Walking through the classrooms of the University of Buenos Aires' School of Engineering is like stepping into a time machine: fine wooden desks, rosettes, pointed ogival arches. Green chalkboards with theorems and equations waiting to be solved. Here, the foundations of knowledge are laid for the young minds who will later calculate bridges and dams, and optimize plants and processes.
As you walk up to the terraced workshops, the wood groans and creaks—a sound that signals the passage of time.
Designed by engineer Arturo Prins, the building on Las Heras Avenue was originally conceived in 1908 to house the School of Law and Social Sciences. Indeed, carved wooden scales are still visible above the openings. In 1948, it became a campus for the School of Engineering (UBA).
Vertical lines and pointed arches reveal a Gothic influence—a style in pursuit of height and light, reminiscent of European cathedrals like Reims and Chartres. However, a quick comparison is enough to suggest that the school is missing something.
One of the main characteristics of the Gothic style was challenging heights, creating increasingly tall and luminous buildings. Walls dissolved into glass, while structural loads were transferred to a system of flying buttresses and piers, allowing for large openings.
Looking at the building, the proportions of the facade make it clear that height is not the dominant dimension. In fact, it appears wider than it is tall. For a professional of Prins's caliber, such a disproportion would simply be impossible.
Indeed, the built work is not what Prins had designed; what we see today is only a fraction of what the engineer had in mind. The original project featured a monumental central tower reaching nearly 100 meters, flanked by two side towers crowned with pinnacles at the entrance. Due to budget constraints, the building remained unfinished.
Furthermore, the decision to design a Neo-Gothic building was not Prins's. He had initially favored a Greco-Roman style, but the commissioning committee changed its mind and opted for Gothic instead. The engineer then traveled to Europe to observe and study German and French cathedrals.
Prins took notes, understood the importance of light, and designed the facade with generous openings to bathe the interiors in illumination. Drawing on the technological advances of the 1900s, he replaced the traditional system of flying buttresses with robust steel beams and columns.
The building is accessed through a double-height hall, where an imperial staircase leads to the upper levels. The structure consists of a ground floor plus three stories, a basement, and a mezzanine. This campus houses the departments of Stability, Transportation, Hydraulics, Surveying, Management, Industrial Technology, Construction, and Structures, along with the Museum of Science and Technology.
Notably, Mario Palanti—architect of the Palacio Barolo—worked for Prins's studio during the development of the project. Looking at some of his sketches and drawings, his contribution to the design is unmistakable.
The sun streams through the window of one of the old classrooms, illuminating everything in its path. I think of European cathedrals and how light filtered through colorful stained-glass windows, creating an unprecedented atmosphere that elevated the spirit.
It is said that many passersby used to cross themselves when walking in front of the school, mistaking it for a church or a cathedral. And perhaps it always was: a temple of knowledge.
This article was written by Mariana Etulain. The translation is powered by AI.
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