12
16
6
15
13
11
14
4
10
1
5
3
PRAÇA D. JOSÉ GASPAR
9
01. EDIFICIO COPAN 02. CONDOM. ZARVOS/AMBASSADOR
8
03. EDIFICIO LOUVRE 04. EDIFICIO ITALIA 05. EDIFICIO METROPÓLE 06. EDIFICIO ESTHER 07. GALERÍA IPE 08. GALERÍA 7 DE ABRIL 09. GALERÍA DAS ARTES 10. GALERÍA NOVA BARAO 11. GALERÍA LOUZA 12. GALERÍA CALIFÓRNIA 13. GALERÍA ITAPETININGA 14. GALERÍA R. MONTEIRO/ITA 15. GALERÍA GUATAPARÁ 16. CONJUNTO PRESIDENTE
7
2
Plano del Centro Novo de São Paulo y edificios con galerías comerciales. Centro Novo plan, São Paulo, buildings with commercial galleries.
The work of Candia (1924-1991) is notable on one hand for the use of a clear and rational constructive language, where aesthetic expression is the result of the careful composition of structural elements, the use of façade devices and of enclosure systems that associate him to the architectural production of renowned figures of the Paulista context, such as Franz Heep, Lucjan Korngold (see Pilon, Heep, Korngold and Palanti and the office buildings in São Paulo , AOA 32, August 2016) and Rino Levi¹, with whom Candia collaborated in the 40s. There is, however, another distinctive feature in his buildings, which refers to the relationship they establish with the urban context where they are located or, rather, the territorial layout of the city. With their placement, the buildings propose an urban situation that goes beyond the limits of the plot, and create interesting relationships in the transition from public to private. This relationship results from two different circumstances: on one hand, the confrontation with consolidated urban conditions during the process of vertical development of the central areas of São Paulo; on the other, the process of densification of the residential neighborhoods begun in the 50s, where projects could involve larger public spaces, creating conditions capable of transforming a larger area of the urban context. The initial period in which these works were built coincides with a turning point in the history of the São Paulo urban metropolis² . When Candia began his career in the late 1940s, the city consolidated its position as the main industrial center of Brazil. Economic
growth in the following decades drove the intense activity of the real estate market, affecting the professional performance of local architects -among them Oscar Niemeyer, Abelardo de Souza³ and Rino Levi- as well as the European immigrants who would contribute so significantly in the formation of a new urban culture in the city, such as the fore mentioned Heep and Korngold in addition to Jacques Pilon 4 . In the field of the arts and culture we can also witness in this period the efforts to find a unique metropolitan and cosmopolitan identity for São Paulo, far from the hegemony exercised by Rio de Janeiro, the federal capital. Candia joins the group of architects and artists who push for the establishment of the Museum of Modern Art of São Paulo MAM (1948), an institution inspired by the model of MoMA in New York and responsible for the organization of the biennial of Art and Architecture since the 50s, as well as the inclusion of the São Paulo metropolis on the international circuit of modern art. In search for this specific identity that would manage to diverge from the formula that made Brazilian modern architecture visible since the 40s -with the production of the carioca architects (see Technique and History: the Invention of Brazilian Modern Architecture, AOA Magazine 31)- and that became recognized as the predominant language of the Brazilian modernity, the group of young architects Candia belonged to connected with other spheres of influence, mainly moving towards the work of architects settled in the United States such as Neutra, Gropius/TAC, SOM and especially in the case of Salvador Candia - Mies van der Rohe.
17
Made with FlippingBook Annual report maker