gainza, Andrea López Secretaries: Gonzalo Bazerque, Martina Callaba, Natalia Castelgrande Administration: Martha Liuzzi, Marcelo Mawad Management: Gonzalo Bazerque, Johana Maya Production: Mauro Martella, David González Curators: Hella Spinelli, Victoria Ismach Photographs: Andrés Cribari, Luis Alonso Publishing: Lys Gainza, Andrés Cribari Exhibitions: Claudia Schiaffino, Mathías Domínguez, Laura Núñez, Serena Olivera, Martín Picardo, Jorge Rodríguez Preservation: Sandra Rodríguez, Jazmín Domínguez, Valentina González, Magdalena Pucurull Documentary Records Team: Ana Laura Cirio, Mauricio Bruno, Alexandra Nóvoa, Lucía Mariño Digitization: Gabriel García, Horacio Loriente, Guillermo Robles Research: Mauricio Bruno, Alexandra Nóvoa, Lucía Mariño Education: Lucía Nigro, Mariano Salazar, Juan Pablo Machado, Ramiro Rodríguez Customer Service: Johana Santana, Gissela Acosta, Andrea Martínez, José Martí, Darwin Ruiz, Valentina Chaves, Camila Rivero, Gabriela Manzanarez, Mariana Sierra Communication: Francisco Landro, Elena Firpi, Natalia Mardero, Laura Núñez, Ernesto Siola, Santiago Vázquez Technical Services Team: Javier Suárez, José Martí, Darwin Ruiz, Pablo Améndola, Miguel Carballo Multi-media Library: Lilián Hernández, Gabriela Manzanarez Actors: Pablo Tate, Darío Campalans

Ciudad Vieja : loss, preservation, transformation / Centro de Fotografía de Montevideo ; traducción de Pablo Deambrosis y Lindsey Cordery Montevideo : CdF, 2019.127 p. : il. byn, 21x21 cm. (Gelatina y plata) Because of its heritage value, the Ciudad Vieja was declared an Area of Reference on July 28th 1982, by City Council Decree N° 20.843, and the Ciudad Vieja Special Permanent Committee was created at the same time. The CVSPC is a body of the City Council of Montevideo with the authority to protect and administer the area’s heritage, its members representing both public and private institutions. Their office address is Tomás Toribio’s house (Toribio was the first architect in Montevideo) on 528 Piedras St Office hours: Monday to Friday 11 a.m. to 16 pm. Telephone: 2915 4087 and 2916 7537 Email: cepcv@imm.gub.uy

Heritage Protection Unit Arch. Ernesto Spósito (Interim Director) Ciudad Vieja Special Permanent Committee Arch. Roberto Villarmarzo (president) Arch. Mario Cazabán (APPCU) Arch. Gabriela Gallardo (CPCN) Arch. Santiago Medero (FADU) Arch. Virginia Moreno (SAU) Arch. Alberto Leira (Residents Representative) Arch. Juan Alberto Crispo Capurro (Ad-Honorem) Arch. Isidoro Singer (Ad-Honorem) Ciudad Vieja Rehabilitation Programme Lic. Daniela Bouret As. Soc. Ana Cardoso Prof. Raquel Diana As. Soc. Mercedes Hegoburu Arch. Irene Lois Lic. Liliana Pertuy Ec. Eloy Rodríguez Arch. Patricia Roland Arch. Ernesto Spósito CVSPC Technical Team Arch. Irene Lois (Executive Secretary) Arch. Mara Oleaurre Bach. Federico Francoise

ISBN 978-9974-716-91-9 1. CIUDAD VIEJA (URUGUAY) 2.FOTOGRAFÍA HISTÓRICA © 2019 Centro de Fotografía de Montevideo cdf.montevideo.gub.uy cdf@imm.gub.uy Intendencia de Montevideo, Uruguay. Total or partial reproduction by any medium is prohibited unless expressly authorized. Production: Montevideo City Council Heritage Protection Unit / Area Planning Division Centro de Fotografía / Communication and Information Division First edition: 500 copies, July 2019. Photo-editing: Ernesto Spósito/CEPCV, Gabriel García/CdF Digitization and preservation: Sandra Rodríguez/CdF, Valeria Martínez/CdF Digital processing: Gabriel García/CdF, Andrés Cribari/CdF Design: Andrés Cribari/CdF Book production: Nadia Terkiel/CdF Documents and Texts: Ernesto Spósito/Cepcv, Mauricio Bruno/CdF, Alexandra Nóvoa/CdF Translation team: Pablo Deambrosis, Lindsey Cordery Acknowledgements: Jorge Sierra and Ramiro Rodríguez Barilari The photographs in this book were digitized from gelatin and silver negatives on glass plate or plastic.

IPrinted and Bound by Gráfica Mosca s.a. Montevideo - Uruguay Legal Deposit 376.110 – Commission for Paper-printed Works Edition protected by Decree 218/96

ISBN: 978-9974-716-91-9 Photographs printed in duotone on couché matte paper. Inside, 170g; cover, 300g. Font: Neuton (© Brian Zick)