MARÍA GÓMEZ BRAVO | Tungsteno
Estación Atlántida, located about 45 kilometers from Montevideo, Uruguay, was a small settlement that grew up around the railway in the late 19th century. In the 1950s, a committee of local Catholics from the nearby seaside resort of Atlántida, including Alberto Giudice and his wife, Adela Urioste, decided to build a church to serve the community. They brought the proposal to engineer Eladio Dieste, with the intention of constructing a simple place of worship at a cost comparable to that of an industrial building. Dieste, however, had other ideas. He designed a brick church with undulating walls and a roof with continuous curves that would be recognized as a UNESCO World Heritage Site decades later.
How geometry creates strength
By the time he began working on the church in Atlántida, Dieste (1917–2000) had already spent over a decade exploring the potential of cerámica armada, or reinforced brick masonry. He studied civil engineering at the University of the Republic in Uruguay and began his professional career at a time when reinforced concrete was transforming architecture. However, Dieste saw brick, a traditional and widely available material in his country, as an opportunity for experimentation.
One of his first challenges came with the Berlingieri House in Punta Ballena, designed in 1946 by Catalan architect Antoni Bonet, who had gone into exile in Argentina following the Spanish Civil War. Bonet had originally planned to use reinforced concrete vaults, but they would have been costly to construct. Dieste proposed using steel-reinforced brickwork instead, a solution that combined the compressive strength of brick with steel's ability to withstand tensile forces.
Engineer Eladio Dieste saw brick, a traditional and widely available material in his country, as an opportunity for experimentation. Credit: Structures by Design: R.Whitehead.
That experience sparked a line of research that Dieste would pursue throughout the rest of his career. The Uruguayan engineer studied how curved surfaces could increase structural strength while reducing the amount of material needed for construction. Over time, he applied these principles to factories, warehouses, and agricultural facilities. One example is the Young grain silo, which was designed to store grain beneath reinforced brick vaults.
The Atlántida church commission also held personal significance for Dieste. A man of deep Catholic faith, he wanted to create a gathering place for a working-class community of modest means. Although the budget was limited, Dieste saw these constraints as an opportunity to develop an architectural approach that reflected both the community's needs and his own beliefs.
The Church of Christ the Worker in Atlántida, Uruguay, is notable for its undulating brick walls. It was designated a UNESCO World Heritage Site in 2021. Credit: PABLO PORCIUNCULA / Colaborador.
A church built with curves
Construction of the Church of Christ the Worker and Our Lady of Lourdes in Atlántida began in 1958. Dieste designed the single-nave church with undulating walls that support a reinforced brick roof. These curves strengthened the structure, eliminating the need for interior columns and giving the building its distinctive character. Light filtered through small openings, accentuating the undulations of the exposed brick walls and creating an interior quite unlike that of conventional churches.
This approach to church design also reflected modern ideas in religious architecture. According to architect Mary Méndez in Divinas piedras. Arquitectura y catolicismo en Uruguay (1950–1965), one of Dieste's sources of inspiration was the Notre-Dame-du-Haut Chapel in Ronchamp, designed by Le Corbusier. However, Dieste had to adapt his ideas to the needs of a small Uruguayan community and the constraints of a limited budget.
Méndez notes that Dieste visited the construction site several times a week to personally supervise the work and even consulted Uruguayan architect Justino Serralta, who had worked with Le Corbusier in France, about certain design decisions. This experience would come to hold a special place in Dieste’s career. “The church in Atlántida was my great school of architecture,” he would later acknowledge.
The bell tower of the Church of Christ the Worker in Atlántida, Uruguay, is a cylindrical structure made of openwork brickwork that Dieste ordered demolished and rebuilt when it had already reached a height of five meters. Credit: PABLO PORCIUNCULA / Colaborador.
His meticulous attention to detail was particularly evident during construction of the bell tower. When the tower had reached a height of about five meters, he ordered it demolished because he was dissatisfied with the arrangement of the bricks. This meant starting over, despite the project's financial difficulties. Dieste ultimately waived his fees, and his firm lost money on the project.
The rebuilt bell tower stands beside the church as a cylindrical structure of openwork brickwork. Dieste, who had converted to Catholicism as an adult, also wanted to create a closer connection between worshippers and the altar. To achieve this, he reduced the difference in floor level between the sanctuary and the nave and eliminated the traditional railing that separated them. He placed the baptistery underground and made it accessible from outside via a staircase. The descent into this dimly lit space and the subsequent ascent into the church symbolize baptism and entry into the Christian community. Some of these design choices anticipated the liturgical reforms introduced by the Second Vatican Council, which began in 1962.
The church's distinctive design soon attracted attention beyond Uruguay. In 1961, it was featured in specialist publications in Spain, France, and the United Kingdom. In 2021, UNESCO added it to the World Heritage List, highlighting its innovative use of reinforced brickwork and the relationship between its structural solutions, architectural design, and efficient use of resources.
The challenge of spanning 50 meters without columns
For years, Dieste had applied his research on reinforced brick masonry to factories and other industrial buildings. In 1975, Uruguay's National Ports Administration issued a call for bids to rebuild an old, fire-damaged warehouse at the Port of Montevideo. The tender called for demolishing the warehouse and constructing a new one, but Dieste offered an alternative.
The building still had its 19th-century masonry walls, which Dieste decided to preserve. His proposal involved reinforcing the existing structure and constructing a roof capable of spanning 50 meters without intermediate columns, leaving the space unobstructed for handling and storing goods. This solution would also reduce reconstruction costs.
The reinforced brick vaults of the Julio Herrera y Obes warehouse in Montevideo span 50 meters without intermediate columns. Credit: Joerg Boethling / Alamy Stock.
To accomplish this, Dieste designed 14 double-curvature vaults made of hollow bricks. According to documentation on the Julio Herrera y Obes warehouse, he had never before achieved such a large span between supports using this system. The construction work, carried out between October 1977 and May 1979, returned approximately 4,200 square meters of space to port operations.
The reconstruction required reinforcing the foundations and the original masonry walls to support the new roof. Glazed sections were installed between the vaults to allow natural light to enter. The project preserved the proportions and some of the architectural character of the original warehouse.
In 2016, the warehouse was designated a National Historic Monument of Uruguay. Beneath Dieste's vaults, the 19th-century walls that survived the fire still stand.
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