19 Introduction
Centre (see 121). At the Miguel Rio Branco Gallery (see 122) it is the materiality that is challenged, with Corten steel now operating where reinforced concrete dominated before. The same liberty with predominant “paulista” vocabulary is seen at the FHE headquarters in Brasília by Danilo Matoso, Elcio Gomes, Fabiano Sobreiraand Newton Godoy(see 162); at the H3O Park and Community Centre in BeloHorizonte(see 118) by Ana Paula Assis,Alexandre Campos, Carlos Teixeira, Flávio Agostini & Silvio Todeschi and at the Brazilian National Shooting Centre in Rio designed by BCMF (see 015). Running in slightly different but not less important directions are Andrade & Morettin’sstructures built out of ready-made components and MarcosBoldarini’sprecious intervention at favela Cantinhodo Céu (see 083), all in São Paulo, and all somehow challenging the traditional “paulista”school with approaches that reference Sérgio Bernardes and Lelé in the case of Andrade & Morettin;and LinaBo Bardi and Joan Villa in the case of Boldarini. To close this brief introduction to Brazilpavilion competition) joined Fernando ian contemporary architecture, it is safe Melo Franco,Marta Moreira, Milton to say that in parallel to robust economBraga(MMBB) (see 060, 098) plus Biselli ic growth and significant social improveKatchborian(see 084, 088), MarcioKogan ments of the last decade there is a vibrant (see 081) and DecioTozzi (see 059, 092) architectural scene that draws on the old to produce some of the most refined struccentrality of Rio and the new centrality of tures of the end of the century, almost all São Paulo in order to freely combine them of them in São Paulo. The industrial and with a plethora of references 6 derived from other Brazilian regions as much as financial centre of Brazil naturally exerfrom Barcelona, Chicago, Medellin or cises its centrality in architectural deRosario.As a visitor you can draw your bates of the last 20 years but the more own map of interests and connections to we move into the 21st century, the more which this book serves as an entryway. we perceive a balance between the hegemony of the “paulista” school and the 1 For more on the dissemination of modernist vocabulary in Brazil see LARA, Fernando (2008) heterodoxical adaptations and transmuThe Rise of Popular Modernist Architecture in Brazil, tations of such spatiality happening all Gainesville: The University Press of Florida. 2 FRAMPTON, Kenneth (1980) Modern Architecture: over the country. If the Slice House in a Critical History, New York: Thames & Hudson PortoAlegre (see 205) does not seem very 3 ANDREOLI, Elisabetta; FORTY, Adrian, (2004) Brazil’s Modern Architecture, London: Phaidon, p.8. “paulista”by its complex form, it has in4 For more on the relationship between the visibility of deed a spatial configuration based on an Brazilian modernism and the military period see LARA, open plan organised by two party walls. In Fernando (2001) “Arquitetura brasileira volta às páginas BeloHorizontethe Arquitetos Associados das publicações internacionais na década de 90,” in Revista Projeto Design, São Paulo: Arco Editorial, (see 116, 121 – 123) have successfully January 2001, pp.8-9. 5 ZEIN, Ruth Verde, “A arquitetura da Escola adapted components of the celebrated Paulista Brutalista 1953 – 1973”, Tese Doutoral, “paulista” architecture such as the rigPropar: UFRGS, 2009. 6 Worthy of mention are also recent buildings by Alvaro orous geometry of the structural system Siza in Porto Alegre and Christian de Pontzamparc in Rio de and combined them with “carioca” curves Janeiro, plus recent designs by Diller, Scofidio + Renfro for Rio and Herzog & de Meuron for São Paulo. at the terrace of the Burle Marx Education