THE IMPACT OF BRAZILIAN AESTHETIC IN PORTUGUESE AND AFRICAN MODERN ARCHITECTURE ITS ROLE IN THE DISSEMINATION OF THE MODERN MOVEMENT IN ANGOLA AND MOZAMBIQUE

Mariana de Almeida Rebelo Fernandes

ABSTRACT African - and understand what kind of connexion exists between them. It seeks to determine not only In the First National Congress of Architecture held what links have been established and what were its in 1948, after the Allied victory in the Second World influences, but also how they were expressed and War, the direction of Portuguese architecture was with what justification they were materialized. discussed, proceeding to an architectural For this we proceeded to a systematic analysis of retrospective. Although contrary to the Salazar some buildings for each of the cases analyzed regime, the internationalist ideas were the more according to the context in which the modern acute, and this event spurred a generation that movement emerged. The essence of modern believed in progress, and claimed the Modern Brazilian architecture was studied, specially the ways Movement. Justified by the lack of construction in which it distinguished itself from the International demand in Portugal or by political reasons, some Style and inspired Portugal and the ex-colonies. portuguese architects moved to Angola and Mozambique designing there a considerable We concluded that the climate was crucial in the number of quality buildings with a clear sense of likeness of the African proposals, and in Portugal, in modernity. most cases, Brazilians elements of shading were not applied because of their original functional reasons, Modern architecture in the ex-Portuguese colonies gaining new justifications and often used as a formal has been studied during the past decade, and element of buildings’ plastic enrichment. modern Brazilian architecture has been taken as an inspiration. However, if on the one hand this influence is obvious in the African case, on the other INTRODUCTION hand it has also been pointed out that it also exists In the past decade, a series of studies have been in the portuguese modern production. If somehow developed about the modern architecture produced this influence seems obvious in the colonies, mainly during the period of Estado Novo (1933-1954) in the justified by its tropical climate, in Portugal this old portuguese colonies, mainly Angola and relationship appears more diffuse and less evident. Mozambique, more specifically since the end of the Therefore, the present study intends to analyze the 1940’s. Before April 25th 1974, political persecution three productions - Brazilian , Portuguese and dominated the authoritarian oppressive regime, which didn’t permit portuguese architects to take and in some aspects even more modern than the action, particularly in what concerned public European Modern Movement itself, while adopting ordered works. In the reported publications that and strengthening the use of reinforced concrete till study the Portuguese modern architecture, the the last consequences and recovering indispensable Brazilian architecture is generally taken as an elements from the traditional architecture, so as to inspiration. If that analysis is carried out in an explicit create a local and simultaneously modern way, regarding the production of the ultramarine architecture. provinces, it is verified that in case of Portugal, that It is importante to understand the true dimensiono f relation is mentioned in a less evident way, although this influence and that really passed from Brazil to during the 50’s of the twentieth century, some Portugal and the old colonies. Above all, it’s architects deeply marked by the Congress of 48, importante to know if those passed elements have indeed projected some buildings with an performed their original functions in other urgent modernity and Brazilian aestheticism. territories. Trying to examine this work more However, it was in the colonies that the buildings thoroughly, it also aims to know which was the were effectively made from the higher to the lower impact that Lúcio Costa’s thought had in Portugal scale, where the principles of the Modern and consequently or not in Angola and Movement are applied with an usual reference to Mozambique. the elements of the brazilian modernity. Unlike the From the observation and analytical interpretation architects that worked in Portugal, the portuguese of the selected building, this work aims to take architecs that settled down in Africa had the conclusions and set ideas about the meaning of opportunity to work in an almost virgin territory, in these influences in a certain period that in case of which the brazilian modern movement was prepared Brazil ranges from the 30’s to the 60’s (with Brazilia), to give an answer. while in Portugal and Africa form the Congress of It’s the aim of the present study to show, clarify and 48, in which there appeared a generation that truly identify how far the brazilian modern architecture believed in modernity, the introduction of new influenced the modern production both in Portugal materials as well as the Corbusian vision as a way to and in the colonies, namely in Angola and construct the city and do architecture. Mozambique, essential in what differs from the In Portugal, the 50’s was the period in which this Modern Movement in Europe or ultimately the brazilian inspiration was more evident and International Style. considering Africa, we will take as a reference the At a first stage, it’s fundamental to understand the colonies Independence in 1975. context and the conditions that approached Brazil In short, as a starting point, taking the publications with the Modern Movement and at the same time in Portugal and in the world, from Brazil Builds to how it get rid of some of its dogmas, by adopting a specific magazines, along with discussions and very peculiar direction, with shapes and specifically conferences given in Portugal and in the colonies brazilian formulations breaking with the and after having understood the brazilian scenario homogeneity roused by the International that caused the adoption of the Modern Movement, Congresses of Modern Architecture – CIAM. This it’s all the more important to understand which are way, Brazil proposed new ways of being modern the similarities and differences in the modern production both in Portugal and in Angola and On the whole, the present work is organised in three Mozambique, as a way to account for the disparity main subjects: Brazil, Portugal and Africa, and for of proposalds found in one and another place, when each one specific studies are introduced in order to after all, they were both performed by portuguese accomplish the goals that were here proposed. architects with the same formation.

