into such towers, such as the Toronto City Hall by Finnish architect Viljo Revell. By the late 1970s a backlash was under way against modernism—prominent anti-modernists such as Jane Jacobs and George Baird were partly based in Toronto. The typical International Style or "corporate architecture" high-rise usually consists of the following: Square or rectangular footprint Simple cubic "extruded rectangle" form Windows running in broken horizontal rows forming a grid All facade angles are 90 degrees. In 2000 UNESCO proclaimed Ciudad Universitaria de Caracas in Caracas, Venezuela, as a World Heritage Site, describing it as "a masterpiece of modern city planning, architecture and art, created by the Venezuelan architect Carlos Raúl Villanueva and a group of distinguished avant-garde artists". In June 2007 UNESCO proclaimed Ciudad Universitaria of the Universidad Nacional Autónoma de México (UNAM), in Mexico City, a World Heritage Site due to its relevance and contribution in terms of international style movement. It was designed in the late 1940s and built in the mid-1950s based upon a masterplan created by architect Enrique del Moral. His original idea was enriched by other students, teachers, and diverse professionals of several disciplines. The university houses murals by Diego Rivera, Juan O'Gorman and others. The university also features Olympic Stadium (1968). In his first years of practice, Pritzker Prize winner and Mexican architect Luis Barragán designed buildings in the International Style. But later he evolved to a more traditional local architecture. Other notable Mexican architects of the International Style or modern period are Carlos Obregón Santacilia, Augusto H. Alvarez, Mario Pani, , Vladimir Kaspé, Enrique del Moral, Juan Sordo Madaleno, Max Cetto, among many others. In Brazil Oscar Niemeyer proposed a more organic and sensual International Style. He designed the political landmarks (headquarters of the three state powers) of the new, planned capital Brasilia. The masterplan for the city was proposed by Lucio Costa. Criticism In 1930, Frank Lloyd Wright wrote: "Human houses should not be like boxes, blazing in the sun, nor should we outrage the Machine by trying to make dwelling-places too complementary to Machinery." In Elizabeth Gordon's well-known 1953 essay, "The Threat to the Next America," she criticized the style as non-practical, citing many instances where "glass houses" are too hot in summer and too cold in winter, empty, take away private space, lack beauty and generally are not livable. Moreover, she accused this style's proponents of taking away a sense