Intertwining brushes and blueprints: The legacy of architect Oswaldo Muñoz Mariño

This research explores the deep interrelationship between the architectural and artistic production of Oswaldo Muñoz Mariño (1914–2009) between 1950 and 1970, an Ecuadorian pioneer whose work exemplifies the synergy between both disciplines. Despite his relevance, the systematic interaction between these facets has been little explored. The study analyzes three emblematic works: the Quito City Hall (1958), the Prometeo Theater (1966), and the Residential House (1972). It is argued that Muñoz Mariño’s artistic vision, particularly his mastery of watercolor, not only complemented his architecture but was intrinsic in shaping the aesthetic, functionality, and meaning of his buildings, creating a unique cultural heritage. The methodology includes a descriptive approach to thoroughly characterize each work, drawing on the art criticism of Sueli [1] and the architectural criticism of Casado [2] focusing on the creative process. The results reveal that his watercolors served as aesthetic and conceptual explorations for his architectural projects. The comparison between his artistic and architectural production demonstrates stylistic coherence, shared morphological influences, and a constant pursuit of monumentality and formal purity. His legacy encompasses not only individual projects but also his role as a mentor and integrator of art and architecture. Muñoz Mariño’s work stands as a testament to the transformative power of the fusion between art and architecture, transcending time and space.