Actually, once analysed the works presented in the THE BRAZILIAN MODERN ARCHITECTURE bibliographical references, it’s quite understandable It appeared in Brazil in the 20’s in the way of why there is the need not only to clarify the extent manifestations totally influenced by the European of this influence and understand the way it was Modern Movement and by the Corbusian premises. done, but also know quite effectively what can be The Brazilian architecture soon kept away from it. If assumed as a source of knowledge and application in the beginning, mainly in the “Paulista” of the brazilian modern architecture. Although that production, the modern architecture also tried to influence is referred in many works and articles, it’s keep a distance from the standards of the past by our purpose so as to take some deductions and breaking down with traditions and defending conclusions duly based on a systematic study. The progress as well as the use of materials from main question here emphasized is: “who influenced industrialization, in Carioca’s city it was rapidly what, when and why?”. opted for rethinking the value of tradition, while looking, for instance, at the techniques and the To reach the purposed put forward for constructing materials of the paste, reinterpreting consideration of this paper, it was considered the them and so refusing the gratuitous abandon of the need to study, analyse and interpret the Brazilian knowledge that had once been acquires. The Modern Architecture, not only from information modern architecture was applied in Brazil with the taken from books and periodical publications, but local key of not abandoning the past architectures also from the selection and analysis of some studies and techniques improved throughout the history, as which were assumed to be a considerable a way not to lose the cultural past. Therefore, as it illustration of Carioca’s School. Once analysed the had already been mentioned before, it was claimed chosen brazilian buildings and the context in which that the architects from the past had already solved Modern Architecture in Brazil appeared, a certain specific problems of construction and those comparative analysis of each one went on to the solutions shouldn’t be ignored, but instead, used able to extract what was essential and what defined and reinterpreted by the light of contemporaneity. that architecture. Afterwards, the same methodology was used in relation to Portugal and The result could never be confusable with past Africa. The portuguese and african studies are also architectures – like it was the neo-colonial style – in organized chronologically and for each one a careful spite of withdrawing some foundations which are and comparative analysis was done, which the result of a “spiritual connection with the past” permitted to know what could have been influenced (Bruand, 1981). or inspired by the Brazilian modernity. And taking Taking the European vanguards into account and as the comparative analysis of the studies into account, a reference, the Brazilian Modern Architecture be able to understand those relationships in a shares, by direct or indirect influence Le Corbusier’s clearer way. Five points of architecture, being in some works, like it is the case of Education and Health Ministry, all chiefly provided by the plastic potentialities of the points strictly respected. And they are: The free concrete – but without disregarding their functional designing of the ground plan, the free design of the qualities. façade – resulted from the independent structure –, Also in the decoration area, Brazilian Modern the use of pilotis and roof gardens and the Architecture opposed itself to the severe austerity of horizontal windows, made possible by the free the International Style, while promoting the union of façade. The urgent rationalism in almost all the work all art in the final work. Besides the pictorial designs is another feature that was absorbed from the on the walls and glazed tiles, sculptures, tapestries, European modernity, but it was precisely the landscape decorations, we find some elements that premise “form follows function” that was distinguish themselves from all the others: the questioned by one of the main intervenient in the elements of insolation control are very often the Brazilian architecture: Oscar Niemeyer. most important in the façades, giving them a very The propagandistic goal of these works in Brazilian peculiar and remarkable dynamics, whether by the territory, where architecture and urbanism were one use of Brise-soleil – elements invented by Le of the elected ways of the rulers’ personal Corbusier for many of his projects, but only applied promotion – particularly caused by political interests in Education and Health Ministry in Rio de Janeiro – – required one of the characteristics of the great consequently the result of the modern movement – majority of the modern Brazilian works: and adapted a lot in the tropical architecture, or by monumentality. The need to be noticed compelle the use of cobogós – the walls made up by empty the works to be shown, which was the evidence of elements with diverse forms and designs that allow the power in question. the entrance of natural lightening and ventilation, quite common in the colonial architecture and now Although the Brazilian architecture shared some reinterpreted, reinvented and stylised. The use of premises with the European modern movement, different materials, colours, textures, lightning