BIBILIOGRAFÍA B arbosa , Marcelo Consiglio: “A Obra de Adolf Franz Heep no Brasil”. Disertación de maestría. Facultad de Arquitectura y Urbanismo, Universidad de São Paulo, 2002. F albel , Anat: “Lucjan Korngold, a trajetória de um arquiteto imigrante”. Tesis de doctorado. Facultad de Arquitectura y Urbanismo, Universidad de São Paulo, 2003. F ranco , Tiago Seneme: “A trajetória de Jacques Pilon no centro de São Paulo, análisis de las obras de 1940 a 1947”. Disertación de maestría. Facultad de Arquitectura y Urbanismo, Universidad Presbiteriana Mackenzie de São Paulo, 2009. G omes , Elgson Ribeiro: Escola e profissão uma linhagem profissional. Curitiba, Asociación Instituto Elgson Ribeiro Gomes, 2008. R ibeiro , Alessandro José Castroviejo. “Edifícios modernos e o centro histórico de São Paulo: dificuldades de textura e forma”. Tesis de doctorado. Facultad de Arquitectura y Urbanismo, Universidad de São Paulo, 2010. S anches , Aline Coelho: “A obra e a trajetória do arquiteto Giancarlo Palanti: Itália e Brasil”. Disertación de maestría. Escuela de Ingeniería de São Carlos, Universidad de São Paulo, 2004. S ilva , Joana Mello de Carvalho: “O arquiteto e a produção da cidade: A experiência de Jacques Pilon em Perspectiva 1930 – 1960”. Tesis de doctorado. Facultad de Arquitectura y Urbanismo, Universidad de São Paulo, 2010. X avier , Denise: Arquitetura Metropolitana. Annablume, Fapesp, São Paulo, 2007. BIBLIOGRAPHY B arbosa , Marcelo Consiglio: “A Obra de Adolf Franz Heep no Brasil”. Master’s thesis. Faculty of Architecture and Urbanism, University of São Paulo, 2002. F albel , Anat: “ Lucjan Korngold, a trajetória de um arquiteto imigrante “. Doctoral thesis. Faculty of Architecture and Urbanism, University of São Paulo, 2003. F ranco , Tiago Seneme: “ A trajetória de Jacques Pilon no centro de São Paulo, análisis de las obras de 1940 a 1947”. Master’s thesis. Faculty of Architecture and Urbanism, Mackenzie Presbyterian University of São Paulo, 2009. G omes Ribeiro Elgson: Escola e profissão uma linhagem profissional. Curitiba, Associação Instituto Elgson Gomes Ribeiro, 2008. R ibeiro , Alessandro José Castroviejo. “ Edifícios modernos e o centro histórico de São Paulo: dificuldades de textura e forma.” Doctoral thesis. Faculty of Architecture and Urbanism, University of São Paulo, 2010. S anches , Aline Coelho: “ A obra e a trajetória do arquiteto Giancarlo Palanti: Itália e Brasil “ Master’s thesis. Engineering School of São Carlos, University of São Paulo, 2004. S ilva , Joana Mello de Carvalho: “ O arquiteto e a produção da cidade: A experiência de Jacques Pilon em Perspectiva 1930 – 1960”. Doctoral thesis. Faculty of Architecture and Urbanism, University of São Paulo, 2010. X avier , Denise: Arquitetura Metropolitana. Annablume, Fapesp, São Paulo, 2007.
