La Molina, Lima
The home of architect Luis Martin Bogdanovich is an ode to the Baroque. Relics from the past abound. Adjacent to the living room is the library which has two imposing bookcases filled with Peruvian history. When Luis Martin takes out a book, he does so with care and reverence.
Bognadovich is the head of the Municipal Program for the Recovery of the Historic Center of Lima – PROLIMA. We sat down with Luis Martin to talk about the art of restoration, architecture and Lima’s Historic Center…
When did your passion for architectural restoration begin?
With this book. [He pulls a book from the bookcase.] When I was a child, I was always attracted to the past. Objects have the ability to transmit stories to you through observation. Objects tell you when you touch them, when you see them, when you smell them—through the senses. So, I developed that affection for the past through the beauty of objects. I believe that the origin of knowledge lies in feelings.
Tell us about the book.
It's by Manuel Atanacio Fuentes and it's about Lima. It is a book that was published in Paris in 1867. It is called Lima, Historical Descriptive Statistical and Customs Notes. In this book, I found many stories of a city that no longer existed. So, the desire to know more about this fairytale city piqued my interest in the history of Lima.
It is absolutely full of illustrations of customs of that time, people, covered images of Lima... In short, a lot of things I wanted to know. Obviously, a child who knows he lives in Lima and finds a book about Lima from 150 years ago realizes that the Lima he knows does not look like the one in this book. So, it made an impression on me.
Take us back to 1650. What do you think were the guiding principles of architecture and urban design?
That’s a difficult and easy question at the same time. The cities were designed with a Baroque criterion. So, Lima was a city with an important symbolic component. Above all, the presence of the church, the ecclesiastical power, and the monarchy were crystallized in the city. The city had been founded some hundred years before 1650 and was already a consolidated city.
Do you know why I asked you that question? Because in another interview you had said that you would love to live in 1650. Why did you choose that year?
Why did I choose that year? Because I've always really liked the 17th century. Lima was a city with a very defined personality. It was a time of enormous economic boom with splendid buildings. Lima began to be Lima. While many buildings from that time still survive, I would love to see what it was like then. Now we are restoring a church from that time, so it would be super interesting to go back and compare what it was really like and see if we’re doing the restoration right.
My desire to know Lima at a time I find fascinating drives my choice. I admire the artistic and architectural expression of the 17th century across different cultures: the Spanish Baroque, the English, the Dutch, the French, the Italian, etc. I have always liked the 17th century a lot, perhaps because I appreciate the semi-darkness, the black, and the semi-shade. It was also a time of great brilliance.
You are an architect. Is there a contrast between the values of architecture today and those of a few centuries ago? Perhaps everything they built then was for glory, for God, 'arete'?
I think your perception is totally true. Before, people built to last forever—for glory, as you say. They made the city for personal glory or the glory of God… all the buildings, all the houses. People built their homes not only so that they could live there all their lives, but also so that their children, their grandchildren, and all their descendants could continue to live in that house. There was an idea of transcendence that no longer exists today. Today, people no longer build forever. Moreover, people are constantly moving.
And today, in contrast, what do you think are the guiding principles for design? For urban design?
I think that, in the end, in all times, people are looking for the same thing, which is comfort. At that time, comfort was understood in a different way, perhaps. Today, what defines how cities develop is commercial interests. I think that's what would make the most difference. Before, people did things out of transcendence, while today they do them with a mercantilist criterion. I think this has its origin in industrial manufacturing—in the industrial revolution. But today, when a city is designed, you are no longer thinking about making houses that will last for future generations of your family. You are thinking that you have to get the most out of the lot so that you can have more apartments per building and earn more money.
This is a personal curiosity… In Lima, it is rare to see new buildings that prioritize light and ventilation. Do they not teach about the importance of light and ventilation in university anymore?
Yes, they do, from the first semester. There is no architecture without light. Light is always important for architecture because it defines volumes, shadows, and textures—color changes with light. That is why our city is not the same in winter as in summer; the architecture changes. Lima is more beautiful when there is sun.
