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Rc: 81267 - Issn: 2448-0959 Revista Científica Multidisciplinar Núcleo do Conhecimento - RC: 81267 - ISSN: 2448-0959 https://www.nucleodoconhecimento.com.br/architecture/architecture-modern The marks of modern architecture in Vitória Da Conquista - BA ORIGINAL ARTICLE CASEMIRO, Gabriel Rocha [1] CASEMIRO, Gabriel Rocha. The marks of modern architecture in Vitória Da Conquista - BA. Revista Científica Multidisciplinar Núcleo do Conhecimento. Year 06, Ed. 03, Vol. 07, pp. 28-48. March 2021. ISSN: 2448-0959, Access link: ABSTRACT This work addresses the influence of modern architecture within the city of Vitória da Conquista - BA with the main objective of identifying modernist buildings, also seeking to rescue the memory of the city and how its urban space was formed. Historical data were collected on how the modernist movement emerged within architecture in the world and in Brazil, in addition to a brief historical survey of the formation of the city of Vitória da Conquista - BA, using the method of deductive approach, indirect documentation and observation and analysis of the context, finally generating results and satisfactory conclusions about the importance of the modernist movement and its need for preservation Keywords: Modern Architecture, Victory of Conquest, modernism. 1. INTRODUCTION Modern Architecture was a movement recognized as one of the main within architecture, having its peak in the first half of the twentieth century, reaching Brazilian cities, including those of the interior, as is the case of Vitória da Conquista - BA. When observing the changes in the style of the buildings of a place, it is possible to perceive the historical changes and transformations that occurred in that urban environment, especially when it comes to modernist architecture and its striking characteristics of buildings, contrary to what happens in today, where buildings are usually criticized for presenting a more generic style and without great attributes that can allow a clearer identity. Benevolo (2001) talks about the formation of the modern movement, and how it obtained its own identity here in Brazil: 1 / 24 Revista Científica Multidisciplinar Núcleo do Conhecimento - RC: 81267 - ISSN: 2448-0959 https://www.nucleodoconhecimento.com.br/architecture/architecture-modern Until the beginning of World War II, the modern movement has produced its effects in all countries of the world, but what happens outside Europe and northern America seems only a consequence of the European and American experiences so far described; the international repertoire is adapted to local customs, without extracting the impulse for new and original developments. However, in the second post- war period, a vast movement begins to review the contributions received so far and, in at least, in two cases – in Brazil and Japan – results of international value are obtained, not linked to European or American models, but, rather, capable of stimulating ongoing experiences in both the Old and New World. (BENEVOLO, 2001, p. 711) The main objective of this work is to identify the buildings with characteristics of the modernist style, and thus, rescue and value the history of the city Vitória da Conquista, enabling a better understanding of the transformations that have occurred over the years in the city. Another goal of work is to value not only the city, but the modern architecture itself, also the target of criticism, but inevitably recognized as a style of great importance in the history of Brazilian cities, with emphasis on the processes that occurred within the twentieth century. Within this thought, Bruand (1991) explains that excluding the historical and geographical aspects within which modern architecture developed would imply not understanding its meaning and its own reason for being. 2. ABOUT MODERN ARCHITECTURE Before moving on to any other theme, it is necessary to remember - or know, the modern movement. Within architecture, Mahfuz (2002) assesses that history highlights only two complete formal systems: classicism and modernism. The basic difference between classicism and modernism is the substitution of imitation by formal construction as a criterion for the formation of architectural objects. The adoption of models gives way to the interpretation of the program as the main stimulating element of the form and scope of possibilities in the ordering of habitable space. From this generic characterization of modern architecture, the Brazilian aspect can be seen as a particularization of a way of conceiving the artistic form essentially different from classicism, which had dominated the previous four centuries and was still the dominant paradigm in the first decades of the twentieth century. (MAHFUZ, 2002) One of the most important factors for the birth of