01- 1933- EDIF. SULACAP 02- 1937- EDIF. SAO MANUEL 03- 1938- EDIF. ANHUMAS 04- 1938- EDIF. FCO. COUTINHO
36- 1946- SEDE DO JORNAL O ESTADO DE SP 37- 1946- EDIF. VICENTE FILIZOLA 38- 1946- EDIF. ROQUE MONTEIRO 39- 1947- EDIF. SANTA MÓNICA 40- 1948- EDIF. MARTINS FERREIRA 41- 1956- EDIF. ITÁLIA
05- 1938- EDIF. HENRIQUE TOLEDO LARA 06- 1938- EDIF. CAETANO CARDAMONE 07- 1938- EDIF. CANADÁ 08- 1939- EDIF. ROCHA CAMARGO 09- 1939- EDIF. JARAGUÁ 10- 1940- EDIF. ERNESTO RAMOS 11- 1941- EDIF. BARAO DE ITAPETININGA 12- 1941- EDIF. SANTA MARGARIDA 13- 1941- EDIF. IRRADIAÇAO 14- 1942- EDIF. MAUÁ 15- 1942- EDIF. WALLACE MURRAY SIMONSEN 16- 1941- EDIF. SCHWERY/GUATAPARÁ 17- 1943- EDIF. SANTA NAZARETH 18- 1944- EDIF. STELLA 19- 1944- EDIF. EDLU 20- 1939- EDIF. GUILHERME GUINLE 21- 1944- EDIF. ACÁDIA 22- 1944- EDIF. ALZIRA E BENJAMIN JAFET 23- 1945- EDIF. BANCO NOROESTE 24- 1945- EDIF. XV DE NOVEMBRO 25- 1947- EDIF. BAHIJE TAUFIC CAMASMINE 26- 1948- EDIF. CHRYSLER MERCO 27- 1952- EDIF. BRASIL CIA DE SEGUROS 28- 1951- EDIF. JOAO MENDES 29- 1953- EDIF. SOCIEDADE CARBONO LORENA
42- 1959- EDIF. SAO MARCOS 43- 1959- EDIF. IMPERADOR
44- s/d - EDIF. IRMAOS GONÇALVES 45- s/d - EDIF. BENJAMIN CONSTANT 46- 1940- EDIF. CENTRAL 47- 1951- EDIF. BANCO IDUSTRIAL DA CIDADE DE SP
48- 1944- EDIF. JOSÉ BONIFACIO 49- 1944- EDIF. VISTA ALEGRE 50- 1944- EDIF. THOMAS EDISON
51- 1945- EDIF. IAPC 52- 1945- EDIF. ALOIS 53- 1945- EDIF. MENDES CALDEIRA 54- 1946- EDIF. RIO CLARO 55- 1945- EDIF. CBI-ESPLANADA 56- 1954- EDIF. PALÁCIO DO COMERCIO 57- 1955- EDIF. SESPA 58- 1955- EDIF. CIA. SEGUROS PIRATININGA 59- 1955- EDIF. BOLSA DE CEREAIS 60- 1956- EDIF. GERBUR 61- 1960- EDIF. BOLSA DE MERCADORIAS DE SAO PAULO
62- 1961- EDIF. THEODORO BAYMA 63- 1947- EDIF. AMINA MAGGI GOTTI 64- 1951- EDIF. CONDE PRATES 65- 1959- EDIF. BANCO DE LONDRES 66- 1948- EDIF. CONSELHEIRO CRISPINIANO 67- 1948- EDIF. PRAÇA DAS BANDEIRAS 68- 1948- EDIF. 9 DE JULHO 69- 1959- EDIF. COM. JOSÉ MARTINELLI
(*) Los autores
(*) The authors
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.
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.
30- 1955- EDIF. BANCO HIPOTECARIO 31- 1956- EDIF. BARAO DE IGUAPE 32- 1957- EDIF. SANTA MÓNICA II 34- 1945- EDIF. SALIM FARAH MALUF 35- 1945- EDIF. BASÍLIO JAFET
n JACQUES PILON
n LUCJAN KORNGOLD
n ADOLF FRANZ HEEP
n GIANCARLO PALANTI
n J. PILON Y F. HEPP
n FRANCISCO BECK
1 The dozens of professional immigrants and refugees, newcomers to Brazil, some with recognized expertise in their home countries, and most without any family ties or friendships in the country, had to resign themselves to anonymous work in offices of varying importance, or hire Brazilian professionals who could take responsibility for their offices. “(Falbel, 2003, p.108) 2 “Founded in November 1934 as a civil society, Pilon & Matarazzo Ltda (PILMAT) -owned by Jacques Pilon and Francisco Matarazzo Neto – was created for project design, specifications and construction in general, (...), restricted from any action linked to land, materials and buildings trade. It is possible that this limitation led the partners to transform the company (September 1938), into a commercial society for the “exploitation in the building industry, by commission or administration, of services, works and buildings, public and private of any species, project development, plans, urban plans, budgets for buying and selling building materials. “ With the modification the company expanded its field, operating as a technical office, in construction and real estate “. (Silva, 2010, p. 81). 3 “Since the early twentieth century until 1930, of a total of 84 towers built, 26 have residential use. The latter, combined with those for hotels, are equivalent to half of the total produced in the period. Analyzing newspapers of the 1920s, it appears that such works were destined for foreign families, corporate officers or single people, whose first cases date from that time, with production concentrated in the São João Avenue and surrounding areas, and also in the Carlos de Souza Nazaré street, Avenida Liberdade, in the D. Pedro park in the Vinte y Cinco de Março district. “(DEVECCHI, 2014, p. 103). 4 “Between 1940 and 1957, vertical growth increases in the area. Already in this period is not limited to the central region (Sao Paulo). You can verify an expansion of this process, first in the Santa Cecília and Vila Buarque neighborhoods, and later in the direction of Consolação, Higienópolis and Cerqueira César. The perimeter of irradiation of Prestes Maia no longer serves to mark the center. “Note-19 - In 1957 São Paulo zoning legislation is approved, decreasing occupancy rates allowed until then, therefore reining vertical growth. (Xavier, 2007, p. 38). “The state capital and its surroundings were in those years the great industrial center of the country, concentrating in 1951 about 19,286 industries only in the municipality. Between 1948 and 1952, the daily average was eight buildings/hour. Between 1948 and 1951 more than 76,000 projects were approved in the prefecture. “(Sanches, 2004, p. 96). 