Architecture is an evolutionary field. Through time, it changes and adapts itself according to two things: the environment and the user, which are the touchstones of the concept of culture. Culture changes in long time intervals because of its cumulative structure, so its effects can be observed on a large scale. A nation displays itself with its culture and uses architecture as a tool to convey its cultural identity. This dual relationship between architecture and culture can be observed at various times and in various lands, most notably in Latin American designers. The geographical positions of Latin American nations and their political situations in the twentieth century leads to the occurrence of a recognizable cultural identity, and it influenced the architectural design language of that region. The nonlinear forms in architecture were once experienced commonly around Latin America, and this design expression shows itself in the designers’ other works through time and around the world. The cultural background of Latin American architecture investigated within this study, in terms of their design approach based upon the form and effect of Latin American culture on this architectural design language, is examined with the explanation of the concept of culture by two leading scholars: Geert Hofstede and Richard Dawkins. This paper nevertheless puts together architecture and semiology by considering key twentieth century philosophers and cultural theorist methodologies. Cultural theorist and analyst Roland Barthes was the first person to ask architects to examine the possibility of bringing semiology and architectural theory together. Following an overview of existing semiological conditions, this paper analyzed Roland Barthes and Umberto Eco’s hypothesis of the semiological language of architectural designs of Latin American designers by examining their cultural origin. The work’s findings express the historical conditions that enabled the contemporary architecture and culture study of Latin America between 1945 and 1975 to address the “Latin American model” of architectural modernism.