Do you agree with me that many architects then do not prioritize natural light?
Not everything we see is architecture. Not all those constructions are architecture. What we see today, more than architecture, are buildings. Architecture is an art. I do not mean that there are fewer architects than before; in fact, there are more architects than before. If there are more people, if the city is bigger, there must be more architects too, and there are very good architects. But the problem is that not everything we see is made by architects. Why? Because when you build, you build with a mercantilist criterion, not seeking beauty or transcendence—simply for profit. So if someone is going to build a building, it may not be to be beautiful, nor for the glory of the owner, the architect, the city, or anyone—simply to earn money. If your maxim is to earn money, then no, that's not art.
What are your favorite buildings in Lima?
I love Puruchuco. It is at the end of La Molina. It is a pre-Hispanic site. People always associate me more with Viceroyalty Lima, but this is a beautiful building where light plays a fundamental role. It is perfect architecture. You have volumes, textures, and a settlement in space that is very successful.
And what era is it from?
I think it's from the 12th century.
From the Pachacamac culture?
No, it's from the Ychma culture, and it's very close to here.
There are many other buildings that I think are amazing in Lima. As a boy, I always liked the San Francisco convent. I still like it.
Who are your favorite contemporary Peruvian architects?
I am going to mention one, and this is not to say that I do not appreciate the architecture of others. But it has a lot to do with your previous questions. I believe that Enrique Normand is an architect who follows a tradition of good architecture in this city, with a contemporary language and great sensitivity. He has been able to identify what makes Lima's architecture special.
What are the biggest challenges to restoring a historic center like Lima?
The limeños.
Why?
Because, in the end, the city is made by us people. It is a challenge to convince limeños that the historic center is a place with value. I mean really convincing ourselves, not just from the banal appreciation of things. I think that is the biggest challenge and greatest difficulty.
What makes you feel most optimistic about your work?
Watching the restoration unfold is satisfying. First is reviving the city through the physical restoration. But this physical restoration must generate activity—or life. It’s a symbiotic process: restoring the city also restores people's lives. That is what makes me optimistic—to see that it is possible for something lost to be recovered and be integrated into our time. This is an essential requirement for it to be sustainable. If you restore something and don't use it, then it's doomed to loss again.
What is it that few know about the center of Lima that you can recommend?
The interiors. Lima is a city that needs someone to take you by the hand so that you can appreciate it. I think that is changing, to the extent that we are recovering public spaces and revealing the hidden beauty of Lima. The recovery of public spaces allows us to remove this veil. I like to use the analogy of the tapaditas [the covered ones], uncovering this dusty Lima and seeing, again, its beauty. So that beauty seen today on the outside has survived inside; hidden, hidden from the evil of people. And when I speak of evil, I mean everything that corrupts the beautiful. When you walk down a street, you have no idea what is behind that door. And I think that's the most surprising thing about Lima.
Is having a vision and then executing it for the long term a lonely journey?
Yes. Yes, because it is a journey that begins in solitude. It starts as a dream. Then it becomes less lonely when the dream involves others. And that is what we are seeing today in the Historic Center. This dream began when I was a child and I found this book [“Lima, Historical Descriptive Statistical and Customs Notes”] and dreamed alone of recovering this city. Nowadays, the implementation of the dream means that more and more of us are dreaming of the same thing. So, you generate a shared dream, and the work becomes less heavy because we are already many people. And that will also allow a long-term dream, such as the recovery of a historic center like Lima, to continue. In my life, I will not be able to see this dream come true, but there are other people who, when I am gone, will be able to continue with this dream and I hope that they continue to infect other dreamers. It is what will make it sustainable and last...
What are your favorite spots in the Historic Center?
The house of Rosa Mercedes, the patio of the Casa Aliaga, the San Francisco convent, and the Sacristia de San Pedro.
And in Lima which restaurants do you frequent most?
I love Siete, Shinoa y Limana. And La Gloria is a classic.
Thank you for your time!
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