Eight years ago, Pasaje Lanin became one of the most important urban interventions in Buenos Aires. More than 40 houses built in the early and mid 20th century have their facades decorated by artist Marino Santa Maria and his neighbors.
By Marcos Caruso
Cities used to preserve their architectural heritage have the mark of their artists in buildings appreciated by inhabitants and humanity. As international samples, we found Barcelona and Antonio Gaudi, Venice and Antonio Canal -nicknamed Canaletto-, Vienna and his architect and painter Friedensreich Hundertwasser.
Buenos Aires sustains two immaculate areas. Two little passages, a few blocks long, which show the creativity in the open air: in La Boca, Caminito and Benito Quinquela Martin streets; in Barracas, the hardly known Lanin passage and Marino Santa Maria. The bond between Santa Maria and the passage is vital: he was born there, grown up, studied and still lives there. In 57 years, that pebbled 300-meter long curve, that goes from Suarez to Brandsen streets, that scar between the railway and the factories, saw the artist playing, studing, becoming Principal at the National School of Fine Arts Prilidiano Pueyrredon, and working at his atelier, until approximately eight years ago, his creativity escaped from the canvas and was stamped on the façade of his house, located at the 33 of Lanin passage.
And here's the paradox: Lanin, which in Mapuche's language means "almost dead", is one of the liveliest streets in town.
Houses have old fronts and tall roofs; some of them were built in the 50s' in the passage located 200 meters from 9 de Julio highway, and 10 blocks from Constitucion St. and 25 de Mayo highway. Those houses do not need a number to be recognized: they can be mentioned by the unique designs in their facades, with distinctive and lively colors.
A year ago, those colors were substituted by glazed tiles and glass, which still remark the red, yellow and blues used by Santa Maria at a beginning. The artist used trencadis technique (split tiles), like Catalan architect Gaudi did, and Venetian mosaic. As time went by, colors were deteriorated and then, Santa Maria decided to switch towards what he defines as "urban interventions that originate an urbanite and social change". Painting the front of his own house in blue, yellow, green and white was -according to his own words- like "painting my playground". And the curious experience made other neighbors ask him to intervene in their fronts. When Santa Maria decided, last year, to restore the colors and distinguish a little more the Lanin, he wasn't alone: his neighbors' working hands approached, and every weekend men prepared the barbecued, women made salads, and everybody painted and shared an "asado".
Now, those streets are used at shows, parties, movies' shooting, and many artists search for a place to live there. The old family houses gave into creative influence and many of them became art galleries.
Every neighbor remembers an anecdote: some tell about Santa Maria's long nights painting his house, with the door open; or about that one who didn't doubt and covered his centenary home in colorful glasses and mosaics or ceramics; and that one who donated painted glass pieces to be placed on fronts… The Central Barracas
As corollary of a tour round de passage, a building with strong heritage value outstands: rescued a year ago, is located in the triangle formed by Suarez, Lanin and Feijoo streets.
The three-store building, with a stone-like façade, was a warehouse for a bank's documents. It has an internal street, which separate it from other building, also triangular.
On Feijoo Street, another construction catches the visitor's attention: an old Art Nouveaux, close to the Salvation Army's seat and the eternal British railway architecture with its red bricks.
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