such as the need to provide housing for everybody effects also confer unique characteristics to the and the importance of the function in the Brazilian Modern Architecture, namely an conception of the architectonic work, it also exceptional lightening/shade effect in inner spaces. appeared with new concerns that decisively make this architecture diverge from the one of the Old It is also because of its deep symbolism that this Continent. architecture distinguishes itself from the others, being the reconciliation with the past, one of the The formal worries will certainly be the easiest ones greatest responsible for that difference, giving to point out, as the Brazilian architecture is individuality to that architecture. These reflexions endowed not only with a great simplicity provided led to a new production, which resulted from a by the clarity of the drawing and the purity of the reflection of the value of tradition integrated in the forms but also by a great lightness, audacity and presuppositions of modern architecture, “proved grace (Bruand, 1981). Oscar Niemeyer’s creative (…) the recognition of the legitimacy of the plastic spirit enabled him to be the best creator regarding intention in the functional concept of modern the forms of this new architecture, standing out by architecture” (Costa, 1954). “Although the first the use of abstract forms, demystifying the rigidity modern impulse has been imported, Brazil of the Modern Movement – such freedom was immediately found its own way”, underlines Goodwin (1943) in Brazil Builds, being Brazil a around architecture. It was also pointed out the country with very peculiar characteristics ranging decadence of the teaching methods of architecture from its topography to its costums so deeply in Portugal and it was defended the new tipologies, ingrained. Therefore, it were those specificnesses new forms and new materials. And this way there that distinguished the Brazilian Modern Architecture appeared a clear beginning of a turning point in from all others. In spite of that, the lauched architecture, although in 39 Viana de Lima had Cosbusian premises to divulge the modern already adoptec a Corbusian aestheticism in Casa movement are present in the Brazilian production, Honório de Lima, in Oporto. The end of the 40’s is namely the five aspects of that new architecture. then marked by this congress and the conclusions According to Bruand (1981), the use of pilotis can taken from it. AT the same time there was an easily be justified in Rio, since besides allowing aggressive intention of the regime to attack these ventilation, they allow the integration between inner new movements, by intervening obstinately against and outer spaces, eholly melting architecture and these offences, while avoiding the installation of site: fulfilling one of the most important Brazilian internationalization at any cost. This way the 50’s ambitions. would be the time to “[give] attention to the interrupted modern project” (Tostões, 1997),

already created in the 40’s such groups as ICAT REPERCUSSIONS (cultural initiatives of arts and Technique) in Lisbon - THE PORTUGUESE SCENARIO and ODAM (organization of the modern Architects) Only in 1948 in the first National Congress of in Oporto. There was the intention to “divulge the Architecture promoted by the Architects’ National principles of the modern architecture, form a Union (SNA) – when the Allies had already won the professional awareness, create an understanding WWII – were discussed different subjects from the between architects and plastic artists, oppose the observed ones: the modern architecture practised amateurism, in short, value the individual reappeared, without warning, in the midst if the new and the Portuguese society” (França, 1974). In generations, and it was claimed the right to creative Lisbon, apart the union, the same issues were freedom in architecture, as the end of the Second discussed, which ended up being exposed in the World War had renewed the hope of those who Congress. Before this recent opening to the believed and struggled for progress (Fernandez, international situation, and no longer “proudly 1988). Unlike what was expected, it was acclaimed alone”, there came to Portugal indications about the Modern Movement, read the Athens Charter the Modern Movement in Architecture that and it was mainly criticized the path that had been proposed itself to help the rebuilding of a followed by the Portuguese architecture, going devastated Europe by the effects of the war, while according to the taste imposed by the regime. Also devising simultaneously new guidelines that such architects as Pardal Monteiro and Cottinelli revolutionized what had been practised so far. In Telmo, with a historical connection with the once fact, as we’ll see, in addition to the works done in instituted power, showed some doubts in relation to Portugal, which are the immediate result of the the architecture that was being done throughout the Corbusian teachings, the Brazilian Modern last years in Portugal and marked that period as an Architecture, principally due to its formal freedom opportunity to correct the misconception produced and and peculiar interpretation done to the International Style, soon called the young architects’ linked to the fight against the dictatorship that attention and it was implanted in Architecture believed in modernization an a vehicle to progress schools submitting this new production in Portugal. and democracy.

