(*) Los autores
Eduardo Ferroni (Sao Paulo, 1977), arquitecto y urbanista de la Facultad de Arquitectura y Urbanismo de la Universidad de Sao Paulo, FAU USP (2001) y master de la misma universidad (2007). Desde 2002 es profesor de proyecto en la Escuela de Ciudad de Sao Paulo. Socio de Hereñú + Ferroni Arquitectos. Felipe de Souza Noto (Sao Paulo, 1977), arquitecto y urbanista de la FAU USP (2001); master y doctorado en Diseño Arquitectónico de la misma universidad. Socio de B Arquitectos. Profesor de proyecto y diseño urbano en la Escuela de Ciudad y en el centro universitario Senac. Moracy Amaral y Almeida (Sao Paulo, 1974), arquitecto y urbanista de la Escuela de Ciudad (2009) y master por la FAU USP (2015). Socio de Herklotz Almeida y Yamamoto Arquitectura y Diseño. Profesor de diseño de la Escuela de Ciudad y profesor visitante en la Universidad Católica de Santos y en la Universidad São Judas.
(*) The authors
Eduardo Ferroni (Sao Paulo, 1977), architect and urban planner at the Faculty of Architecture and Urbanism at the University of Sao Paulo, FAU USP (2001) and master of the same university (2007). Since 2002 he teaches design at the Escola da Cidade de Sao Paulo. Partner of Hereñú + Ferroni Arquitetos. Felipe de Souza Noto (Sao Paulo, 1977), architect and urban planner at FAU USP (2001); MSc and PhD in Architectural Design at the same university. Partner at B Arquitetos. Professor of architectural design and urban design at the Escola da Cidade and the Senac university center. Moracy Amaral y Almeida (Sao Paulo, 1974), architect and urban planner Escuela de Ciudad (2009) and MSc at FAU USP (2015). Partner at Herklotz Almeida e Yamamoto Arquitetura + Design + Arte. Professor of design Escola da Cidade and visiting professor at the Catholic University of Santos and São Judas University.
Catedral Metropolitana, Oscar Niemeyer (Brasilia, 1958). Metropolitan Cathedral, Oscar Niemeyer (Brasilia, 1958).
1 See the article by Lucio Costa “A lot of construction, some architecture and a miracle” (1951). In Costa, Lucio: Registro de una Vivencia. Sao Paulo, Empresa das Artes, 1955. 2 According to Reyner Banham, Brazil was "the first country to build a national style of modern architecture," what he called Brazilian Style. Banham, Reyner: Age of masters: a personal view of modern architecture. London, The Architectural Press, 1977, p.39. 3 Goodwin, Philip: Brazil Builds: architecture new and old 1652-1942. New York, MoMA, 1943. 4 It is important to mention the complementary role of the contingent of European architects who emigrated to Brazil as a result of the two world wars. Gregori Warchavchik, Rino Levi, Lina Bo Bardi, Jaques Pilon, Lucjan Korngold, Adolf Franz Heep are central figures in Brazilian modernity. 5 Reasons for the New Architecture (1934) and Required Documentation (1938) are established as fundamental writings of modern architecture in Brazil. Costa (1955). 6 In the interpretation of Lucio Costa, the sequence is summarized in three data: the continuity of knowledge of traditional architecture, maintained by the masters until the early twentieth century; the disruption of the natural process with the arrival of the French Mission and installation of academic classical tradition; the restoration of plastic health with modernity, properly oriented with popular tradition. From this scheme arises a relatively organized historiography of Brazilian architecture, based on the unequal assessment of specific periods such as the colonial baroque and new modern tradition. See more in Noto, Felipe de Souza: "The parallels between Brazil and Portugal: the work of Lucio Costa and Fernando Távora". Master's thesis, Sao Paulo, FAU USP 2007. 7 See Wisnik, Guilherme: " Congenital Modernity ". Em Andreoli, Elisabeta. Forty, Adrian (orgs): Brazilian Modern Architecture. London, Phaidon, 2004. 8 Letter from Lucio Costa to Rodrigo de Mello Franco de Andrade, director of IPHAN, National Institute of Historical and Artistic Heritage. 9 Lucio Costa's approach with the agencies in charge of heritage began in 1937 when, at the request of Rodrigo M. F. de Andrade he was responsible for the inspection and proposed recovery of the ruins of the Seven Peoples of the Missions. He was appointed Director of the Division of Studies, although he preferred to be described as " temporary employee " until his retirement in 1972. 10 Costa, Lucio: Registering an experience. São Paulo, Empresa das Artes, 1995, p.496. 11 In 1935, the Ministry of Education and Culture of Brazil organized a national competition to design its headquarters in the center of the then federal capital, Rio de Janeiro. The winning design – by architect- Archimedes Memória was ruled out by Minister Gustavo Capanema, an intellectual of the arts for its conservative character. He convened the director of the National School of Fine Arts, Lucio Costa, who organizes a team with his most prominent former students to develop a project from the guidelines left by Le Corbusier in his passage through Rio. See more in Segre, Roberto: Ministry of Education and Health, urban icon of Brazilian modernity from 1935 to 1945. Sao Paulo, Romano Guerra, 2013. 12 Costa, Lucio: Registering an experience. São Paulo, Empresa das Artes, 1995, p.113. 13 Niemeyer's architecture is so unique that it is difficult to identify architects in the following generations that reproduce his formal and compositional procedures. There is, however, a line of school with some degree of internal consistency in Rio de Janeiro (influenced by Oscar Niemeyer, although it would be unfair to restrict the scope of their work) or Sao Paulo (also attentive to the carioca experience, but born in a different educative context field -the Escola Politecnica - which is quite singular). 14 "Reasons of the New Architecture" Required Documentation (1938). In Costa, Lucio. Registering an experience, São Paulo, Empresa das Artes, 1995.
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