the movement was the innovation of new techniques and new materials in civil construction that occurred at the end of the 19th century, especially steel and reinforced concrete, but it is not possible to specify the exact moment of this beginning, Benevolo (2001) states that it is only possible to determine the year 1927 onwards as the moment when there was a common line of work and coherence in the same direction. At first, two big names are most considered as the most outstanding: gropius - and his collaborators at Bahaus - and Le Corbusier. Starting from the first, the German Walter Gropius is known to have founded the Bauhaus school in 1919, after the end of the war, Benevolo (2001), based on the words of Gropius himself, explains that the fundamental idea of the Bauhaus was to use handicrafts as a didactic means of preparation for modern designers, fleeing the controversy between crafts and industry, not deciding for one or the other. 2 / 24 Revista Científica Multidisciplinar Núcleo do Conhecimento - RC: 81267 - ISSN: 2448-0959 https://www.nucleodoconhecimento.com.br/architecture/architecture-modern This didactic procedure entails a fundamental change in architectural culture. The formal instance is no longer placed in an independent sphere, capable of harboring a separate experience, but is resolutely placed in productive activity. The purpose of the artistic work is not to invent a form, but to modify, through this way, the course of daily life, and it is valid while invading all the production and the environment in which all men live. (BENEVOLO, 2001, p. 406 and 408) Unlike the collectivity present in Bauhaus, Le Corbusier's individual experience provided a mediation between french tradition and the modern movement, Benevolo (2001) describes him as an artistic genius, with a gift of handling forms that has no comparison in our day.In 1926, Le Corbusier released with the architect Pierre Jeanneret a document called "The Five Points of a New Architecture", which present the following principles: 1 – Pilotis: use of reinforced concrete enabling pilots that leave the house in the air. 2 - Garden ceilings: implantation of the garden on the house, on the ceiling. 3 – Free plant: thanks to reinforced concrete the walls no longer have structural function, giving freedom to lease them. 4 – "Fenetre in longuer": or ribbon windows, being able to go through the entire façade. 5 - Free façade: the pilasters can go in the direction of the interior of the house, giving freedom to the composition of the facades. Figure 1 – Villa Savoye, symbol of Le Corbusier's "Five Points of a New Architecture" 3 / 24 Revista Científica Multidisciplinar Núcleo do Conhecimento - RC: 81267 - ISSN: 2448-0959 https://www.nucleodoconhecimento.com.br/architecture/architecture-modern Source: ArchDaily. Available in <https://www.archdaily.com/84524/ad-classics-villa-savoye-le- corbusier>. Accessed October 2020. Benevolo (2001) says that this document generated numerous discussions between modernists and traditionalists at the time, but it was inevitable to realize that it was something revolutionary and guide for modernist constructions. The formation of the modernist movement also had an influence on what was happening in countries such as Germany and the Netherlands, Benevolo (2001) continues to highlight the experience of architects such as Mendelsohn, Oud, Dudok and the brilliant Mies van der Rohe, which originated in diverse cultural environments, not being directly influenced by Bauhaus, but in all one perceived a unit of intentions and a point of reference. Coming out of purely theoretical and academic content, it was notorious that all these great architects also wished to bring these ideas to the general public, Gropius (1935) said that the purpose of the Bauhaus was not to propagate a style or fashion, but rather to exert influence on the project, a more efficient way to start doing this was through competitions and exhibitions, where Benevolo (2001) reports that modernist architects did not have much success to win the competitions, but were present in the exhibitions, such as stuttgart, leaving visible the similarities of ideas between different European architects and giving rise to the emergence of CIAM (International Congress of Modern Architecture, translated from French), an organization that held different events among the main modernist architects , seeking the discussion of issues related to architecture, including urbanism. 4 / 24 Revista Científica Multidisciplinar Núcleo do Conhecimento - RC: 81267 - ISSN: 2448-0959 https://www.nucleodoconhecimento.com.br/architecture/architecture-modern The ideas of some modernists related to urbanism are almost a separate chapter for discussions, especially those of Le Corbusier, probably the name
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