By Richard J. Williams
Set opposed to a backdrop of breathtaking usual good looks, Brazil’s awesome modernist structure has lengthy garnered overseas acclaim. yet those famous works are usually not absolutely reflective of the outfitted atmosphere of Brazil, and with this quantity, Richard Williams finds the wealthy architectural historical past of Brazil. Spanning from 1945 via this present day, the booklet examines Brazilian structure past the works of well known architects corresponding to Oscar Niemeyer and the “Carioca” architects of Rio de Janeiro. Williams investigates matters corresponding to using ancient structure, the significance of rest and comfort, the position of the favela as a backdrop and suggestion for improvement, and the swift development of towns. From the special global background website of Brasilia—a capital urban that was once deliberate from the floor up—to the deploy paintings of artists resembling Hélio Oiticica, Brazil delves into the origins and far-reaching impact of Brazil’s architectural modernism. At a second whilst Latin the USA is of accelerating significance in worldwide company and tradition, Brazil might be an important learn for all students of structure and Latin American background.
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Extra info for Brazil: Modern Architectures in History (Reaktion Books - Modern Architectures in History)
The argument is principally that architectural tradition is not invested in surfaces, but rather in traditions of building, wherever they may be found. He had not realized, he wrote later, that ‘the real tradition was right there, two steps away, with our contemporary master-builders . . 10 Benzaquen de Araújo uses Costa’s term ‘saúde plástica’ to indicate an ideal relation between past and present. This concept, ‘plastic health’ loosely translated, 40 indicates a way of thinking that describes a close, and essentially Modernist, relation between form and function; aesthetics cannot exist alone, but must be accompanied by an interest in the ‘primordial’ activity of construction.
36 Such writers stood in opposition to the utopianism of the earlier generation and its projects such as Brasília, which they regarded as facile and self-serving. In place of grand utopian projects erected in the name of those in power, they proposed engagement with the poor and dispossessed in the form of cultural acts that would leave no material monument, but (they hoped) would quietly revolutionize Brazilian culture. In Boal’s tough and radical work, which has been widely performed outside Brazil, theatre becomes a tool for the resolution of conflict in real-life situations.
His rather ironic Casa Elza Berquó (1968) in São Paulo has a concrete roof held up with an unadorned tree-trunk, a reference to Brazil’s condition of underdevelopment as much as its traditional forms of building. Much more recently, Paulo Mendes da Rocha has built a chapel that is legibly a reprise of Costa’s Museum of the Missions of 1937. Built for the artist Francisco Brennand on his sprawling estate in Recife, the chapel is a new structure in the ruins of an old building. It is modern while making abundant reference to the past.
Brazil: Modern Architectures in History (Reaktion Books - Modern Architectures in History) by Richard J. Williams