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Download Architecture of Brazil: 1900-1990 by Hugo Segawa PDF

By Hugo Segawa

Architecture of Brazil: 1900-1990 examines the tactics that underpin smooth Brazilian structure lower than a number of impacts and characterizes varied understandings of modernity, obtrusive within the bankruptcy subject matters of this publication. for this reason, the writer doesn't supply total choice to specific architects nor works, aside from a number of particular works and designers, together with Warchavchik, Niemeyer, Lucio Costa, and Vilanova Artigas.

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Despite the optimism and the progressive tone in his discourse, Santoro’s project for the Municipal Palace was based on conventional architecture. Aesthetics of Rationality The most surprising writings filled with early modern ideas were about the work of architect Victor Dubugras (1868–1933), a Frenchman who had worked in Buenos Aires and started living in Brazil in 1890. In his first projects as a public employee of the state of São Paulo, Dubugras designed forums and schools in a neo-gothic style.

Although it may seem irrelevant to us after 60 years, making the debate go beyond the intellectual or professional circles and become the subject of cartoons in the mainstream press, at that time, was a very significant happening for a city and a country that were culturally provincial. The only relevant precedent, in this sense, was the Modern Art Week that, along with Warchavchik, is representative of a formal renewal and of the updating of ideas such as the denial of nostalgia in the middle of the 1920s.

It is neither national nor “supranational”. Monteiro Lobato defined it with this mocking expression: “an international game of nonsense…” Fernando de Azevedo (1926a) This chapter is dedicated to the study of certain modernity in Brazil in the second decade of the twentieth century. Preliminarily, it would be convenient to make the reader aware of the fact that this modernism—mainly in the literature, but with branches in the arts and in architecture—is different from the modernist manifestations—of literary roots—that came about in Latin American throughout the second half of the nineteenth century (Franco 1985).

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