By Hugo Segawa
Architecture of Brazil: 1900-1990 examines the approaches that underpin glossy Brazilian structure lower than a number of affects and characterizes varied understandings of modernity, obtrusive within the bankruptcy issues of this publication. for that reason, the writer doesn't provide total choice to specific architects nor works, aside from a couple of particular works and designers, together with Warchavchik, Niemeyer, Lucio Costa, and Vilanova Artigas.
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Extra info for Architecture of Brazil: 1900-1990
This photo, taken at that time, came from the artist’s personal collection and was possibly never published Limitations on Warchavchik’s Modernity On Itápolis street, number 61, there is a modernist home by “Cia. City”. Many people know it. It has had its popular days. Its bare walls have bafﬂed some, its square windows have angered others, with its air of Mexican fortress, it has given some people the shivers. Today, it has fully joined our customs. It has won. That who builds a bungalow, is already sticking a mandacaru1 on the ritual grounds.
Warchavchik was “adopted” by the modernists from São Paulo and ﬁlled a gap that was inexistent in the literature or in the arts. However, in the second half of the 1920s, the modernist schools (being divided into some strands) urged for nationalist content but were still in favor of citing European vanguards. The nationalist discourse was somewhat confused in face of these references: it was rare for one to refer to the European models that had been the possible inspiration for Brazilian modernists; nonetheless, Le Corbusier received many compliments regarding the European modernists, especially when he visited Brazil in 1929.
Painting was the catalyst of the movement. There was also the “competition” from the literate people, but the meaning of “movement” aimed at something beyond the arts and literature: the cause was the renovation of the cultural atmosphere in general—fed with the values of the European vanguard, without necessarily subscribing to this or that picture or literary school of thought. The ﬁrst joint manifestation of this group (which also included intellectuals from Rio de Janeiro) took place in 1922, the year of the celebrations of the 100th anniversary of independence of Brazil.
Architecture of Brazil: 1900-1990 by Hugo Segawa