Teotónio Pereira addressed himself to Niemeyer From the 50’s onwards, the ultramarine provinces “we see with brothers’ proud the irresistible and suffered considerable and numerous urban and triumphal advance of your renewing movement with architectonic interventions that not only tried to more and more numerous and perfect works, keep up with the urban and population boom but creating a well authentic architecture – and also wanted to take advantage of the economical therefore an original one – linked to the People and context of that time. The colonial wars broke out in to the site. 1961 and the volume of constructions increased. This urban growth lasted until the end of the At this stage, after being understood how Brazilian Portuguese Occupation in 1974. The architectonic Modern Architecture entered the imaginary of the productions in Angola and Mozambique, despite Portuguese architects from the First Congress, we being different from each other, both clearly reflect want to understand how far the originality of such the influence of Brazil. The metropolis presented production influenced what was being done in endowed the colonies with equipment and facilities Portugal, which were the elements that ended up like schools, markets, hospitals, cinemas, theatres, being inspired in those works, the reason for the churches, hotels among others. adoption of certain elements, and if their adoption was the direct result of its original application in The Portuguese architects that went to Angola and tropical territory or not. Brazil Builds already showed Mozambique took with them the result of the the Portuguese architects the way to be taken. The Congress and the images of modernity circulating survey wanted to perform the same function that either in periodical and not periodical publications, Brazil Builds did in Brazil. Nevertheless, it was now particularly quite acute in Brazil Builds that came to carried out by the hands of the creators of modern be used in architectural schools and whose architecture, unlike what happened in Brazil. fascination resulted in some works dispersed in Brazilian Modern Architecture constitutes in itself Portugal and Africa, an excellent place to be the examination of the international style and in proliferated. Like it is stress by Cortez “the discovery Portugal it was the survey that let to the revision of of the Brazilian modern architecture together with the modern and to the end of the uncritical import the vocabulary restrictions in Portugal, made of the of international models. Brazil opened up a priori African premises a fertile area for free expression of the possibility to adjust modernization with their works. tradition, as a commitment, which constituted the This Tropical architecture easily penetrated into the ultimate purpose of the Portuguese architects. vocabulary of African architecture, mainly due to the similar climate. Even though it is also important to refer the plastic characteristics of Brazilian - THE AFRICAN SCENARIO architecture, and its link to native culture, much It were the new architects deeply afflected by the appreciated in the ex-colonies. In fact, the high discussions and the results os de First Congress levels of humidity demanded that all the (1948) that participated in the modernization of constructions included passive methods to increase Angola and Mozambique. They were generally as far as possible environmental comfort in the there was an immediate fascination by the interior, by assuring the shade and crossed specificnesess of that architecture, with its ventilation. Therefore, it became appropriate in exuberant shapes, tropical gardens and elements of these territories the application of some climate adaptation like brise-soleil and cobogós, architectural elements like brise-soleil and cobogós, which were so often imported to Portugal with very common in Brazil. These elements as well as different applications from the original ones. In a the total suppression of exterior walls permit, as well more detailed analysis it was the Brazilian modern as in Brazil, the close relation between inside and architecture that from its genesis gave an answer to outside. the questions posed by the generation of 48 and the wish of an architecture, both modern and local. The interest of Brazilian modern architecture in the In practical terms, in Portugal the elements that continent had already been discouraged while in represent the Brazilian modern architecture were Africa it still influenced the new architecture. It was applied as “image”, so contributing to the indeed very assertive the presence of the Brazilian adornment of the façades and to the enrichment of modernity in the Portuguese colonies. The the architectonic lexicon. In the Mediterranean architects that went over there to project their climate, it found functional justifications quite innovative buildings were induced by utopia, different from the original ones in Brazil. Usualy, by wishing to transform the society based on the dissimulating the less noble spaces of the buildings modern movement premises. (like service spaces). Seldem did it contribute to the

insolation in the interior, being so often oriented CONCLUSIONS towards cardinal points where there systems simply The congress of 48 allowed to disseminate the didn’t function. voices of some individuals that on the one hand On the other hand, in the old ultramarine provinces opposed an architecture considered Portuguese, the climate similarity with Brazil enables the promoted by Salazar’s regime and on the other application of these shade systems, which really hand, they believed in modern architecture like the contributed to the constant air circulation in the one who could be authentic, belonging to that time interior, so improving the housing conditions inside and no other one. Through publications, expositions the building. The need to shade and ventilate the and conferences, the Portuguese architects got in building found in the Brazilian aesthetic a functional touch with the modern architecture that was being evidence, being them used as a literal or done in Brazil, through which they were introduced reinterpreted way. to a modern but local architecture. If on one hand,