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In the early twentieth century, intellectuals and diplomats sought to construct a stable and just international order in the Americas through diverse methods and networks. Such efforts built on traditions of regional cooperation in the hemisphere, drew inspiration from trends in internationalism globally, and utilized new frameworks of regionalism, including pan-Americanism. Beyond the rhetoric, pan-American cooperation provided a façade for various political, personal, and professional motives. This paper examines one group that exemplified the multiple, and frequently competing, interests within inter-American internationalism: architects. Concerned with the mechanics and aesthetics of designing a just society, architects throughout the Americas believed their work had potential implications for national and hemispheric affairs. These ideas, and the desire to bring prestige to their profession, led a group of Uruguayan architects to embrace pan-Americanism in the late 1910s. In periodic congresses and committees between 1920 and 1940, architects from around the hemisphere discussed the nature of “American” art, the need for coordinated city planning, and solutions to common social questions. These meetings offered an opportunity to transfer knowledge, develop networks, and debate progress. While the architects’ objectives were not necessarily political, their actions led to connections with politicians and policymakers. As this paper will demonstrate, their activities and persistence made them part of a broader phenomenon that opened space for different pan-American visions. Thus, they helped shape inter-American relations before World War II and laid foundations for future cultural diplomacy.