5 “The Art Palma Studio was inaugurated in August 1948, on the 18th floor of the Thomas Edison building, in Praça Bráulio Gomes 66, in São Paulo, the result of a partnership between three Italians, Pietro Maria Bardi, Lina Bo Bardi and Giancarlo Palanti. The project had the same name and was conceived following the model of the Palma Art Studio of Rome, of which Pietro Maria Bardi was owner and president. “ (Sanches, 2004, p. 130). 6 “Alfredo Mathias was born in São Paulo in the same year as Giancarlo Palanti. Son of Syrian immigrants arrived in the city in 1904, he graduated from the Polytechnic School as an engineer-architect and civil engineer in 1929, the same year of graduation as the Italian architect. He was initially engineer of the Board of Public Works, responsible for the supervision of the works of the Congress of Habitation of 1931 as commander at the Technical Station of Itatinga “. (Sanches, 2004, p. 165). 7 “Heep came to Brazil without his degree in architecture, but as he did not need the degree to serve its numerous customers, he didn’t worry about that detail until a magazine of the Atlas Elevator Factory made a publication on two large buildings citing his name as the author of the projects. Two months later he received a call from CREA, interview that I joined, being received by the secretary general, named Luciano, who asked if he had designed those large buildings, that he could not work as an architect unless he brought his diploma to be revalidated in Brazil and properly registered. Since he didn’t have it he was fined, and then registered a construction company that for years was in charge of architect Gilberto Ivan Castaldi “. (Gomes, 2008, p. 319). 8 “At the invitation of the engineer Otto Meinberg, with his company on the 12th floor of 140 Barão de Itapetininga Street, Heep took his office to the same building, on the fourth floor and consequently, all the projects that “Imobiliaria e Incorporadora Otto Meinberg” requested with payment for project studies (not implemented) calculated by the cost of services, calculating labor and design material, being that the lease was on behalf of the company; as for the projects that did come through, payment was a variable percentage on a case by case basis -discounting payments for studies already carried out, even having the freedom to design for third parties, provided this didn’t undermine the progress of projects for the company. That agreement lasted from 1950 until early 1957, it was a period of very intense work “. (Gomes, 2008, p. 331). 9 Barbosa, Marcelo Consiglio: “ Adolf Franz Heep: um arquiteto moderno “. Doctoral thesis. Faculty of Architecture and Urbanism, Mackenzie Presbyterian University of São Paulo, 2012. 10 “At 43, Lucjan Korngold, his wife Eugenia and their son Jan Jakob disembarked at the port of Santos from the ship Conte Grande in June of 1940. In the same boat came Henryk Zylberman (...) who would become the developer of the Palácio do Comércio building; the Adolf Neuding couple, parents of Stefan Marek Neuding, one of the most important promoters of Korngold. The three families coming from Rome. “ (Falbel, 2003, p. 105). 11 “The meeting between Korngold and Zalszupin is fairly representative of those years in which the individual’s future was defined by chance, (...) statement taken in São Paulo on Feb 19, 1998 (...) During the trip made in the English boat Alcântara, he rediscovered a childhood friend, Wanda Wahrer, niece of Korngold, who handed him a card recommending him to her uncle. After disembarking in Rio, the architect visited some studios looking for work, including among them, those of Henrique E. Mindlin, and the Roberto brothers, with no results. He decided then to write to Korngold, who passing through Rio called him. The two architects agreed to meet at the Copacabana Palace, where Korngold was staying. When meeting, Korngold asked if he could show some of his work. Zalszupin, who had not brought any of the projects done in Dunkirk, remembered his degree project that hung on the door of the boarding house where he was staying to contain the inconvenience of a noisy neighbor. Korngold was interested in his design, and the two went together to the dormitory. Upon arrival, Korngold looked at the drawing “top-down, with raised nose, as he used to do,” recalls Zalszupin, and turning to the young architect says: “Pack your suitcase and come with me.” (Falbel, 2003, p.108). 12 “Interestingly we also find in the processes of the Prefecture of the period 1950 and 1953, projects from the Lucjan Korngold studio attributed to Marjan Rychard Glogowski (1923-1977), an architect who started at the studio as a student of architecture at the University of Mackenzie, and who left São Paulo to move to the University of Brazil “. (Falbel, 2003, p. 113). 13 (Ribeiro, 2010). 14 (Silva 2010)
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